Chorus Reactions in Oedipus Play - Essay Example

Chorus Reactions in Oedipus Play In the context ical literature, Oedipus play features as one of the most popularand successful domestic tragedies ever written. This Greek tragedy succeeds in communicating the intended message to its target audience through utilization of various literary techniques. One technique used by Sophocles in his work involves explicit development of characters within the play. Character development facilitates creation of a given trait desired by the writer (Kitto and Davy 23). In this case, Sophocles succeeds in formulation and development of a sustained emotional environment throughout the play. Character development through the first part of the play allows the writer to introduce desired qualities and attributed related to the role played by that character later. In this case, it makes it easier to develop and maintain a given theme within the major sections of the tragedy. Oedipus Rex Play comprise of categorized characters each assuming an inherent role in depicting an actual ancient Greek society. In this context, one character in the play is Chorus, also commonly referred to as Choragus in plural. Within the play, Chorus refers to a group of elders representing the voice of society in general. In the event of response and reactions, Chorus addresses the theatre as an individual. However, the voice of that individual incorporates responses of all the other elders making up that team. Chorus acts as the judge or a third party reflecting on developments taking place within the play (Ley 12). The group questions the moral and philosophical inclination of other characters in the play. In addition, the group advice kings and other leaders in authority during decision making process. Chorus possesses theatrical freedom since their role as a group can operate both within and outside the plot’s boundaries. Within the three parts of the play, Chorus participates in postulating their perspectives concerning the main subject matter within a given immediate juncture. Chorus reactions play a supplementary role in thematic construction and plot development (Swift 78). It provides a different perception, which cannot be elicited from individual members within the tragedy. As a thesis statement, one can state that Chorus represents the voice of the society within the theatrical setting of the play. As stated earlier, Sophocles develops distinct character traits at the beginning of the play. The tragedy adopts and maintains these developed characters in creating defined and sustainable themes throughout the plot development. With respect to Chorus, the group reacts to plot subjects in an almost consistent manner. As representatives of the larger society, Chorus inclines their objective responses to desires of peace and stability within the subject society. Chorus vehemently disapproves actions of Antigone’s brother in their struggle for leadership positions. Within the first section of the play, Chorus reactions support Antigone’s actions and decisions. Creon, who was the King as this part of the play, gave a decree preventing any member of the kingdom from staging a burial ceremony for Polynices. According to the king, Polynices proved their disloyalty and betrayed the empire; hence does not deserve respect even at burial (Sophocles 201). At this section, Chorus reacts to Creon’s decree by insinuating that the new king plans to abuse power. The group of elders emphasize on the importance of respecting the law of the land and those of gods by leaders. At the beginning, Chorus praises Creon and the Greek people at large on the manner in which man can achieve desired goals through concerted efforts. The group illustrates man’s ability by describing the manner in which Greek men tamed horses, snared birds and cross vast seas during winter (Sophocles 36). However, the tone of their ode changes towards the end of this first part. Chorus reacts by insinuating that man can misuse power in a manner likely to compromise law of gods and that of the land. In this context, the Chorus reminds Creon that man is not immortal, and that death is the only master of all men irrespective of social their status. In the second part of the play, Oedipus begins by addressing a gathering of Thebes’s citizens. The priest tells the king about the nature of the plague and grievances held by the kingdom’s citizens about the plague. Creon plays a significant role in informing the public about the cause of the plague. At this juncture, People of Thebes came to learn that an assailant responsible for the death of their earlier king is living among them. As the voice of the society, Chorus reacts to the