and furtive joy embarrass his reference to the original by neglecting the obvious device of numbering the lines, of which omission, indeed, most verse translators are also unaccountably guilty. It is in his interest that I have preserved, in the version here presented, a line-for-line correspondence with the original in the blank-verse dialogue, and, for the most part, in the choruses also,[1] which latter will in many cases, I think, be found by the scholar who compares them minutely with the original to be more nearly literal "construes" than perhaps they look.
I have regarded it as a fortunate coincidence that the edition of the plays most extensively used by young students is also that which has on general grounds most commended itself to my judgment. Paley's insight into the spirit of Euripides, his sobriety and "level-headedness" as a commentator, his recognition of the limits of his sphere as an interpreter, have impressed me more and more as I have proceeded with my task. Above all, with his conservatism in regard to the text I am thoroughly in accord; indeed, I am inclined occasionally to go even further than he, in retaining MS. readings where he inclines to admit emendations. In certain instances, of course, a strong presumptive case may be made out against the MS. text on prosodical or philological grounds; and here I am thankful for the guidance of those who are far better equipped specialists than I can ever hope to be. But the most numerous and most serious alterations proposed, nay, adopted with light-hearted confidence, by some recent editors, are not of this nature. They are the offspring of subjective criticism; and a commentator is never on more perilous ground than when he makes his own comprehension or appreciation of a passage the criterion of its
- ↑ The main exceptions are due, not to diffuseness in rendering, but to the employment of lines differing considerably in length from those in the text, e.g., Ion, 881–911.
