Who speaks? Who listens?: The problem of address in two Nigerian trauma novels

A Novak - Studies in the Novel, 2008 - JSTOR
A Novak
Studies in the Novel, 2008JSTOR
Its hero, Tancred, unwittingly kills his beloved Clorinda in a duel while she is disguised in
the armour of an enemy knight. After her burial he makes his way into a strange magic forest
which strikes the Crusaders' army with terror. He slashes with his sword at a tall tree; but
blood streams from the cut and the voice of Clorinda, whose soul is imprisoned in the tree, is
heard complaining that he has wounded his beloved once again. Sigmund Freud, Beyond
the Pleasure Principle In Beyond the Pleasure Principle, Sigmund Freud refers to this …
Its hero, Tancred, unwittingly kills his beloved Clorinda in a duel while she is disguised in the armour of an enemy knight. After her burial he makes his way into a strange magic forest which strikes the Crusaders' army with terror. He slashes with his sword at a tall tree; but blood streams from the cut and the voice of Clorinda, whose soul is imprisoned in the tree, is heard complaining that he has wounded his beloved once again. Sigmund Freud, Beyond the Pleasure Principle
In Beyond the Pleasure Principle, Sigmund Freud refers to this moment in Tasso's Jerusalem Delivered as an example of the unconscious repetition of trauma. Tancred's unknowing killing of his beloved not just once, but twice, illustrates for Freud a passive compulsion to repeat that makes up part of the dynamics of trauma (16). In Unclaimed Experience, Cathy Caruth expands upon Freud's reading of this moment by drawing attention" to a voice that is paradoxically released through the wound'(2-3). Doing so, she reads this scene as an illustration of the latency of trauma and the ethical address delivered through this belated knowing:" The figure of Tancred addressed by the speaking wound constitutes, in other words, not only a parable of trauma and of its uncanny repetition but, more generally, a parable of psychoanalytic theory itself as it listens to a voice that it cannot fully know but to which it nonetheless bears witness"(9).
JSTOR