The following year brought a production which the cavilling reader might excusably regard as a fulfilment of this jocose threat. For the translation of the Agamemnon (1877) was not in any sense a serious contribution to the English knowledge and love of Greek drama. The Balaustion “transcripts” had betrayed an imperfect sensibility to the finer qualities of Greek dramatic style. But Browning seems to have gone to work upon the greatest of antique tragedies with the definite intention of showing, by a version of literal fidelity, how little the Greek drama at its best owed to Greek speech. And he has little difficulty in making the oracular brevity of Aeschylus look bald, and his sublime incoherences frigid.[61] The result is, nevertheless, very interesting and instructive to the student of Browning’s mind. Nowhere else do we feel so acutely how foreign to his versatile and athletic intellect was the primitive and elemental imagination which interprets the heart and the conscience of nations. His acute individualism in effect betrayed him, and made his too faithful translation resemble a parody of this mighty fragment of the mind of Themistoclean Athens by one of the brilliant irresponsible Sophists of the next generation.
[Footnote 61: It is hard to explain how Browning came also to choose his restless hendecasyllables as a medium for the stately iambic of AEschylus. It is more like Fletcher outdoing himself in double endings.]