Who are the Chorus?
In classical Greek drama and tragedy, the chorus reacts, responds, and comments on the actions and plot of the play. The purpose of the chorus is to represent the customary attitude of what is occurring, to clarify the actions as well as assess the feelings of certain characters, and to overall unify the play. Traditionally, choruses consisted of males, specifically the older men of whatever territory or city-state the play takes place in. The chorus plays a vital role in the four Greek tragedies “Antigone”, “Agamemnon”, “Medea”, and “Oedipus”.
In “Antigone” by Sophocles, the chorus is made up of elder Theban men. Not only is the all-male elder chorus traditional in Greek tragedy, but they also represent the strongly
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They also critique characters’ actions and also add detail on the themes such as fate, confronting the past, and the dangers of brashness. “Oedipus” is considered to be the perfect example of a tragedy according to Aristotle’s poetics. The chorus is the population of elder men in Thebes, following the traditional route of Greek tragedy. “Oedipus” begins with the chorus explaining the plague occurring in Thebes in great detail, making the audience realize what a tough and challenging situation Oedipus is in as king. The chorus is constantly contributing to the action of the play, conversing with and giving Oedipus advice. Throughout the story, they often tell Oedipus to keep calm and to be more rational, a result of one of his tragic flaws. The elder men of Thebes directly effect the characters as well, preventing Oedipus from banishing or executing his brother-in-law Creon. Mainly the chorus seems to be supportive and loyal of their king, although his rash behavior does make them question him towards the middle of the story. By the end, the chorus is supportive of Oedipus once more. To prove their devotion, the chorus said, “But whether a mere man can know the truth, whether a seer can fathom more than I— there is no test, no certain proof though matching skill for skill a man can outstrip a rival. No, not till I see these charges proved will I side with his accusers.... Never will I convict my king, never in my heart.” (Chorus, 563-568) This quote demonstrates how well liked Oedipus is to the people of Thebes and how highly they think of him. It shows that his character and previous actions make it hard to believe he would ever commit the atrocities he is accused of. Also, like in many classic Greek tragedies, Sophocles incorporates strophes and antistrophes to split his choral
“Shepherd: I am on the brink of dreadful speech/ Oedipus: And I of dreadful hearing yet I must hear” (Sophocles 63) With this Oedipus shows that he wants the truth to be reveled so that he can save the city and have the truth realized. It does not matter what the truth is only that he must know who he needs to kill or banish to save the people of Thebes. Oedipus also shows his care for the city of Thebes when he finally learns the truth about who his parents were and that he had in fact fulfilled the prophecy that he had so desired to not do. Oedipus chooses to still banish himself and stick to what he promised the city at the beginning of the play. “conceal me somewhere far from Thebes” (Sophocles 75) Oedipus does this to not only hid from the shame he receives from fulfilling the prophecy but to also end the plague and to save the people of Thebes. Finally Oedipus shows his quality of care for his children a trait that makes him more admirable in the play. This moment is shown after Oedipus finds out that he has fulfilled the prophecy and is the reason for the plague. Then he blinds himself and prepares to banish himself but before he is banished he asks for Creon and asks of a favour “Take care of them Creon do this for me” (Sophocles 77) Thus Oedipus shows his compassion for his children
Death is the end to the natural cycle of life and is represented as dark, melancholic and even menacing. The underworld is depicted as a murky and sinister realm where the dead are trapped in a world of eternal darkness. Ancient drama, however, defies the conventional perceptions and representations of death. Despite the foreboding associated with it, characters in ancient drama embrace death in its frightening glory, rather than face the repercussions of their actions, especially when their honor and pride are at stake. Deceit is also an integral part of ancient drama and characters, particularly women, fall prey to it and unwittingly unleash chaos that more often that, negatively impacts the lives of the characters. This paper demonstrates how gender biases can be interpreted from the depiction of death and the characters’ justifications of it in two of Sophocles’ plays – Ajax and Women of Trachis and also demonstrates how female deception leads to the death of the principal character(s).
The Greek Chorus is very similar to America's news channels because it brings the people the news in a way that they can understand it. The play Antigone by Sophocles is a tragic drama structured around the argument between a king and two sisters about the burial of their brother. Antigone can be compared to the conflict surrounding granting illegal immigrants amnesty. The Chorus is a group of people who provide background information, interpret the information, and relate it to human nature. The Chorus in Antigone tells the pros and cons of both sides of the story and adds important information needed to fully understand the conflict. The Greek Chorus serves the same functions as American news channels in the twenty-first century.
“Gender,” throughout the years has been defined and redefined by societies, and individuals. “Gender roles,” have, and still do contribute to these definitions. Literature contains prime examples of how gender roles were perceived in different time periods, showing readers the views of an author through the characters and their traits. Sophocles’ Antigone is a Greek tragedy, that heavily depicts the gender roles found in ancient Greek society, also providing insight into what would be seen as “normal” and “abnormal” behavior in relation to gender in Greece. In the play, Antigone, a daughter of the late King of Thebes, Oedipus, becomes distraught when she learns that her two brothers have killed each other, and furthermore, that her uncle and newfound king, Creon has forbidden the burial of one of her brothers.
