Laurel Bowman

In lieu of an abstract, here is a brief excerpt of the content:Prophecy and Authority in the TrachiniaiLaurel Bowman(Tr. 1278)When deianeira goes silently offstage to her death at line 812 of Trachiniai, she removes herself from her husband's story. Her mistake was in thinking it was hers. Despite her emotionally riveting presence at center stage for well over half the play, her focus (and thus that of her audience) is always on Herakles, absent or present. Her only concern, throughout the play, is Herakles' whereabouts, his welfare, and his relationship to her. But the prediction1 which Deianeira thinks she understands, and on which she acts so fatally, concerns his fate and not her own. Even though the prophecies concerning Herakles depend on Deianeira's actions for their resolution, none mention her; their focus is the end of Herakles' labors, and once she has performed her function in their fulfillment her further actions are irrelevant. Her death, like Klytemnestra's in Sophocles' Elektra, is not significant enough to warrant a prophecy of its own. The prophecies of Trachiniai concern only the fates of males.2 [End Page 335]My focus in this essay is the use of predictive speech in Trachiniai. I will show that the speech of Nessos to Deianeira functions as a parallel to the prophecies in the play. A prediction is authorized as a "prophecy" by the same social mechanism which defines a child as "legitimate." Relying on an unauthorized prediction is thus, in Trachiniai, represented as analogous to stepping outside authorized marital bonds. Deianeira's attempt at independent action, in that it relies on the speech of Nessos, is equivalent to infidelity and is therefore destructive, a definition which is strengthened by the description of her behavior as destructive in specifically feminine ways. The final prophecy of the play negates Deianeira's role in previous events. Prophecy in Trachiniai is thus used both to define independent action in women as destructive, and ultimately, to exclude them from it.There are two sources of predictive speech in the play, but only one, Zeus, is said to produce "prophecy" (, 77, 1165). The predictive speech of the other, Nessos, is simply called instructions, or laws (, 568–69;, 682). are a particular kind of predictive speech–act; the term is used in Sophocles and elsewhere to refer specifically to those predictions which come from a source with the appropriate authority for making. In Homer the term is used once (Od. 12.272), of a prophecy made by Tiresias, who is elsewhere (e.g., OT 410) described as inspired by Apollo. In Herodotus and Thucydides only responses from oracular shrines (usually Delphi) are termed (e.g., Hdt. 1.46–1.53, 1.91; Thuc. 1.25, 1.28, and elsewhere). In the tragedians are likewise either responses from oracular shrines (e.g., Aesch. Eum. 716, Eur. Hipp. 236, IT 1255), or, more rarely, speeches of seers inspired by Apollo (Aesch. Ag. 1215, of Kassandra). Sophocles outside the Trachiniai follows the same usage: are most frequently responses from an oracular shrine, usually Delphi (e.g., OT 21, 149, 407, 481, 857; OC 453), or, more rarely, are predictive speeches of an Apollo–inspired seer (OT 394, of Tiresias). To be [End Page 336] termed, in short, it is not enough that predictive speeches come true; they must also have a divine or explicitly divinely inspired source. Just as a child is defined as "legitimate" by reason of his relationship to a father who is authorized3 to produce legitimate children, and who acknowledges the children as his, so predictive speeches become through their relationship to an authorized and acknowledging source. are predictive speeches to which a constructed legitimacy has been attached.Zeus is constructed in the Trachiniai as an authorized source of legitimate predictions,. He occupies the position at the pinnacle of the hierarchical structure in the play, both as ruler of the gods and as Herakles' father. As ruler of the gods in general, and more specifically as the god most nearly concerned with the events represented in Trachiniai, he is called upon more often than any other divinity in the play.4 Zeus is called "father of all" (, 275). He is the god most often invoked in prayer...