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The Role of the Greek Chorus in “Vox Humana”
Using Freudian, Jungian and Lacanian Theories
Maria Hamid
This analysis of “Vox Humana” is focused on the concluding part of the story and the role of the Greek chorus. Using psychoanalytic theories from Freud, Jung, and Lacan, this analysis explores themes associated with identity and family relationships, as well as the protagonist Harry Gale’s connection to his surroundings.
Harry’s interactions reveal his inner struggles, the weight of people’s expectations, family issues, and his yearning to be free. The “Greek chorus,” which is how he imagines the disembodied voices of the Koreans he encountered during the war, provides us glimpses into Harry’s unconscious mind, and therefore a deeper understanding of his emotional state. In the end, Harry’s decision to leave his small town reflects his fight to make sense of his past, present, and future, highlighting the fragmented nature of his identity.
Freudian psychoanalytic analysis of the story’s text looks at Harry’s inner conflicts and unconscious desires within the social and familial contexts. Harry sees his neighbors as “ghosts,” which is a way of showing that parts of his past are unresolved. When he says they “dully occupy a space which should be my future,” it hints at repression—holding back painful thoughts or feelings that he is unable to face. Freud’s theory explains that these repressed emotions often show up in indirect ways. In Harry’s case, the neighbors represent his discomfort about coming back to his hometown and dealing with emotions he has avoided. The town itself can be seen as a symbol of Harry’s unconscious mind, filled with these “ghosts” from his past that disturb his present and future. The image of seeds that either stay dormant or rot in the soil reflects Harry’s hidden potential and his fear that it may never grow. This could also align with a Freudian death drive, an unconscious wish for self-destruction or a return to a state of non-being, which is prevalent in Harry’s narrative.
Harry compares the gathering for his welcome-home party to a funeral and connects the food to memories of his parents’ funerals, showing how much he focuses on death as a way of understanding life. This obsession with death might point to the death drive playing a significant role in his mind. When Harry suddenly decides to leave town, asking Beth Ann, a friend from his schooldays, “Would you drive me to Crawford? To the bus terminal?”, it seems like he’s trying to escape from his inner struggles instead of facing them directly. Harry’s sudden request for Beth Ann to drive him to the bus terminal suggests a flight response, which aligns with psychoanalytic theories of avoidance. When people feel their mental well-being is at risk, they often try to escape from those situations. Harry’s choice to leave without directly telling his sister Annette shows his struggle to deal with emotional connections. The stars and celestial images he mentions to Beth Ann imply his desire to rise above or escape the troubles of everyday life.
Furthermore, Harry’s bond with his sister shows hints of Freudian tension. He feels both protective of her and uncertain about his role in her life. When he describes her as a “seed whose brave shoot may yet break into the light,” it shows his hope for her strength but also his hesitation to fully support her. Freud’s idea of the Oedipal complex can apply to family relationships beyond parents, and Harry’s hesitation (“Am I brave enough to let her?”) reveals an inner conflict with feelings of guilt and responsibility.
The villagers’ warm welcome and questions about Harry’s future show the pressure of societal expectations, acting like the superego—a part of the mind that enforces moral and cultural rules. Their repeated questions about what’s he going to do? And will he be staying? highlight the external pressure Harry faces, which clashes with his own wishes. Harry’s “manufactured smile” and polite answers reveal his effort to meet these expectations while hiding his true feelings. The mix of a joyful homecoming with funeral-like imagery (e.g. “this feels like a funeral”) shows the gap between how things look on the outside and how Harry feels inside.
Harry’s attachment to Carl Sandburg’s Chicago Poems represents his redirection towards his unacknowledged desires and anxieties in the form of intellectual or artistic pursuits. The book’s weight against his hip gives him a sense of security in a place where he feels out of place. The poetry in the book reflects emotions Harry can’t express directly, acting as an outlet for his hidden thoughts. Beth Ann’s sudden appearance in the bright flash of the photographer’s camera might represent an ideal or desire Harry has buried deep inside. Her nickname, “Polly,” and the story about the parrot bring up memories of childhood innocence and dreams that were never fulfilled, connecting her to Harry’s hidden longings.
