Old Paper revised (again): verbed.

The chorus plays several parts in the Doctor Faustus. It serves as a story teller—or way to fill in blanks, transition, and give background—and as a warning against following in the character’s footsteps (i.e. the moral of the play). The storytelling role of the chorus occurs in act 4, “when Faustus had with pleasure ta’en the view / of rarest things and royal courts of kings, / he stayed his course and so returned home” (Marlowe 4.1-3). The storytelling transitions the play without breaking flow; it also progresses the story without acting each part out, which would take time. The warning role of the chorus against the actions the main character takes can be seen in the epilogue, “Faustus is gone. Regard his hellish fall, / whose fiendful fortune may exhort the wise only to wonder at unlawful things” (Marlowe Epi.4-6); the warning is against [APPOSITIVE] practicing necromancy (a heaven forbidden art). The storytelling role of the chorus in Doctor Faustus serves to deliver a moral or warning to the audience.

            Foreshadowing and connection to [APPOSITIVE] the audience—the bill payers—are two roles the chorus plays in The  Spanish Tragedy. Different from other plays, the chorus in The Spanish Tragedy consists of [APPOSITIVE] two actors, Don Andrea and Revenge, rather than a group of people. [PAST PARTICIPLE] Angered by his death, Don Andrea’s part is one of concern over the lack of revenge and as a questioner, which connects with the audience’s own concern for the same thing. An example of such concern is when Andrea says, “Awake, Revenge, for thou art ill-advised / to sleep away what thou art warned to watch” (Kyd 3.15.10-11); this creates a connection to the audience, since they are probably wondering why Revenge has not acted. The chorus foreshadows events through the character Revenge, who captures the attention of the audience by allaying their concern. An example of this foreshadowing—a promise of revenge—is when Revenge says, in response to Andrea’s earlier concern, “Content thyself, Andrea. Though I sleep, / Yet is my mood soliciting their souls.” (Kyd 3.15.19-20).

The Spanish Tragedy uses the chorus as a foreshadower and connection to the audience.

            The chorus aids in the action of the play. The chorus’ role as actor moves the action forward, such as its role in Oedipus. The chorus’ role in Doctor Faustus helps move the play along by allowing unnecessary or cumbersome scenes to be left out by simply describing the action. The chorus lays the groundwork for upcoming scenes by providing necessary background.  It also provides a summary of the morals, thereby giving the play a [APPOSITIVE] little more meaning: a purpose. Lastly, its role as foreshadower and link to the audience is demonstrated in The Spanish Tragedy.  Andrea, [ADJECTIVES OUT OF ORDER] concerned and questioning, connects the audience with the play, since the audience feels similar emotions as him. While Revenge, [PRESENT PARTICIPLE] appearing indifferent and unconcerned, provides assurances in a way that would draw the audience deeper into the action of the play. Revenge’s answers would be as if directed to the audience, and it would leave them with expectancy for the promised revenge.