STAMFORD UNIVERSITY

BANGLADESH

Assignment on:
The role and function of the chorus in Electra and Hippolytus

Department of English
 The role of the chorus in drama is much like the role of the narrator of a story. Chorus

gives background information about story. The role of the chorus may have been important

because of structural and practical reasons. At the same time, one may praise them primarily as

an enhancer and amplifier of impression, and sometimes the voice of a moderator, or the moral

voice of the people. It is also important to develop plot. In Doctor Faustus, for example, chorus

play very important role because it tells information about central hero of the play in the opening

of the play and intention in the end. In some plays the chorus is clearly connected to plot

development, but in others they serve as poetic and visual interludes with only tenuous

connections to the main plot. The chorus would have had numerous functions in providing a

comprehensive and continuous artistic unit. Firstly, the chorus provides commentary on actions

and events that were taking place before the audience. By doing this the chorus create a deeper

and more meaningful connection between the characters and the audience. Secondly, the chorus

would allow the playwright to create a kind of literary complexity only achievable by a literary

device controlling the atmosphere and expectations of the audience. Thirdly, the chorus allows

the playwright to prepare the audience for certain key moments in the storyline, build up

momentum or slow down the tempo; he could underline certain elements and downplay others.

Such usage of the choral structure-making functions may be observed throughout many classical

plays such as Alcestis, Electra, Hippolytus and so on.

In Sophocles Electra, the chorus plays a large part in establishing the tone of the play.

Among the roles of the chorus in Electra are the following: to explain and interpret the action. ,to

serve as an actor in the play, to sing and or dance, to present the author's views and to support or

criticize characters. In many ways, this group of women guides the audience as to how to react to
the action on stage. We also see that the Chorus sympathizes with Electra. They agree that she

has been treated terribly since her father died, and they lament her situation.

At the beginning of the play, the Chorus consults directly with Electra. They beg the irate

Electra to accept their offer to take the gods into her life and live peacefully. The Chorus actually

takes Chrysothemis side they encourage Electra to move on like her sister, to start thinking

pragmatically instead of idealistically. The chorus approaches Electra to give her consolation.

The chorus beseeches Electra not to waste her life away in mourning, and although Electra

expresses thanks for their concern, she insists that she cannot let go of the memory of her father,

nor of her mourning. The chorus reminds Electra that grieving will do nothing to bring her father

back from the dead, that her sister Chrysothemis has persevered, continuing on with her life, and

that there remains the possibility that one day Orestes will return to his homeland. Electra proves

inconsolable. Electra gives faint hearing to the encouraging arguments of the chorus. She

apologizes to the chorus for the extremity of her grief, but explains that in the name of justice

and honor she has no choice but to mourn her father's death and desire its revenge.

This traditionally conservative stance is slowly eroded over the course of the play; at the

moment of revenge, the chorus is an active and enthusiastic participant, giving urgent warning

when they see Aegisthus returning. The chorus initially softens its stance upon hearing

Chrysothemis relate Clytemnestra's dream. They regard the dream as an omen that the retribution

for which Electra so longs is nigh, perhaps legitimizing their support of the heroine. They urge

Chrysothemis, then, to do as Electra bids and throw Clytemnestra's offering for Agamemnon

away, replacing it with one of their (the sisters's) own. Afterwards, the chorus is far more
sympathetic to Electra than to Clytemnestra in their angry exchange, and they support Electra.

The revenge grows thus stronger throughout the play.

Even when Electra starts planning a murderous plot of her own, the chorus does not

desert her. Despite an initial show of anxiety, the chorus members are galvanized by Electras

plan and devote entire ode to heralding the arrival of vengeance and then to honoring and

praising Electra in the highest terms , asking rhetorically who could be born so worthy of

noble parentage? and declaring to Electra that she is chosen to have been called a wise and

most noble child. Even in such an extreme and menacing moment, the chorus are swept up by

Electras word, as if they cannot shake off the power of her voice and the antiphonal role

assigned to them by her constant dirge. Their cooperation with Electras purpose and activities

invites a similarly complaint and respectful reactions from the audience.

In Electra, the chorus is not just a female voice; rather their relationship with Electra is

like alliance. Electra too considers the chorus as her companion. Her relationship with them is

vital, especially at the start of the play before Orestes' return. The Chorus is a mother figure to

her, offering advice, comfort and support that she couldn't receive from her real mother

Clytemnestra. Electra feels isolated, and has no one share her thoughts and feelings with aside

from the Chorus. Electra's injustice is supported by the Chorus, though they advise her caution

in her revenge, and to moderate her anger, to avoid her destroying herself through grief for her

father. Similarly, the Chorus is hostile to Clytamnestra & Aegistheus and wishes Electra would

get over the murder. They become as distraught at the false news of Orestes's death as is Electra

herself. Like a genuine well wisher, they share her grief when she thinks that Orestes is dead and

her joy when he shows up alive.

 The chorus in Hippolytus takes on a similar role to that of the play Electra. In

Hippolytus, the chorus consists of women living in Trozen. As is typical in Greek drama, the

chorus provides context, continuity, and commentary for those reading or viewing the play. They

also provide a more universal perspective on the action. The Chorus plays an active role in

Hippolytus and are portrayed in a way where we see them directly interacting with characters of

the play. The chorus enters the play following the temple scene, describing Phaedras sickness.

They describe how Phaedra is not eating or sleeping for three days. They worried and frequently

exhibit their yearning to know the reason for which Phaedra is punishing herself. They ask

whence grief of heart has made her bed her prison. They notice that her body is so wasted in

sickness that she lost all her strength. After an agonizing discussion, Phaedra finally reluctantly

confesses that she is sick with love for Hippolytus, and that she plans to starve herself in order to

die with her honor intact. The nurse and the chorus are shocked. But soon The Nurse decides to

look at the situation pragmatically and thinks they must try to talk to Hippolytus to find a cure

for the queen. For the sake of the queen, the chorus also makes swear of secrecy and till the end

they keep their promise. Thus, the chorus becomes an unwitting confidante of Phaedra, and,

privy to this additional information.

The chorus, in contrast, being sympathetic to Hippolytus inevitable tragedy, attempts to

dissuade Theseus from enacting his wrath against Hippolytus. However, though they must abide

by an oath of silence that prevents them from fully explaining Phaedras lust and suicide, they

sing a lament for Hippolytus. Finally, the play, Hippolytus , ends with uttering greatness of

Hippolytus,

In ritual mourning many tears will flow

For when great men die
Their remembered story stirs the greater grief
 Hence, the chorus fulfills the traditional role of providing context, continuity, and

commentary on the action of the play. The women frequently comment on the thematic elements

of the play, bemoaning the horrific power that love wields and alluding to other incidents of

tragic love affairs or godly dispute. The group serves up advice for Phaedra as well as explains to

Theseus that he is not acting properly, yet he does not even know the fact and continues

badmouthing Hippolytus . This example is consistent with the choral activity in the Electra. The

chorus provides a sane view of the world, however is rejected by the characters that are

controlled by mind. The chorus provides a helping opinion for the ghastly acts that will arise

from the conflict.

To sum up, in both plays, Sophocles Electra and Euripides Hippolytus , the chorus has

a large part in terms of interaction in the play itself. The chorus offers advice to the characters of

the play throughout their many times of turmoil. The chorus is offering the sane view of the

world to rather insane characters.