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The Defiance of Augury : = The Hero and Prophet in Sophoclean and Shakespearean Tragedy.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Defiance of Augury :/
其他題名:	The Hero and Prophet in Sophoclean and Shakespearean Tragedy.
作者:	Bushnell, Rebecca Weld.
面頁冊數:	1 online resource (319 pages)
附註:	Source: Dissertations Abstracts International, Volume: 44-07, Section: A.
Contained By:	Dissertations Abstracts International44-07A.
標題:	Comparative literature. -
電子資源:	click for full text (PQDT)
ISBN:	9798644988884

The Defiance of Augury : = The Hero and Prophet in Sophoclean and Shakespearean Tragedy.
Bushnell, Rebecca Weld.

The Defiance of Augury :The Hero and Prophet in Sophoclean and Shakespearean Tragedy. - 1 online resource (319 pages)

Source: Dissertations Abstracts International, Volume: 44-07, Section: A.

Thesis (Ph.D.)--Princeton University, 1983.

Includes bibliographical references

In tragedy, "fate" is the tragic plot, determined by myth or history; so fate seems external and compelling only when a character resists the mythic or historical "facts." This defiance of predefinition surfaces in the hero's "defiance of augury"--the rejection of omen or oracle, the sign of the tragic plot. The scene of the defiance of augury is embedded in a tragedy's ethical and thematic structure, representing contemporary concern with human responsibility, secular and religious authority, and the power of language. Tragic prophecy is an authoritative and "written" language, which the hero contradicts, identifying his freedom with his free speech. The defiance of augury thus reflects Athenian and Elizabethan political concern with tyranny and the struggle for power through control of discourse. The Iliad provides the first example of the defiance of augury in Hector's rejection of Poulydamas' prophecy in Book 12, where Hector pronounces a new ethical and secular sign of the future. Hector does eventually acknowledge prophecy's fulfillment, but he also discovers his own prophetic voice. In his Theban plays, Sophocles develops this model in a political context. In Antigone, the tyrant Creon abuses Tiresias, but would himself assume fate's power; thus, Antigone, in defying the king, imitates Hector's heroism. In Oedipus the King, Oedipus tries to discredit prophecy with his own story of Laius' murder; here the Oracle's authority is affirmed, but Oedipus gains a personal freedom in his speech. Only in Oedipus at Colonus does Oedipus collaborate with Apollo and find his own prophetic voice to speak of Athens' and Thebes' future. In a time when all prophecy was suspect, Shakespeare reinvented the defiance of augury. Julius Caesar, like Antigone, explores the political uses of the defiance of augury, and shows Brutus, like Hector, trying to remake the world according to his own moral vision. In Macbeth, as in Oedipus the King, Shakespeare investigates the morality of oracular truth, as the tyrant Macbeth becomes an oracular creature, free only when he speaks the Witches' contradiction. Finally, Hamlet, like old Oedipus, seeking a way to construe the ghost's "prophecy," recognizes a greater authority as he finds his own voice.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798644988884Subjects--Topical Terms:

835159
Comparative literature.
Index Terms--Genre/Form:

554714
Electronic books.

The Defiance of Augury : = The Hero and Prophet in Sophoclean and Shakespearean Tragedy.
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520 $a In tragedy, "fate" is the tragic plot, determined by myth or history; so fate seems external and compelling only when a character resists the mythic or historical "facts." This defiance of predefinition surfaces in the hero's "defiance of augury"--the rejection of omen or oracle, the sign of the tragic plot. The scene of the defiance of augury is embedded in a tragedy's ethical and thematic structure, representing contemporary concern with human responsibility, secular and religious authority, and the power of language. Tragic prophecy is an authoritative and "written" language, which the hero contradicts, identifying his freedom with his free speech. The defiance of augury thus reflects Athenian and Elizabethan political concern with tyranny and the struggle for power through control of discourse. The Iliad provides the first example of the defiance of augury in Hector's rejection of Poulydamas' prophecy in Book 12, where Hector pronounces a new ethical and secular sign of the future. Hector does eventually acknowledge prophecy's fulfillment, but he also discovers his own prophetic voice. In his Theban plays, Sophocles develops this model in a political context. In Antigone, the tyrant Creon abuses Tiresias, but would himself assume fate's power; thus, Antigone, in defying the king, imitates Hector's heroism. In Oedipus the King, Oedipus tries to discredit prophecy with his own story of Laius' murder; here the Oracle's authority is affirmed, but Oedipus gains a personal freedom in his speech. Only in Oedipus at Colonus does Oedipus collaborate with Apollo and find his own prophetic voice to speak of Athens' and Thebes' future. In a time when all prophecy was suspect, Shakespeare reinvented the defiance of augury. Julius Caesar, like Antigone, explores the political uses of the defiance of augury, and shows Brutus, like Hector, trying to remake the world according to his own moral vision. In Macbeth, as in Oedipus the King, Shakespeare investigates the morality of oracular truth, as the tyrant Macbeth becomes an oracular creature, free only when he speaks the Witches' contradiction. Finally, Hamlet, like old Oedipus, seeking a way to construe the ghost's "prophecy," recognizes a greater authority as he finds his own voice.
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