Abstract

This dissertation defines a theory of consciousness and its development, exemplified by a process observable in tragic literature. A brief look at historical and religious manifestations gives the theory a sufficiently broad background to approach the tragic works of literature considered as expressions of a universal experience. ;The process is introduced by an ontological analysis of its development. There are three fundamental stages: a pre-self-conscious, or unconscious, state in which consciousness is centered in the cosmos rather than in the individual self; oneness; self-consciousness, or isolation of the ego through consciousness of itself and of its consequently objectified "other," which creates a self-destructive need to consume the "other" in the attempt to regain oneness; the attainment of a oneness which centers the cosmos in the self-conscious self, not through the success of the ego in its striving for oneness, but through its failure or self-destruction. ;Most tragic literature is occupied with the second state; in religion, this is characterized by the fall. The first state, innocence, is implied or is referred to in the relative terms of peace or happiness preceding whatever events compose the tragedy. The third state is usually represented by the death of the hero, although in Greek tragedy there is often a development of this state beyond the death of the ego. ;"Tragedy" is a designation usually reserved for the dramatic form, with the possible exceptions of Blake's poems and Dostoevski's novels; since one of the purposes of this dissertation is to broaden the conception of tragedy to that of a process which involves all conscious experience, these works have been included. ;Following the theoretical introduction, chapters are devoted to specific works of literature, and the process of consciousness as it unfolds in each of them: The Oresteian Trilogy by Aeschylus, Oedipus the King by Sophocles, Hamlet by Shakespeare, The Four Zoas by Blake, and The Possessed by Dostoevski. Other art-forms, musical and plastic, also participate in the form of tragedy; this dissertation does not attempt, however, to reduce them to the tragic process or confine their meaning to the ontology developed. This ontology is too dependent upon phenomena to have a rigid structure. It is expanded and changed with circumstances, so as to be useful as a guideline for understanding, rather than as a rule. For this reason, the quality of a literary work cannot be judged by it, nor can works be excluded from the province of tragedy by its use. Its inclusiveness is stressed. ;The concept of the tragic hero symbolizes the process. Historically, it is derived from the religious idea of the divine Son or human incarnation of God that pervades the mythology of many ancient cultures and is recorded in religious writings such as the New Testament and corresponds to enormous changes in Greek, Hebrew, Chinese, and other civilizations. Worship of the divine Son marked a transition from the first stage of consciousness, centered in the one to the second stage or worship of the ego by the ego. At the time of this transition, the ancient style of religion gradually assumed less importance as it was superseded by philosophy and literature, where the divine Son is still worshipped today in the form of the hero. ;The works of literature discussed in this dissertation were chosen in part to illustrate the divergent ways in which the ego individual self as cosmos, and as ego, have been perceived, and the ways in which the ego has sought to make itself God