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Updated: May 11, 2025
A lover of poetry desires, far more keenly than the general reader, to have verse of his own day that is more Shakespearian, more Miltonic, more Sophoclean than this. He wants poetry that lifts spacious times into spacious verse, poetry that "enlumynes," like Petrarch's "rhetorike sweete," a race and a civilization.
The Italian garden round the house with its formal masses of contrasting colour, its pleached alleys, and pergolas, its steps, vases, and fountains, was as good in its way as the glorious wildness of the Chase. One might have applied to it the Sophoclean thought "How clever is man who can make all these things!" so diverse, and so pleasant.
Shakespeare has been sometimes taxed with the barbarism of profuseness and exaggeration. But this is to measure him by a Sophoclean scale. The simplicity of the antique tragedy is by no means that of expression, but is of form merely.
It was one of those sequestered spots outside the gates of the world where may usually be found more meditation than action, and more passivity than meditation; where reasoning proceeds on narrow premises, and results in inferences wildly imaginative; yet where, from time to time, no less than in other places, dramas of a grandeur and unity truly Sophoclean are enacted in the real, by virtue of the concentrated passions and closely knit interdependence of the lives therein.
She sank down the valley, where another wave was mounding for its onward roll: a gentle scene of Weyburn's favourite Sophoclean chorus. Now she was given to him it was she. How could it ever have been any other!
But, as in the savage of to-day, as in the infant, it is there; and the fact that it ultimately appears shows that it was there. So surely as the laws of music, mathematics and thought, are of the Sophoclean category of eternal facts, man's discoveries not his creations, so also are the moral laws, and, therefore, when Mr.
For as yet, even in the nominally or intentionally tragic and historic work of the first period, we descry always and everywhere and still preponderant the lyric element, the fantastic element, or even the elegiac element. All these queens and heroines of history and tragedy have rather an Ovidian than a Sophoclean grace of bearing and of speech.
Repression, avoidance of extremes, dignity under provocation are the marks of the gentle Sophoclean type and it is a very high type indeed. For we have in him the very fountain of the whole classical tradition in drama. Sophocles is something far more important than a mere influence; he is an ideal, and as such is indestructible.
It is just this conflict between the innate rectitude of Shelley's over-daring nature and the circumstances of ordinary existence, which makes his history so tragic; and we may justly wonder whether, when he read the Sophoclean tragedies of Oedipus, he did not apply their doctrine of self-will and Nemesis to his own fortunes.
The Sophoclean marks are clear enough in this play the tragic moment, the life and movement, the splendid pathos, breadth of outlook and fascination of language. Yet there is a serious fault as well, for Sophocles, like the youngest of dramatists, can strangely enough make mistakes. The entry of Heracles practically makes the play double, marring its continuity.
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