Old Paper (Slightly) Revised!

*Ok, so this is a paper partial--it's not the whole thing, but is three consecutive paragraphs.

In the play Doctor Faustus, the chorus plays a couple parts, 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). An example of the chorus being used as a storyteller is 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). This storytelling helps to transition the play without breaking flow; it also helps the story progress without having to act everything out. An example of a warning or moral against the actions the main character took is 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 given is against [APPOSITIVE] practicing necromancy: a heaven forbidden art. Doctor Faustus is an example of storytelling and of how a chorus can serve as a way to deliver a moral or warning to the audience.

            Two other roles the chorus can play, such as in the play The Spanish Tragedy, are the parts of a foreshadower or as a connection to [APPOSITIVE] the audience—the bill payers. The chorus in The Spanish Tragedy is different from other plays because the chorus 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 in the chorus seems to be one of concern for the lack of revenge and as a questioner, which provides a connection 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 helps the audience to relate, since they too are probably wondering why Revenge has not acted. The chorus also foreshadows events through the character Revenge, who also seems to work to capture the attention of the audience by allaying 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 chorus can play the role of a foreshadower and a way to relate to the audience, and The Spanish Tragedy is a good example of this.

            Using the aforementioned examples of the role of the chorus, the chorus seems to help the action in the play. The role of the chorus as an actor in the play helps the plays action move along, such as its role in Oedipus. The chorus’ role in Doctor Faustus also helped to move the play along, it allowed for scenes that would have been unnecessary or cumbersome to be left out by simply describing what happened or was happening. The chorus helped to lay the groundwork for upcoming scenes by providing necessary background for the scene.  It also provided a summary of the morals to take from the play, thereby giving the play a [APPOSITIVE] little more meaning: a purpose. Lastly, its role as a foreshadower and as a way to connect the audience is demonstrated in The Spanish Tragedy.  Andrea, [ADJECTIVES OUT OF ORDER] concerned and questioning, helps to connect the audience with the play, since the audience would be feeling similar emotions. While Revenge, [PRESENT PARTICIPLE] appearing indifferent and unconcerned, provides assurances in a way that would most likely draw the audience deeper into the play. Revenge’s answers would be as if directed to the audience, and it would leave them with expectancy for the promised revenge.