In Aeschylus' Oresteia, the chorus of Agamemnon and Cassandra share several common features. The chorus, a large group composed of various elders, would function, as individuals, as supporting characters. Cumulatively, these individuals create a main character who offers additional information and commentary to Agamemnon's normal dialogue. Cassandra also plays a supporting role, making her entrance near the end of the play, shouting her final prophecy, and ultimately meeting her end at the hands of Clytemnestra according to it. Additionally, Cassandra provides the audience with additional information that could not be obtained from common dialogue. These entities function differently to expand the audience's overall peripheral vision of the piece. Cassandra and the chorus oppose each other in the temporal reference, in the acceptance of their individual destiny and in the dialogical content. Together, these oppositions offer the audience a brilliant panoramic representation of the play. Say no to plagiarism. Get a Custom Essay on “Why Violent Video Games Should Not Be Banned”?Get an Original EssayThe logical progression of thoughts in the chorus stanzas and in the prophetic singing of Cassandra opposes and teases the audience with dramatic irony , serving to illuminate the helplessness of mortals and emphasize their dependence and submission to the gods. Agamemnon's choral songs all begin with an air of certainty and gradually progress to an air of uncertainty. (Meineck, xxxvii) In the choral song preceding the coming of the herald, for example, the chorus begins with the recognition that Zeus has "stretched [his] bow against Paris, [his] arrow never failed, nor stole, wasted , beyond the stars” (365). This is a confident and positive statement, that Paris and the Trojans received from Zeus what they deserved for taking Helen. Only forty verses later, the tone of the choral song takes a turn towards the bitter and uncertain idea that the Trojans were not the only ones suffering, that Helen “[took] with her a dowry of destruction” (407). among the Greeks. Also. This ambiguous conception of Zeus' idea of ​​justice generates a feeling of uncertainty. The members of the chorus wonder why Zeus punished them so bitterly alongside the Trojans and sense that “there is something hidden in the darkness” (460). This movement from confidence and celebration to uncertainty and despair contradicts the movement of Cassandra's prophetic speech. song. Upon arriving at Atreus's Cursed House, she is filled with a feeling of confusion and uncertainty, crying out, "Where have you brought me?" Which house is this? (1087). Little by little, her combined gift and curse of prophecy bring the future together in her mind, until she comes to the conclusion that "the double-edged sword awaits her" (1149). Although the initial shock of this fate drives her into a rage, she ultimately reaches a state of confidence, accepting her fate solemnly and with grace. Cassandra decides that she “[does] not pity herself, [she] [pity] humanity” (1330). Thus, Cassandra and the chorus ride opposing movements between certainty and uncertainty. This dialogue between the chorus and Cassandra deepens the contrast between the two, as the chorus acts as a foil to demonstrate Cassandra's most unfortunate curse: the chorus finds her prophecy "difficult to understand" (1254–55). The stage is set for the ultimate dramatic irony; the audience understands what Cassandra is prophesying, but the chorus cannot. This dramatic irony accentuates the helplessness of humanity, represented by the chorus, and Apollo's curse on Cassandra shows the influence and absolute power.