The Use of Chorus in The Plays by Aeschylus

In Aeschylus's Oresteia trilogy, the chorus serves as a multifaceted narrative tool, adapting its role to the evolving themes and conflicts within the plays. This essay explores the transformation of the chorus from a traditional commentator to an active participant in the story, examining its functions in "Agamemnon," "The Libation Bearers," and "The Eumenides." Throughout the trilogy, the chorus not only comments on the action but also contributes significantly to character development, thematic exploration, and the shifting moral landscape.

Agamemnon

In the first play, the chorus comprises Argive elders who provide essential background information and represent the sentiments of Greek society. They inform the audience about the sacrifice of Iphigenia, casting a critical light on Agamemnon's cold-heartedness and foreshadowing Clytaemestra's vengeful motives. The chorus also hints at impending trouble at home, creating an atmosphere of unease. However, they remain passive during crucial moments, failing to prevent Agamemnon's murder. This passivity mirrors the moral ambivalence prevalent in society, torn between condemning and justifying Clytaemestra's actions.

To expand upon their role in "Agamemnon," it is essential to delve deeper into their societal significance. The chorus represents not just a group of individuals but also the collective conscience of Argos. Their initial portrayal as passive bystanders symbolizes the moral paralysis that often grips societies in the face of difficult decisions. By exploring their internal conflicts and ethical dilemmas, we gain a better understanding of the broader societal tensions present in ancient Greece.

Furthermore, their characterization as Argive elders carries cultural weight. These elders embody the wisdom of age and experience, yet they grapple with their inability to intervene effectively. This tension between wisdom and powerlessness is a rich theme to explore, shedding light on the complex relationship between knowledge and action within Greek society.

The Libation Bearers

In the second play, the chorus, consisting of foreign serving-women, becomes more active and influential. They offer guidance to Electra and Orestes, advising Electra to pray for vengeance against Clytaemestra and Aegisthus. Orestes, driven by the chorus's encouragement, takes action against his father's murderers. They also play a pivotal role in the murder of Aegisthus, manipulating events to Orestes' advantage. In addition to advancing the plot, the chorus continues to represent the theme of justice, justifying Orestes' actions as retribution for Agamemnon's murder. Their vulnerability underscores the limitations placed on women in ancient Greek society, highlighting their dependence on male figures.

To expand on their role in "The Libation Bearers," it's crucial to delve into the dynamics between the chorus and Electra. The chorus's advice to Electra to pray for vengeance carries profound implications. It underscores the notion that vengeance is not only a moral imperative but also a societal expectation in this context. By exploring Electra's internal struggle as she navigates her duty to her family and the chorus's expectations, a more profound understanding of the character's complexity and the chorus's role in shaping her decisions can be achieved.

Moreover, the chorus's active participation in facilitating Orestes' vengeance demonstrates their agency in driving the plot forward. Their guidance isn't limited to mere commentary; they actively contribute to the unfolding of the story's central conflict. This shift from passive observers in "Agamemnon" to active influencers in "The Libation Bearers" signifies a significant evolution in their role.

The Eumenides

In the final play, the chorus undergoes a radical transformation as the Furies. They take on an active and relentless role, motivated by ancient laws that demand vengeance for kin. The Furies' pursuit of Orestes is driven by their duty to uphold this traditional concept of justice. They vehemently oppose the new system of trial and embody the clash between old and new values. When Athene persuades them to embrace a more harmonious approach, symbolizing the reconciliation of past and present, it reflects society's need for balance between traditional and contemporary justice.

Expanding upon their role in "The Eumenides" involves a deeper exploration of the themes of justice and change. The Furies represent the relentless and unyielding nature of ancient Greek concepts of justice, rooted in the blood feud. Their pursuit of Orestes despite his acquittal by Athenian trial mirrors the tension between the old ways of seeking vengeance and the emerging systems of law and order. By examining the chorus's internal struggles as they grapple with this paradigm shift, the essay can provide a more comprehensive analysis of their role in this play.

Additionally, the reconciliation of the Furies with the new order under Athene's persuasion represents not only the resolution of the play but also a profound commentary on societal transformation. This resolution could be explored in more detail to shed light on the broader implications of the chorus's evolution throughout the trilogy.

Conclusion

In conclusion, Aeschylus employs the chorus in the Oresteia trilogy as a dynamic narrative device, adapting its role to serve the evolving themes and conflicts within each play. The chorus's transformation from commentator to active participant underscores the changing moral landscape of ancient Greece, reflecting society's struggle to reconcile traditional values with emerging systems of justice. Through its multifaceted role, the chorus enriches the depth and complexity of the trilogy, providing a lens through which to examine the intricate interplay of ethics, vengeance, and societal transformation.