In Sophocles' most famous Theban play consisting of two parts, "Oedipus the King" and "Antigone", both parts are necessary in understanding some of the things that happened around them, and what type of man had raised Antigone. She is the main character in the play of “Antigone”.
On the beginning of the play, Oedipus describes himself to be a person that is willing to do anything to help his people (the people of Thebes). For instance, on the beginning of the play Oedipus says “Here I am, myself, world-famous Oedipus...You may count on me; I am ready to do anything to help...”(6). The theme of the play is Oedipus’s journey to self-discovery, this quote connects to theme by Oedipus, who describes himself to be a great force, a hero for the city; and so far seems to have done something to help the plague-stormed city. However, throughout the play, readers and Oedi...
Oedipus’ anger causes him to kill the father he never knew and all the men in the entourage. Oedipus’ cannot control his temper and this personality flaw leads him to his fate. Another example of Oedipus’ presumptuous temperament is when he immediately assumes that Creon is trying to take his power from him. Creon sends Tiresias to Oedipus to help him solve the crime of the plague, and when Tiresias reveals that Oedipus must die in order to save the people of Thebes, Oedipus assumes Creon is trying to take his throne. Creon even tells Oedipus, “…if you think crude, mindless stubbornness such a gift, you’ve lost your sense of balance” (Meyer 1438).
The play was considered comic by the ancient Athenians because of its rhyming lyricism, its song and dance, its bawdy puns, but most of all because the notion and methods of female empowerment conceived in the play were perfectly ridiculous. Yet, as is the case in a number of Aristophanes’ plays, he has presented an intricate vision of genuine human crisis. In true, comic form Aristophanes superficially resolves the play’s conflicts celebrating the absurdity of dramatic communication. It is these loose threads that are most rife with tragedy for modern reader. By exploring an ancient perspective on female domesticity, male political and military power, rape, and efforts to maintain the integrity of the female body, we can liberate our modern dialogue.
In the Greek play, the Oresteia, suffering acts as a vital role in the lives of the main characters. One character, the chorus, discusses suffering at great length. The chorus is made up of old men who were too old to fight against Troy, and who often give the audience an inside view to the actions happening on stage.
Despite the male dominant society of Ancient Greece, the women in Sophocles’ play Antigone all express capabilities of powerful influence and each individually possess unique characteristics, showing both similarities and contrasts. The women in the play are a pivotal aspect that keeps the plot moving and ultimately leads to the catharsis of this tragedy. Beginning from the argument between Antigone and Ismene to Eurydice’s suicide, a male takes his own life and another loses everything he had all as a result of the acts these women part take in. The women all put their own family members above all else, but the way they go about showing that cherishment separates them amongst many other things.
The priests of Thebes have come to Oedipus to stop the plague that is killing the people of Thebes. They revere him for his knowledge, since he solved the riddle of the Sphix many years before and became the king. As the reader is introduced to Oedipus, they are given many facts about his life so that they become familiar with this man who has done great things. But Oedipus learns from his brother-in-law, Creon who he had sent to Delphi, that Apollo has placed this plague upon Thebes until they "Drive the corruption from the land, don't harbor it any longer, past all cure, don't nurse it in your soil - root it out!" ¹ Oedipus swears an oath before the priests and the chorus (which represents all people of Thebes) that the murderer would be found and driven from the land.
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.
In the list of characters at the beginning of the play, the Chorus is stated to be a chorus of Corinthian Women. This draws the first link between them and Medea. The Chorus follows Medea on her journey through this play. They act as narrators on important occurrences in the play; however, they also act as a device Euripedes uses to influence the opinion of the audience. He does this by presenting to the audience a moral voice in the Chorus. The audience can relate to them, because the Chorus is in a neutral position in the play. They are definitely an integral part of the play, but their role is not so much to influence the actual plot of the play, but more to echo what has happened in the plot and the thoughts of the protagonists, and to suggest moral solutions the audience. The Chorus uses language which almost makes it seem that they are speaking from the perspective of the audience, and in doing this they are guiding the audience responses to what Euripedes wants it to be:
...ale counterparts are uncharacteristic of the stereotypical role that women served and their masculine-like actions are not representative of a woman’s role in ancient Greece. Aristophanes’ Lysistrata is inconceivable and it appears that the author ignored many issues in light of comedic attributes. However, the play, filled with misogynistic undertones, will remain a war-comic. There is no pro-feminist movement occurring within the confines of the play or in classical Greece. The female protagonist is an example of the dangers of role reversal that Katherine French and Allyson Poska highlight in Women and Gender in the Western Past and the false identification or hope that Lysistrata presents. A play noted for its entertainment value should not be used as a source for women’s history. Lysistrata is theatrically entertaining in value and should remain as such.
Oedipus and Tiresias, characters of Sophocles' play "Oedipus Tyrannus," are propelled to their individual destinies by their peculiar relationships with truth. Paranoid and quick to anger Oedipus, is markedly different from the confident and self-assured Tiresias. In the dialogue between the two men, Oedipus rapidly progresses from praise of Tiresias as a champion and protector of Thebes in line 304, to blatantly accusing the blind prophet of betraying the city in line 331, to angrily insulting him in line 334. Rather than be intimidated by the protagonist's title and temperament, Tiresias draws strength from what he knows is true and is able to stand his ground.