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The Functional Chorus in Oedipus at Colonus
In Greek plays, the Chorus serves as a multi-faceted entity able to reason with characters and intrigue the audience while aiding Greek playwrights and actors with the ease of scene transition and overall flow of their thespian work. However, the Chorus maturates throughout each individual play, which is diacritical of Greek plays as a whole. In Oedipus at Colonus, the Chorus attains a level of functionality as a fixture of stage production and as an approach to understanding difficult ideals the play cultivates.
The Chorus has both a subjective and objective role within Oedipus at Colonus. Its objectivity rests with it role as a presence on the stage. Greek sets were notoriously plain and were dependent on the Chorus to distract the audience during whatever minimal scene changes were needed ("Oedipus the King"). Masks and costumes during Greek plays did not allow for emotion, so actors were dependent on the Chorus words to portray any sentiment existing between the characters. Essentially, the Chorus functions as background music, giving a framework of events that occur prior to the action and foreshadowing to future events. The Chorus also forces us, the audience, to respond to the activity on stage, whether we agree or disagree with what the Chorus proclaims. It is with this that the Chorus in Oedipus at Colonus becomes subjective, acting as the voice of reason and making conclusions and throwing upon us the necessity of opinion and taking sides.
The Chorus mentality towards main characters within the play changes over the course of action in an almost bell-curve path, using the tragedy as a conduit for its swells and falls. As Oedipus enters the grove of Athens, the Chorus is not involved with Oedipus but ascertains their role as the public opinion consequently question Oedipus and disapprove of his location. The Choral Dialogue, however, shows how the Chorus keeps a fluid change of pace. Their desire for Oedipus to move closer to them signifies their eventual relocation to the scene of the action in Oedipus at Colonus
Stand aside and come down then!
There is too much space between us!
Say, wanderer, can you hear?
If you have a mind to tell us
Your business, or wish to converse with our council
Come down from that place!
Only speak where it is proper to do so! (-4)
It is significant that they wish for Oedipus to come to them and not vice versa. They reason that Oedipus resting spot is holy, but it also serves as a forced invitation to become involved in Oedipus story. However, the Chorus does not wish to become too involved, and hence waits for "higher authorities" to "judge this matter" (100). It is this way the Chorus allows for the audience to hear an opinion of a higher power and not only hear the ways of the general public of Athens.
As the play continues , the Chorus begins a liaison with Oedipus. They counsel him in the prayers of Eumenides to appease the spirits whom he offended when he entered the holy grove. The Chorus becomes close with Oedipus, and believes him even in the presence of Theseus.
My lord before you came this man gave promise
Of having power to make his words come true! (11)
The Chorus now sides with Oedipus, and when Creon comes to take Oedipus daughters, the Chorus cries out in their disagreement with Creons actions. In fact, the Chorus begins to consider Oedipus the proper one, and Creon a "stranger" (1), although Creon and Oedipus are equally new to the land. At the entrance of Theseus, we reach the climax of the relationship between the Chorus and Oedipus where they make vocal their association with Oedipus
My lord, our friend is worthy; he has had
Disastrous fortune, yet he deserves our comfort. (1)
From then on, the Chorus takes its place behind Oedipus until Zeus thunder signals Oedipus time to depart his world peacefully. While Antigone and Ismene cry, the Chorus (who, up to now, has been defending him mercilessly) states simply he has passed. The bell curve reaches its cadence, with the Chorus now continuing the alliance, formerly with Oedipus, now with Antigone. The Chorus disassociates itself with Oedipus completely, backing away gracefully and stating that there is no need for any further emotion because it is all in "the hands of God."
Essentially, the Chorus forges alliances as it become convenient, befriending the main character when the audience is supposed to, and disbanding the alliance when the main character passes on and continuing the alliance with Antigone. Here, the Chorus fills in the blanks for the audience; it dictates whose side to be on. While Oedipus is freed by death of his sinning ways, the Chorus aids us in deciding that it is not Oedipus at fault but the gods mysterious ways.
The Chorus affiliation does nothing to contradict the actions of the main characters. It feeds off only pre-existing situations and arguments, and cause no new disturbances. Oedipus responds in kind to the Chorus, as does Creon (albeit his in a negative fashion.) The Chorus maintains a level of ambiguity, able to change sides and opinion almost immediately as the situation allows. This gives the Chorus a methodology; basically, join the side of the argument that can attain the highest level of sympathy from the audience.
In essence, the Chorus has the function of directing us, the audience, to a side. If we choose to side with the Chorus, we sympathize for the character they do, which in this case is Oedipus and later on, Antigone. If we choose to go against the Chorus, we will remain pursuant to the idea that Oedipus is a sinner and we will sympathize with Creon and Polyneices. Regardless, the Chorus forces a choice upon us. The functionality of the Chorus remains as a buffer to give us justification for our decisions, to meld the play together and to essentially reward us for our decision. If it werent for the Chorus, we might never reach a conclusion to the play. Its with the Chorus that we find ourselves constantly on track with the piece, never astray from the action. In the 1st century, a Chorus would not be well received with our affinity for intermission and commercials.
The Chorus in Ancient Greek plays has an important role. It is an ancient method of scene transition and cohesion while enforcing the audiences attention toward the action and subsequent conclusions of the performance. For the Chorus has an integral part of any Greek play. any "character" that habitually gets the final word in a play has a high honor, and the Chorus unequivocally fills that "role".
Works Cited
"Oedipus The King, by Sophocles." Classics. 18 Jan. 001 (http//classics.uc.edu/johnson/
tragedy/oedipus_king.html)
Fitzgerald, Robert and Dudly Fitts. Sophocles The Oedipus Cycle. Florida Harvest, 177.
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