Greek Theatre:

The Interpretation of the Chorus

K S Sivakumaran

Last week in this column we came to know certain aspects of Tragedy as applied to the ancient Greek theatre. The points derived were basically gleaned from a Monograph on Tragedy by Clifford Leech. We shall conclude this piece with what the Chorus was through the plays.

We know that the actors playing the role of Chorus saying were masks. Although the audience at that time could not see the facial expressions of the actors, the spectators were listening to their speeches. Such speeches gained significance in moving the plays forward.

Here are some points that the Chorus uttered:

People are subject to the dictates of Gods.

If the people were suffering on account of the evil acts of their, then through suffering they had the opportunity of growing.

For instance Agamemmon willingly sacrificed his daughter Ibhiaenia and through the suffering he became a shade matured.

Similarly Oedipus unwillingly killed his father and married his mother not knowing his past.

Oedipus later realized his acts and felt guilty.

We know that the ancient Greek dramatists did not offer or promise after-life bliss for people who were suffering because of their own faults.

Here too as Leech argues, the suffering alone was good itself. It was good for a man to know what he is and how guilty he is.

There was a kind of 'redemption' in the act of recognition itself.

The Greek idea was essentially cognitive meaning awareness or apprehension.

Even to understand the role of the Chorus, we must first read Homer's Iliad and Odyssey and also the plays of the ancient Greek dramatists.

These are now available in English translations and some of them in Sinhala.

I am not sure the translation of such classics are available in Tamil by Lankan translators.

Reading great works is in itself a rewarding experience.

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