plague by offering prayers to their god Apollo to save the people of Thebes from the plague (Sophocles 90). However, it was moments before the elders’ group learned about connection between the plague and Laius’s death. Upon acquiring this knowledge, Chorus reacts by asking the king, Oedipus, to involve a great prophet named Tiresias (Osborne and Sophocles 76). As a response, the king listened to the elders’ plea and instructed involvement of the prophet in looking for the one responsible for Laius’s murder case. Towards the end of Oedipus the King, Chorus were concerned about prophesies made by Tiresisas concerning the king’s parentage. The prophet had predicted that Oedipus would murder his father and marry his mother (Osborne and Sophocles 26). At the beginning, Oedipus remains oblivious of his real parents. News about a natural death of Corinth’s king came as a relief because Oedipus believed the dead king was his father. At this juncture, Chorus also reacts to the news by rejoicing that earlier prophesies has failed (Sophocles 156). As a representative of the society, Chorus knew that they would learn of Oedipus parentage sooner than later. However, arrival and revelation from the shepherds changes the plot’s direction when Oedipus learns of his real parents. At the section’s end, Chorus learns that Oedipus had committed grave sins as prophesied earlier. In this context, Chorus reacts by crying about the fact that Oedipus killed his father and married his mother. Chorus was disappointed at how such a great king loved by people could be humbled by the inevitable events of destiny. Despite Oedipus unknowingly committing his crimes, Chorus was fascinated by the fact that Thebes’s citizens had known the truth about Laius’s death (Ley 46). The elders were relieved that plague witnessed at the beginning of the play could come to an end. The last section of the play features Oedipus life after wandering for a long time in exile. Based on the same precepts of fate that guided his mysterious murder of his wife and influence on his mother’s death, Oedipus unknowingly comes to his place of death (Brown 39). After developing knowledge of the ill fated grounds on which he was standing, Oedipus asked locals to call the king of Athens. At this juncture, Chorus maintains their objective inclination to social justice. In this context, Chorus vehemently condemned Oedipus actions of setting foot to holy grounds within another land (Osborne and Sophocles 76). In the process of administering their inquiry, Athens’ Chorus learns that Oedipus was exiled from his kingdom for committing serious crimes. This made them to beg the king to leave their land immediately, or face the full force of people’s law. At the end of the play section on Oedipus in Colonus, Oedipus begs citizens of Athens to bring Theseus to the holy grounds. According to the exiled king, thunder strike in the play signifies his time of death. As a ritual, Oedipus would be accompanied by Theseus to his death rock, where it would remain undisclosed forever. Additional rituals would be conducted after his death, to mark an end to his life, and as a sin offering for Athens city. At this juncture, Chorus approved of Oedipus burial ceremony by praying for peace and honor (Jaffe and Weisinger 174). At the end of the play, Chorus remained oblivious of Oedipus death after the king’s movement from the holy grounds. In this case, Chorus’ reactions were not seen at the after the secretive death of Oedipus. Chorus acted like other members of the public, who remained with little knowledge on the nature of Oedipus death. Upon evaluation of the numerous reactions by Chorus within the text, one can acknowledge the fact that Chorus represented public opinions throughout the play. Works Cited Brown, Andrew. A new companion to Greek Tragedy. Pittsburgh: Taylor & Francis, 2008. Print. Jaffe, Adrian and Weisinger, Herbert. The Laureate Fraternity: An Introduction to Literature. Denver: Row Peterson Publishing, 2006. Print Kitto, Findley and Davy, Humphrey. Greek Tragedy: A literary Study. New York: Routledge Publishing 2012. Print Ley, Graham. The Theatricality of Greek Tragedy: Playing Space and Chorus. Chicago: University of Chicago Press, 2010. Print. Osborne, Elizabeth and Sophocles. Oedipus Rex: Literary Touchstone Edition. Pittsburgh: Prestwick House Inc, 2005. Print. Sophocles. Oedipus the King: Oedipus Rex. Indianapolis: Filiquarian Publishing, LLC., 2006. Print. Sophocles. Sparknotes Oedipus Plays: Antigone, Oedipus Rex and Oedipus at Colonus. New York: Spark Publishing, 2002. Print. Swift, Larry. The Hidden Chorus: Echoes of Genre in Tragic Lyric: London: Oxford University Press, 2011. Print. Read More