is the Role of the Chorus in Oedipus the King ? 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
The Role of Chorus in Medea In section 18 of the Poetics Aristotle criticizes Euripides for not allowing "the chorus to be one of the actors and to be a part of the whole and to share in the dramatic action, . . . as in Sophocles." Aristotle may be thinking of the embolima of Euripides' later plays (satirized also by Aristophanes), but he is certainly wrong about the Medea. Its choral odes are not only all intimately related to the action but are also essential for the meaning of the play, particularly
Role That the Chorus Plays in Euripedes’ Medea 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. In the list of characters at the beginning of the play, the Chorus is stated to
that a complete universe was created in their legends. The chorus was one of the primary tools for elegantly setting the stage for such detailed works. In Mythology, Edith Hamilton exalts the works of Aeschylus, which heavily employ the chorus for context, saying “With Homer, they are the most important source for our knowledge of the myths.” (17) The chorus provides insight to classicists, and it can inspire audiences as well. The chorus in Greek drama provides vital information, establishes tone
Changing Views of The Chorus in Antigone The chorus, a group of common people who follow the actions of the play Antigone, waver in their support of either Antigone or Creon, depending on their actions during a particular part of the story-line. Early in the play it is evident that they are extremely pro-Creon, but a short time later they seem to sway into the direction of Antigone and support her actions. This incongruency about the them, however, was an extremely interesting
Comparing Today's Media and the Chorus of Sophocles' play, Antigone When you think of ancient Greece, what do you think of? Do you think of outrageous myths and impossible art? Do you think ancient Greek culture has absolutely no effect on today? What many people don't realize is that the ancient Greeks have immensely affected the world today. The chorus in Sophocles' play, Antigone greatly relates to Daniel McGinn's article, "Guilt Free TV." Antigone is a girl who wants to obey the gods and
and Agamemnon’s return. Beacons are set up from Troy to Argos; when one beacon is lit, the next one will be lit, until the last. The play starts when a palace watchman discovers the beacon and tells Agamemnon’s wife, Clytemnestra, the good news. The chorus enters relating the story of Agamemnon and his brother Menelaus. When Menelaus’ wife, Helen, ran away to Troy with Paris, the prince of Troy, Menelaus gathered an army, led by Agamemnon, to attack Troy and retrieve Helen. Most important about the
open-air theater. The word tragedy is derived from the term “tragedia” or “goat-song”, named for the goat skins the chorus wore in the performance. Originally these songs were improvised and rhapsodical as time passed by they were “poetized or rendered literary” (Nicoll 9). The word “chorus” meant “dance or “dancing ground”, which was how dance evolved into the drama. Members of the chorus were characters in the play that commented on the action. They drew the audience into the play and reflected the
The 1st Stasimon in Sophocles’ Play, Oedipus the King The 1st Stasimon in Sophocles’ play ‘Oedipus the King’ is mainly showing the Chorus’ confusion in regards to Tiresias’ accusations made towards Oedipus. The Chorus seem terrified and powerless, and, like Oedipus, do not want to believe the accusations. They feel that the gods know the truth, yet will not reveal it, thus feeling as though the gods are of no real help. There are many issues and techniques to be discussed in regards to the 1st
of the chorus, who has the necessary perspective to provide unbiased commentary in Antigone. Throughout Antigone, the chorus constructs a judicial hierarchy in which the subjects of the polis must submit to the laws of their king, and the king must fulfill his obligations according to the universal law established by the gods. The judicial hierarchy of Antigone is established early on in the tragedy, and is finally articulated clearly in the final lines spoken by the chorus. For the chorus, justice
Analysis of Aeschylus Agamemnon Characters- The Watchman Clytaemnestra The Herald Agamemnon Cassandra Aegisthus The Chorus 1). The Watchman: • The watchman sets the time and place for the play (Agamemnon’s palace in Argos, the house of Atreus); he describes the many miserable nights he has spent on the rooftop of the palace watching for the signal fires that will herald the fall of Troy. • The watchman is one Aeschylus’s small characters, but like the herald he serves an important
men; they were not even considered citizens of their region. This is obvious in the chorus where in the Electra, Medea and Hippolytus there is a chorus of women. This was unheard of in the time when the plays were written. A chorus is typically made up of wise men of Athens, therefore making it up of women would in that age, be very controversial. In Medea the chorus side with her and Medea makes the chorus swear to silence. Therefore she can confide in them without having to put a face on
portray what is right in the eyes of the chorus and darkness to reproach the other side. As the play is carried out, the chorus is constantly changing its opinions, first believing in the actions of Creon with respect to nomos, then unsure of what to believe, and finally seeing that Antigone's actions are more consistent with the morality of the gods and the truths of physis. Light and darkness are used to support in an emotional way the action of whoever the chorus is siding with at these various stages
that are waiting for the soldiers to get home from the Trojan war. Most of the play is the chorus singing about many of the things that happened during the war. The play also shows the disrespect the men had for women in that time period. In front of Agamemnon's palace, a watchman wishes his shift would end. He is tired and wants to sleep but he must stay awake. He awaits news from Queen Clytemnestra. The Chorus of Argive elders enters, singing of the war. They sing of the gods, asking for them to
accusation -- primarily because of Socrates recognition of Apollo through the Oracle at Delphi -- I can see some Aristophanes' points of contention with what he thought the Sophists and other philsophers stood for. The Clouds, who form the chorus in Aristophanes' play, are a physical representation of the "philosophical speculation" that Aristophanes speaks of. According to Aristophanes, these speculations do not come from a grounded sense of experience, but rather float about without
Mr. Tambourine Man Chorus Hey, Mr. Tambourine Man, play a song for me I’m not sleepy and there is no place I’m going to Hey, Mr. Tambourine man, play a song for me I’m the jingle jangle morning I’ll come following you Though I know the evening’s empire has returned into sand Vanished from my hand Left me blindly here to stand but still not sleeping My weariness amazes me, I’m branded on my feet I have no one to meet And the ancient empty street’s too dead for dreaming >Chorus Take me on a trip on
skillful singers can handle it. The cast is usually made up of main characters (the soloists) and a chorus (a group of singers who act as a crowd of people involved in the action of the plot). Some operas have scenes in which dancing is performed by a small ballet group. Operas usually begin with an overture - an introduction played by the orchestra alone. Once the curtain goes up, the soloists and chorus sing throughout most of the drama. Arias (songs sung by soloists) are the important points in an
they were certain to be a part of the chorus groups. With my first year auditioning, I easily gained a position into the group. From that day on, being successful became natural. Years passed and I had moved up in the dance world. I then made the senior chorus, as the youngest member ever, at the age of thirteen. I won over two thousand dollars in scholarship money towards my dance classes over the next four years. Dancing with older girls in the senior chorus, influenced me to work harder and strive
(the Chorus of Old Women ) to seize the Akropolis later that day. The women from the various regions finally assemble and Lysistrata convinces them to swear an oath that they will withhold sex from their husbands until both sides sign a treaty of peace. As the women sacrifice a bottle of wine to the Gods in celebration of their oath, they hear the sounds of the older women taking the Akropolis, the fortress that houses the treasury of Athens. In Lysistrata there are two choruses?the Chorus of Old
he clamours for the return of his "loving" King. Clytemnestra is never mentioned by name, as the sentry is afraid of punishment for saying too much ("I never say a word"). Her influence is all around, even if she herself is not present. The Chorus sing as Clytemnestra moves around the stage, lighting fires and unmoved to their appeals for news. Their song tells the history of the Greek expedition's problems as they set off for Troy. It would seem that, whilst uplifting the name of Agamemnon