PREFACE
This version of Sophocles’ play was written for Dublin players, for Dublin liturgical singers, for a small auditorium, for a chorus that must stand stock still where the orchestra are accustomed to put their chairs, for an audience where nobody comes for self-improvement or for anything but emotion. In other words, I put readers and scholars out of my mind and wrote to be sung and spoken. The one thing that I kept in mind was that a word unfitted for living speech, out of its natural order, or unnecessary to our modern technique, would check emotion and tire attention.
Years ago I persuaded Florence Farr to so train the chorus for a Greek play that the sung words were almost as intelligible and dramatic as the spoken; and I have commended that art of hers in Speaking to the Psaltery. I asked my Dublin producer Lennox Robinson to disregard that essay, partly because liturgical singers were there
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