We may, therefore, justly object to such odes being called in any sense irrelevant.
To sum up the results of our examination, we find that, out of nearly ninety choral chants[1] in the eighteen extant tragedies of Euripides, more than seventy are closely relevant to the dramatic context: five dwell mainly on the events which have led up to the present situation, or which will result from it: eight point to remoter causes or parallels: and three can be shown to be relevant to some dominant idea, or leit-motif, of the play.
Now, in every such instance of divergence from strict conformity to general precedent, the reader will find that there is an artistic reason for it. It would take too long to show this in detail, nor should it be necessary: but, speaking generally, we shall find it attributable to (1) the relation of the chorus to the actors, or (2) the nature of the immediate situation.
1. The personality of the chorus. In the Phœnician Maidens, the Iphigeneia at Aulis, and the Andromachê, the chorus is so constituted, that its members, though profoundly impressed by the events passing before them, are but slightly interested in the personages of the drama, who are comparative strangers to them. Hence they are inclined to dwell upon what does concern themselves as much as the actors, the workings of fate, the fulfilment of the Gods' doom, the far issues involved: only in the climax of the tragedy is their attention arrested, as it were in spite of themselves, by actual present developments. But, it may be objected, is not this very thing to be regarded as an artistic fault in Euripides? Not if we bear in mind the true function of the
- ↑ This enumeration includes, to avoid confusing the English reader, the parodoi, or processional chants with which the chorus enters the theatre, which are always relevant to the situation, generally commencing with an explanation of their presence there.
