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 in the play Oedipus has three basic functions. Firstly, to act as bystanders throughout the play, observing what goes on, reacting and offering opinions at regular intervals throughout the play (e.g. when Oedipus accuses Croon irrationally of conspiring against him, the Chorus says “To one who fears fall, his words seem good; O king, swift counsels are not always safe”) In this role they are important to the play as they often offer the voice of reason during moments of heated debate, the voice of fear and confusion during Oedipus’ downfall, which seems to mirror the audience’s reaction and emotion in many situations throughout the play. The Chorus are also used as a sort of receptive audience for passages of description over what has gone on behind closed doors (e.g. after Jocasta has realised the truth the second messenger describes the scene inside the palace to the Chorus: “Within the porch, straight to the couch she rushed, her bridal bed, and tore her hair”)
Secondly,…
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… happens. Also they maintain the continuity as their being present removes any need for scene or act changes.
In the Greek theatre they take on a significant role of emphasising the storyline by groups speaking in unison rather than one single actor trying to reach the ears of around 17,000 listeners. They were after-all a very natural part of Greek theatre and their absence would certainly reflect an unorthodox presentation. They also keep the emotion running as any scene changing can be done during their narrative sections.
In a 20th Century production the chorus perform a seemingly less essential role. As there would be ample amplification of sound the chorus could be projected to the role of town folk who would fit into the structure of the play neatly.
Works Cited:
Sophocles. Oedipus Rex. New York: Dover Publications, Inc., 1991.
tragoed Oedipus the King (Oedipus Rex) as Ideal Tragic Hero
Oedipus Rex as the Ideal Tragic Hero
If we give ourselves up to a full sympathy with the hero, there is no question that the Oedipus Rex fulfills the function of a tragedy, and arouses fear and pity in the highest degree. But the modern reader, coming to the classic drama not entirely for the purpose of enjoyment, will not always surrender himself to the emotional effect. He is apt to worry about Greek fatalism and the justice of the downfall of Oedipus, and, finding no satisfactory solution for these intellectual difficulties, loses half the pleasure that the drama was intended to produce. Perhaps we trouble ourselves too much concerning the Greek notions of fate in human life. We are inclined to regard them with a lively antiquarian interest, as if they were something remote and peculiar; yet in reality the essential difference between these notions and the more familiar ideas of a later time is so slight that it need not concern the naive and sympathetic reader. After all, the fundamental aim of the poet is not to teach us about these matters. but to construct a tragedy which shall completely fulfill its proper function. Nevertheless, for the student of literature who feels bound to solve the twofold problem, How is the tragedy of Oedipus to be reconciled with a rational conception of life? and How does Oedipus himself comply with the Aristotelian requirements for a tragic hero? there is a simple answer in the ethical teaching of the great philosopher in whose eyes the Oedipus Rex appears to have been well-nigh a perfect tragedy. In other words, let us compare the ideal of the Ethics with the ideal of the Poetics.
Aristotle finds the end of human endeavor to be happiness, that is, an unhampered activity of the soul i…
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… in accordance with reason. In the Oedipus Rex Sophocles had already shown the reverse. The man who sees but one side of a matter, and straightway, driven on by his uncontrolled emotions, acts in accordance with that imperfect vision, meets a fate most pitiful and terrible, in accordance with the great laws which the gods have made.
This philosophy of Aristotle and Sophocles is clearly expressed in the drama itself. “May destiny still find me,” sings the Chorus, “winning the praise of reverent purity in all words and deeds sanctioned by those laws of range sublime, called into life throughout the high, clear heaven, whose father is Olympus alone; their parent was no race of mortal men, no, nor shall oblivion ever lay them to sleep: the god is might in them and grows not old.”
Works Cited:
Sophocles. Oedipus Rex. New York: Dover Publications, Inc., 1991.