The chorus in the play The Love of The Nightingale

The chorus is spokesman of the society, it reflects the voice of the people. In the play The Love of The Nightingale, the male choruses, function as a recorder although they know what is going to happen. In the scene six the male chorus directly states their passivity and functioning as recorders. Firstly, the reason why the male choruses keep their silence is, the one who commits many sins is the ultimate power of the country: The King, Tereus. It is a male dominated society and also the king is the representative of the God on earth. He is a role model, the father of the country and society in a way. You cannot easily judge or object the father or the God. He always has reasons on the decision and actions which he takes place. We can prove this thought by examining the scene ten. There are two solider complaining about camping a desolate beach for days in the scene ten. Hesitantly they question this waiting without any explanations but Tereus does not give any proper answer. After insisting of the soldiers' for an above-board respond, he puts forth his superiority over them by saying "I know better! ". He assumes god-like omnipotence and omniscience clearly. They are just like puppets of him, nothing more. In the scene eight, the male chorus talks about the meaning of a myth. They briefly define that the indirectly told unwanted truth. This conversation can be searching for a help from the readers. There is a disturbing act which is continuing from past to present. We understand the wrong but do not have the power to change it. What should be done to recover this illness? The female chorus's issue is much more complicated than the male chorus. The difference between two choruses is there are five characters which their past is full with the unfortunate stories with specific names. Their similarities are which, they are all females lost their right to speak at their own will just like Philomela and Procne in some ways. According to Psychologist Lacan, creating an identity process begins with the first meeting your reflection on the mirror as a baby. The girls imitate their mother who is feminine by means of semiotic; inexpressible while growing up. The mother is a female, not a male namely; she is lack of penis and have a hole. Because of this emptiness she sees herself as secondary being and these thoughts keep on while growing older in the moments when she faces with the gender discrimination. That is the exact trauma which every female come across. In the scene nine, they are generally talking about the difficulty in expressing themselves. The language, the word is a major tool for expressing yourself. In the male oriented society, the word is belonging to the men. Females are anti-logocentric; they cannot articulate themselves. The female is invisible in the society because she is silenced and do not be given any right to speak. Even if they speak out, People, specially the males, give the same reaction which they do to Cassandra. If the word is belonging to the men how do the females express themselves? They know the impending danger just like the male chorus and also the Queen, but they cannot put into words these dangers. They have to stay silent on the immoral acts of Tereus. Principally in the Ancient Greek plays, the way for female to speak and tell their story is weaving. According to Roland Barthes, the text is a web of meaning, a woven fabric. They weave the web. That is the only way for them to call out. In the Wertenbaker's play, after losing her tongue Philomela finds another semiotic way to reenact her trauma as a female: the dancing. However, female choruses do not have a chance similar to her.