How does Sophocles uses the Chorus in Antigone

Md. Al Amin

The main function of the Chorus in Greek tragedy was to provide the lyrical or musical element which Aristotle mentions as one of the essential ingredients of a tragedy. The Chorus consisted of twelve or fifteen Elders of the city, representing the citizens. The choral odes are not merely an excuse for providing the element of music in the play. Each song has a substantial content which is also a kind of commentary by the chorus on the various developments in the plot and on some of the actions of the characters. This running commentary by the Chorus may be regarded partly as the reaction of the citizens to the various happenings and the various deeds of the characters; but it also represents the reactions of the audience or the spectators, though not always.

Chorus is used with great advantage in Greek tragedies. It is one of the integral parts of the Greek tragedy. According to Aristotle, a Sophoclean Chorus is a character that plays an important role in the action of the play instead of merely making incidental music between the scenes, as in the plays of Euripides. Actually no one formula can sum up the functions of the Chorus. Sometimes, the Chorus may represent the point of view of a particular character in the play; sometimes it becomes the ideal spectator offering comments on the successive events; sometimes it represents the author offering philosophic reflections; sometimes it is a purely lyrical instrument; sometimes it influences the action of the play. In Antigone, the Chorus is made to serve all these purposes, sometimes one and sometimes the other.

The choral odes in Antigone serve, as has already been pointed out, as musical interludes and they serve also as a running commentary on events and on the actions of the characters. The Chorus sings six songs in all, not counting the few concluding verses of the play. Each of these songs has its own theme and its own mood.

The first song of the chorus is one of jubilation and rejoicing over the victory of Thebes and the defeat of the invading Argive forces. This song also provides some necessary information to the audience. It acquaints the audience with the duel fought by the brothers, Polynices and Eteocles; and it also acquaints the audience with certain other circumstances connected with the invasion of the city. It is a highly patriotic song which obviously reflects the sentiments o the Theban people.

The second song of the Chorus is a tribute to the greatness of man, but it indicates also the limitations and dangers to which man is subject. By this song the Chorus prepares us for the disaster that is in store for both Antigone and Creon. The faults of rashness and pride from which both the protagonists suffer. The moral preached here may be regarded as coming from the dramatist himself.

The third song of the Chorus expresses a mood of sadness and despondency and traces in a few works the entire tragedy of king Laius. Thus this song is closely related to the theme of the play and contributes greatly to the tragic atmosphere. In other words, the attitude of the Chorus towards the heroine is at this time the some as that of Creon. But this is not the point of view of the author himself, because the author undoubtedly believes Antigone to be in the right.

The fourth song of the Chorus describes the power and might of love. This song is an obvious comment on the rift between Creon and Haemon, which has taken place because of Haemon’s love for Antigone. Love is depicted by the Chorus as a kind of madness.

The next song of the Chorus is deeply heartrending and moving. This song heightens the tragic effect of the punishment that has been awarded to Antigone but it also consoles the audience with the thought that Antigone is not the first to suffer a cruel fate. This song could surely be regarded as expressing the dramatist’s own point of view.

The sixth song of the Chorus is an invocation to the god, Dionysus, the patron of Thebes. The Chorus appeals to Dionysus to save Thebes from the pollution afflicting the city. The Chorus had been whole-heartedly supporting Creon in his actions till his eyes were opened by the intervention of Teiresias. There is now a reversal in the attiude of the Chorus towards Creon, and here we may easily see the dramatist’s own point of view being vindicates.

Besides singing songs, the chorus also participates, though only occasionally, in the dialogue and in the action of the play. While all the members of the chorus singing the songs in unison, it is only the Chorus-Leader who takes part in the dialogue. Next, the Chorus-Leader draws our attention to the approaching Ismene, and also describes her wretchedness and misery at Antigone’s arrest. Then comes the scene in which the Chorus-Leader serves as a sympathetic listener to Antigone’s lamentations and as a consoler to her in her sorrow. But the Chorus-Leader also functions as an accuser here by saying that she is the victim of her own self-will.

This entire play runs around the chorus, who gives insight to the characters, these actors provide the audience with knowledge about the human condition, and entertain as well as playing many parts. Without their songs, comments and paeans (a song of triumph the play would have been incomplete.