Abstract
In a book that explores the symbolic and metaphoric power of woundedness, one might well begin with the story of the warrior Philoctetes. Suffering from a grievous and seemingly incurable snakebite injury on the foot, Philoctetes is abandoned on an island by his men to the pain that results “from the warm body flux of the trickling ulcers.” Equipped with “bloody rags,” anesthetizing herbs, and a unique sword he has inherited, Philoctetes is seized with an unexpected spasm of pain, from a wound that constitutes a literary character in its own right—a parasitical life form feeding off its incapacitated and “soul-corroded” host. “Oh! It pierces, it pierces! Ill-fated, O wretched am I … this gory blood trickles for me from the deep [part of the sore], and I expect some new attack. Oh! Alas! Oh, dreadfully! O foot!”1 The abscess of Philoctetes not only festers and explodes unexpectedly, but, in an important aspect of woundedness, so does it leak abhorrent vapors and blood from “a black bleeding vein of the extremity of his foot,” leaving Philoctetes almost postcoitally depleted and oblivious to all else, as the pain recedes and he falls asleep. But as the other characters recognize, there is something heroic about Philoctetes’ endurance in the face of such an onslaught, and one that merits a degree of awe. On the one hand, Philoctetes’ suffering, as Drew Leder has written, tells us that “the world itself is not in harmony,” that the world, like his wounds, is “senseless.
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Notes
Sophocles, Philoctetes, in Four Plays, ed. T.H. Banks (Oxford, 1966), 140 and idem. See also Oscar Mandel, Philoctetes and the Fall of Troy: Documents, Iconography, Interpretations (Lincoln: NE, 1981).
Drew Leder, “Illness and Exile: Sophocles’ Philoctetes,,” Literature and Medicine 9 (1990), 1–11.
See also Roselyne Rey, who writes, “When pain is at its worse, Philoctetes is in a sort of delirious state where he can neither recognize nor communicate with those closest to him.” Roselyn Rey, The History of Pain, trans. Louise Elliott Wallace (Cambridge: MA, 1995).
See, for example, the classic accounts: A. O. Lovejoy, The Great Chain of Being (Cambridge: MA, 1936)
Kevin Sharpe, 40. See also Quentin Skinner, “Meaning and Understanding in the History of Ideas,, History and Theory 8 (1969), 3–53
J. G. A. Pocock, “Verbalizing a Political Act: Towards a Politics of Language,” Political Theory 1 (1973), 27–45
See Ernst Cassirer, Language and Myth (New York, 1946); I. A. Richards, The Philosophy of Rhetoric (Oxford, 1936); Paul Ricoeur; On Metaphor, ed. Sheldon Sacks (Chicago, 1979); Mark Johnson, Philosophical Perspectives on Metaphor (Minneapolis, 1981); idem, The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason (Chicago, 1987); George Lakoff and Mark Johnson, Metaphors We Live By (Chicago, 1980); Samuel R. Levin, Metaphoric Worlds: Conceptions of a Romantic Nature (New Haven, 1988); Weller Embler, Metaphor and Meaning (Deland: FLA, 1966)
See Ronald S. Wallace, Calvin’s Doctrine of the Word and Sacrament (Grand Rapids: MI, 1957), 78–161, 229.
Edward Taylor, “Preparatory Meditations before My Approach to the Lords Supper,” in The Poems of Edward Taylor, ed. Donald E. Stanford (New Haven, 1960), II, 101, 7–8.
Kathleen Blake, “Edward Taylor’s Protestant Poetic: Non-transubstantiating Metaphor,” American Literature 43 (1971), 1–24.
Locke, “Of Human Understanding,” in Philosophical Works, ed. James Augustis St. John (London, 1877), 2: 112.
Quoted from Roy Daniells, “English Baroque and Deliberate Obscurity,” The Journal of Aesthetics and Art Criticism 5 (1946), 118–119
Peter Dear, “Totius in verba: Rhetoric and Authority in Early Royal Society,” Isis 76 (1985), 145–161.
Thomas Browne, Religio Medici, in The Works of Thomas Browne, ed. Simon Wilkin (London, 1852), 2: 433.
Stephen Greenblatt, “Mutilation and Meaning,” in The Body in Parts: Fantasies of Corporality in Early Modern Europe, ed. Carlo Mazzio and David Hillman (London: Routledge), 221–241.
Maurizio Bettini, Portrait of the Lover, trans. Laura Gibbs (Berkeley: CA, 1999), 17.
Samuel Edgerton, Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance (Ithaca: NY, 1985).
Nigel Spivey, Enduring Creation: Art, Pain, and Fortitude (Berkeley: CA, 2001), Spivey, 28.
J. Huizinga, The Waning of the Middle Ages (London, 1955), 200. See also Frederick C. Bauerschmidt, “The Wounds of Christ,” Journal of Literature and Theology 5 (1991), 83–100.
Caroline Bynum, The Resurrection of the Body in Western Christianity, 200-1336 (New York, 1994), 161, 224.
See also Vladimir Gurewich, “Observations on the Iconography of the Wound in Christ’s Side, with Special Reference to its Position,” Journal of the Warburg and Courtauld Institutes 20 (1957), 358–362.
See also Vladimir Gurewich, “Observations on the Iconography of the Wound in Christ’s Side, with Special Reference to its Position,” Journal of the Warburg and Courtauld Institutes 20 (1957), 358–362.
Martin Luther, “A Meditation on Christ’s Passion,” in Luther, Works, ed. Jaroslav Pelikan, Daniel E. Poellot, Walter A. Hansen, et al. (St Louis, 1955–1969), 42: 8–9.
For Calvin on Christ’s wounds, see John Calvin, Commentary on the Gospel According to John, trans. W. Pringle (Grand Rapids: MI, 1979), 2: 265
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© 2009 Sarah Covington
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Covington, S. (2009). Introduction. In: Wounds, Flesh, And Metaphor In Seventeenth-Century England. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230101098_1
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DOI: https://doi.org/10.1057/9780230101098_1
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