Although rhetoric can be defined as something politicians often accuse each other of, the political dimensions of the scholarly study of rhetoric have gone largely unexplored by literary critics. What, indeed, could seem more dry and apolitical than a rhetorical treatise? What could seem farther away from budgets and guerrilla warfare than a discussion of anaphora, antithesis, prolepsis, and preterition? Yet the notorious CIA manual'on psychological operations in guerrilla warfare ends with just such a rhetorical treatise: an appendix on techniques of oratory which lists definitions and examples for these and many other rhetorical figures. The manual is designed to set up a Machiavellian campaign of propaganda, indoctrination, and infiltration in Nicaragua, underwritten by the visible display and selective use of weapons. Shoot softly, it implies, and carry a big schtick. If rhetoric is defined as language that says one thing and means another, then the manual is in effect attempting to maximize the collu-sion between deviousness in language and accuracy in violence, again and again implying that targets are most effectively hit when most indirectly aimed at. Rhetoric, clearly, has everything to do with covert operations. But are the politics of violence already encoded in rhetorical figures as such? In other words, can the very essence of a political issue-an issue like, say, abortion-hinge on the structure of a figure? Is there any inherent connection between figurative language and questions of life and death, of who will wield and who will receive violence in a given human society? As a way of approaching this question, I will begin in a more traditional way by discussing a rhetorical device that has come to seem almost synony-mous with the lyric voice: the figure of apostrophe. In an essay in The Pursuit of Signs, Jonathan Culler indeed sees apostrophe as an embarrassingly explicit emblem of procedures inherent, but usually better hidden, in lyric poetry as such. 2 Apostrophe in the sense in which I will be using it involves the direct

1'would like to thank Tom Keenan of Yale University for bringing this text to my attention. The present essay has in fact benefited greatly from the suggestions of others, among whom I would like particularly to thank Marge Garber, Rachel Jacoff, Carolyn Williams, Helen Vendler, Steven Melville, Ted Morris, Stamos Metzidakis, Steven Ungar, and Richard Yarborough.

2Cf. also Paul de Man, in" Lyrical Voice in Contemporary Theory":" Now it is certainly beyond question that the figure of address is recurrent in lyric poetry, to the point of constituting the generic definition of, at the very least, the ode (which can, in turn, be seen as paradigmatic for poetry in general)"[61].