Chaos, a vision of eternity/Introduction
INTRODUCTION
A FEW words as to the form in which this work is presented, would seem to be appropriate. Though in the nature of an epic in conception and scope, its movement is inherently dramatic. Its theme is the creation, the culmination and disintegration of the material universe. The primitive simplicity of the plot and the vastness of its range seemed to call for a revival of the simpler methods of the ancient Greek drama. For this reason, the chorus has been introduced as it existed prior to the time of Æschylus. Thus the skeptic narrates his experience and the chorus makes appropriate observations from time to time expressive of the feelings which the stage pictures presented might arouse in an intelligent audience.
According to Eschenburg, "the chorus is charged with the exposition of the fable" (plot), "it praised the Gods and justified them against the complaints of the suffering and unhappy; it sought to soothe the excited passions and to impart lessons of wisdom and experience, and in general to suggest useful practical reflections." The chorus is a convenient medium by which to express the author's opinions. As Professor Gilbert Murray says, in the introduction to his translation of Euripides (p. lviii, Vol. III, The Athenian Drama), the chorus "is a method wonderfully contrived for expressing those vaguer faiths and aspirations which a man feels haunting him, and calling to him, but which he cannot state in plain language or uphold with a full acceptance of responsibility."
In the performance of a modern drama, in which so much depends upon the scenery and action, there is no need for a chorus; but in the following poem it will be obvious that the expedient of resorting to the chorus is required by the nature of the drama and of the observations which could not properly come from its sole actor. Under the law of the Grecian drama, the chorus was not permitted to leave the orchestra throughout the course of the drama. This called forth the following caustic comment from Sir Walter Scott, in his essay on the Drama: "when a deed of violence was to be acted, the helpless chorus, instead of interfering to prevent the atrocity, to which the perpetrator had made them privy, could only, by the rules of the theater, exhaust their sorrow and surprise in dithyrambics."
Scott was not the first to find fault with the chorus. Aristophanes puts into the mouth of Euripides the following comment upon the chorus of Æschylus and Phrynichus:
Through long song-systems, four on end,
the actors mute as fishes."
The chorus was retained in the early English drama; but was used chiefly for the declamation of the Prologue or Epilogue. In Milton's Samson Agonistes, the chorus participates in the dialogue. It announces the entrance of the actors and fulfils all of the functions of the early Greek drama.
In answer to the possible objection that the want of action might militate against the use of the dramatic form in the following poem, it may be observed that the Persians of Æschylus is practically a narrative. Attossa asks for news of Xerxes. The messenger complies, describing the Battle of Salamis. The chorus intervenes with running comment. The ghost of Darius is introduced; pats himself on the back, and condemns Xerxes. The latter enters and bemoans his fate. The chorus concludes with Strophe and Anti-Strophe and the drama closes with a procession in which actors and chorus march out wailing and rending their robes. Not a change in scene; not a single action.