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Chorus in Euripidex tragedy Medea
Chorus in Euripidex tragedy Medea
Role of the chorus in Euripides
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In Jean Anouilh’s Antigone and in Euripides’s Medea the Chorus is both a tool for characterization and representation of theme; however, the ways they function in their respective plays are noticeably different. The differences in the way the Choruses function in each respective play make the name of the character “the Chorus” a homonym, same name different meaning.
The Chorus in Antigone functions to incorporate the technique of metatheatre. The purpose of metatheatre is to provide a separation between the audience and the actors in the play through “constant direct and indirect reminders that what [the audience] is watching is a play” (Freeman xxxvii). The first instance of a reminder is when the Prologue steps forward from the Chorus and describes each character and provides a quick plot summary of what is to come. The distancing of the audience from the play is effective because it aids them to think more deeply about the choices that Antigone makes and the value of her choice to die rather than focus solely on the tragedy of her death. A critic of tragedies could argue that this distancing through metatheatre “destroys the tragic impact” of the play, but if one looks more closely the tragic impact is found not in the physical death of Antigone but in her “realization that she is in the wrong” and must still die anyways because she is bound to her part (Freeman xxxix). Another instance of a reminder that the audience is watching a play is when the Chorus interrupts the plot to give a brief lesson on the differences between a drama and a tragedy to emphasize that Antigone is a tragedy. The purpose of this lesson is not only to emphasize that Antigone is a tragedy but also to remind the audience that “there [is] no lousy h...
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...he Chorus to reason with Medea and lead her down a more rational path.
Although the purposes of the Chorus in Anouilh’s tragedy Antigone and Euripides’s drama Medea differ, both serve to leave an effect on the respective audiences. While the Chorus in Antigone distances the audience from emotional attachment to the characters, the Chorus in Medea makes the audience sympathize with them for Medea. Their separate techniques in portraying characterization and theme also changes the way the audience views each play. Anouilh’s Chorus in Antigone forces the audience to think deeply and draw conclusions on the nature of each character while the Chorus in Euripides’s Medea is a supplement to the characterizing Medea and Jason.
Works Cited
Anouilh, Jean. Antigone. Methuen Drama: London, 2000. Print.
Euripides. Medea. Dover Publications: New York, 1993. Print.
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A key factor in the power of her speech is Antigone’s consideration for her audiences. The first of these audiences is Creon the king of Thebes. Creon is receiving this argument as an explanation for Antigone’s defiance of his law. Creon’s statement, “And yet you dared defy the law,” evokes this response, in which Antigone says, “Your edict, King, was strong,” (“Antigone” 1035 Line 56-59). This confirms that her argument is directed towards the king. The second audience is the people of Thebes. In the play, the chorus represents the citizens of Thebes. They are almost always present when the king speaks, and this scene is no exception. Anitgone forms her argument to appeal to the thoughts and emotions of the citizens.
Aristotle, a philosopher, scientist, spiritualist and passionate critic of the arts, spent many years studying human nature and its relevance to the stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides 'Medea', a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedly perpetuates many of the Aristotelian rules, there are some dramatic structures which challenge its standing with relevance to Aristotle's guidelines, and the judgment of Medea as a dramatic success within the tragic genre.
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When the title of a play is a character's name, it is normally assumed that the character is the protagonist of the play. In Sophocles' Antigone, most people probably believe Antigone to be the tragic heroine, even after they have finished watching the play. It may be argued, however, that Creon, not Antigone, is the tragic character. When we examine the nature and concept of the Greek Tragedy and what it means to be a tragic character, it becomes clear that Creon is indeed the tragic hero of the play Antigone.
In order for a play to be considered a tragedy it must achieve the purgation of fear and pity. In the play “Antigone”, Sophocles does a great job of bringing out these two emotions in a reader. At the beginning of the play there is a conversation between Antigone and her sister Ismene. During the conversation the reader learns the two girls lost their father in battle and both of their brothers at the hands of one another. Then the reader learns that one of the brothers, Polynices, has been left out to die without a proper burial. At this time the reader begins to feel pity for the two sisters. They have lost their father and their two brothers all at the same time.
This paper aims to study two significant playwrights, Sophocles and Euripides, and compare their respective attitudes by examining their plays in respect to plot and character structures. To achieve this goal, the paper is organized into two main sections. In the first section, we provide a brief biography of both Sophocles and Euripides. The second and last section includes summaries of Sophocles’ Electra and Euripides’ Electra which were based on same essentials and give an opportunity to observe the differences of the playwrights. This section also includes the comparisons that are made by our observations about the plays.
Medea’s illegitimate marriage and the betrayal of Jason drive Medea to extreme revenge. Medea chooses to act with her immortal self and commit inhumane acts of murder rather than rationalize the outcomes of her actions. Medea see’s this option as her only resort as she has been banished and has nowhere to go, “stripped of her place”. To create sympathy for Medea, Euripides plays down Medea’s supernatural powers until the end of the play. Throughout the play Medea represents all characteristics found in individual women put together, including; love, passion, betrayal and revenge. Medea’s portrayal of human flaws creates empathetic emotions from the audience. The audience commiserates with Medea’s human flaws as they recognize them in themselves. Medea plays the major role in this play as she demonstrates many behavioral and psychological patterns unlike any of the other Greek women in the play; this draws the audience’s attention to Medea for sympathy and respect.
In answering this question, I will look at the question in two ways. Firstly, I will look at the role of the chorus objectively, examining the basic role of the chorus in the play, and looking at the role of the Chorus as Sophocles would have intended the role of the Chorus to be understood. However, I will then look at how I think the Greek audience would have perceived the role of the Chorus and then how the role of the Chorus is perceived today by a 20th century and examine the key differences in the two different sets of perceptions. Finally, I will look at the importance of the role of the Chorus to a 20th century audience and a Greek audience respectively.
The Chorus is very much an important part of Euripedes’ Medea, and indeed many other works written in the ancient Greek style. In this play, it follows the journey Medea makes, and not only narrates, but commentates on what is happening. Euripedes uses the Chorus as a literary device to raise certain issues, and to influence where the sympathies of the audience lie.