Kommos (theatre)
A lyrical lament sung by chorus and character in Greek tragedy.
In ancient Athenian tragedy, a kommos is a shared lament sung by both the chorus and a character on stage. The term comes from the Greek word for "striking," specifically referring to the ritual beating of the head and chest in grief. This musical exchange typically appears at a moment when the play’s emotional intensity peaks—whether in sorrow, horror, or even joy. The kommos is a formal element of tragedy, not comedy. Notable examples include the closing section of Aeschylus’ *The Persians*, where Xerxes mourns his army’s defeat; the shared lament between Creon and the chorus after Eurydice’s death in Sophocles’ *Antigone* (lines 1261–1346); the blinded Oedipus’ interaction with the chorus in *Oedipus Rex*; and the exchange between Orestes, Electra, and the chorus right after Clytemnestra’s murder in Euripides’ *Electra*.
- Field
- Ancient Greek theatre
- Known for
- Lyrical song of lamentation sung by chorus and character together
Lore & Background
The kommos is a formal element of Athenian tragedy, defined as a lyrical song of lamentation performed jointly by the chorus and a dramatic character. The term derives from the Greek κομμός, meaning 'striking,' specifically the beating of the head and breast in mourning. It does not appear in comedies; it is exclusive to tragedy.
Examples of kommoi include the final section (lines 908–1077) of Aeschylus' The Persians (472 BCE), where Xerxes laments the defeat of his Persian army; the shared lament between Creon and the chorus after Eurydice's death in Sophocles' Antigone (c.442 BCE, lines 1261–1346); the interaction between the chorus and Oedipus when he returns having blinded himself in Sophocles' Oedipus Rex (c.429 BCE); and the exchange between Orestes, Electra and the chorus immediately after Clytemnestra's murder in Euripides' Electra (c.410 BCE).
Reader's Guide
The kommos serves as a climactic moment in Athenian tragedy, intensifying the emotional impact of the play by uniting the chorus and a principal character in shared lament. Its function is to heighten the dramatic tension at peaks of grief, horror, or joy, as noted in the source article. The examples provided—from Aeschylus, Sophocles, and Euripides—illustrate its use across different tragedies, showing its versatility in expressing collective mourning or emotional climax. The kommos is distinct from a monody, which is a solo song sung by a dramatic character without the chorus. Its presence in both tragedy and comedy (with variations) underscores its importance as a structural device in ancient Greek theatre. The term's etymology, referring to physical gestures of mourning, reinforces the visceral nature of these performances. Understanding the kommos helps scholars analyze how Greek playwrights orchestrated audience emotion and structured dramatic tension.
Did You Know?
- The word kommos comes from Greek κομμός, meaning 'striking,' especially beating of the head and breast in mourning.
- A kommos occurs when the tension of the play rises to a climax of grief, horror, or joy.
- Examples include the final section of Aeschylus' The Persians and the exchange after Clytemnestra's murder in Euripides' Electra.
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