stage is empty and the Choral Odes begin, we have no longer the particular acts and places and persons but something universal and eternal. The body, as it were, is gone and the essence remains. We have the greatness of love, the vanity of revenge, the law of eternal retribution, or perhaps the eternal doubt whether in any sense the world is governed by righteousness.
Thus the talk about improbability with which we started falls into its proper insignificance. The Chorus in Euripides is frequently blamed by modern scholars on the ground that "it does not further the action," that its presence is "improbable," or its odes "irrelevant." The answer is that none of these things constitute the business of the Chorus; its business is something considerably higher and more important.
Of action and relevancy we will speak later. They are both closely connected with the question of verisimilitude. And as for verisimilitude, we simply do not think of it. We are not imitating the outside of life. We are expressing its soul, not depicting its body. And if we did attempt verisimilitude we should find that in a Chorus it is simply unattainable. In Nelson's case a Chorus of Sailors would