The strange and funny scene with the goat mask and animal imitations introduces Freud’s idea of the uncanny, where something familiar suddenly feels strange. The villagers’ masks mix reality and acting, reflecting Harry’s struggle with being true to himself. His interactions seem fake, adding to the unsettling feeling of the uncanny. However, this humor might also hide a deeper discomfort with his surroundings and himself.
Carl Jung’s idea of archetypes is shown in Harry’s story. The neighbors, called “ghosts” from Harry’s past, represent the “shadow” archetype, which stands for parts of Harry’s mind that he has not dealt with or have pushed away. Their ghost-like nature suggests that Harry is disconnected from his past and finds it hard to bring it into his current self. This struggle stops him from moving forward in becoming a complete person.
The Greek chorus represents the social rules and judgments that Harry has internalized. They repeat the town’s expectations, quietly encouraging Harry to fit in. For instance, when the chorus says that women need men and that Harry is lucky to be there, it shows how traditional gender roles still influence Harry’s world, which he tries to resist but can’t fully escape. Their broken comments (“waves of sound beat the sidewalk a new way”) give a dreamlike feeling, matching psychoanalytic ideas about the unconscious mind. The Chorus is voices in Harry’s mind that both guide and haunt him.
Annette, Harry’s sister, represents the anima archetype, which stands for the feminine side of his mind. Her strength and potential (“a seed whose brave shoot may yet break into the light”) show the caring and changing parts of Harry’s unconscious. However, Harry wonders if he is “brave enough to let her,” which shows his doubt to fully accept and embrace this feminine energy.
Jacques Lacan’s idea of the Symbolic Order, which includes society’s rules and language, is present throughout the text. Harry’s neighbors, the Pastor, and the chorus all represent this order, placing expectations on him: to be the war hero, and the good brother. The repeated question, “Will he be staying?” shows how the community tries to fit Harry into their structure. However, Harry resists, unable to choose between wanting freedom or facing the community’s pressure.
Harry’s attachment to the Chicago Poems book represents the objet petit a, the thing he deeply desires but can never fully have. The book gives him comfort and a sense of stability, but it also shows his inability to express or satisfy his deeper needs. When Beth Ann briefly takes the book, it reveals Harry’s hidden longing for connection, but he quickly pulls away from it.
Harry’s descriptions of his neighbors as “ghosts” and the village as a “new Asphodel” place him in Lacan’s idea of the Real, which is the painful part of experience that can’t be fully explained. The funereal mood, the overly sweet smell of ham loaf, and the fake politeness from others create a feeling of the uncanny, where hidden feelings resurface and disturb Harry’s sense of reality.
Harry’s interactions with others, especially Annette and Beth Ann, show that his sense of self is still not complete. According to Lacan’s mirror stage, a stable self-image is formed by how others see us, but Harry’s view of himself is broken. This is clear in his struggle to connect his past, present, and possible futures. His escape to the city of Crawford is a way for him to avoid facing these inner conflicts by moving into a space where he doesn’t have to deal with them.
In sum, Harry’s journey is mainly about avoidance. He turns away from the pressures of society and the chance to understand himself better. His choice to leave without facing Annette or his community shows that he is avoiding both becoming whole and dealing with his deeper, unconscious desires.
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Maria Hamid is a final-year BS English student at NUML. Her paper, “The Role of the Greek Chorus in ‘Vox Humana’ Using Freudian, Jungian, and Lacanian Theories,” offers a unique perspective on the function of the Greek chorus in the story. By applying the theories of Sigmund Freud, Carl Jung, and Jacques Lacan, she examines how the chorus serves as a collective unconscious, a mirror of repressed desires, and an identity within the text “Vox Humana.” Her analysis contributes to a deeper understanding of the chorus’ psychological and symbolic role in theatrical discourse. A lifelong lover of books and academia, Maria Hamid is deeply passionate about uncovering new meanings in literature and fostering intellectual exploration.
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