Abstract
This article examines Thomas May’s Antigone (c. 1631), a play deeply engaged in making sense of somatomancy (body divination) in the context of violence and tragedy, in demonstrating the paradoxical vitality of the prophetic corpse (which occupies an indeterminate position between life and death, between being an active prophetic agent and a passive prophetic instrument), and in puzzling out the role of the mutilated body in producing tragic knowledge. In its reworking of Sophocles, Lucan, and other tragic source material, May’s tragedy brings to light a crucial triadic relationship between the violated body, knowledge, and tragic form, showing how the body – because of the violence to which it is submitted, and via the privileged knowledge it produces – propels tragic action.
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Notes
Both examples are among those listed by Herr Trippa in Rabelais’ Tiers-Livre (1997, 269).
On the divining rod and debates about its agency, see Agricola (1556, 39–42).
On Lucan’s necromancy episode, see Santangelo (2015) and his bibliography on 182, n. 21.
In the Latin, the inward parts [‘medullas’] are being washed of gore, not infused with it (Lucan, 1928, 6.667–9).
All citations of May’s Antigone refer to May (1631) and signature number.
On the early modern body in parts, see Hillman and Mazzio (1997). The prophetic body is in almost all cases a body in parts, since most somatomantic practices focus upon a specific member of the body.
Antigone herself will occupy a similarly liminal position when buried alive.
See, inter alia, Thumiger (2013).
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Usher, P.M. ‘The carcasse speakes’: Vital corpses and prophetic remains in Thomas May’s Antigone. Postmedieval 10, 82–94 (2019). https://doi.org/10.1057/s41280-018-0114-2
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DOI: https://doi.org/10.1057/s41280-018-0114-2