Gerard places these Ovidian blazons in subsections of each plant entry called "The names." The label implies that the Ovidian material serves a philological purpose, but upon closer investigation we see how it also performs descriptive work.
Dear reader, can you be persuaded that the two images, which Gerard has matched to the two verbal descriptions--or, as I like to think of them, the prose blazons of Daphne's metamorphosed body--also describe, visually, (parts of) her body?
(41) On the "descriptive strategies" employed in Petrarchan blazons and on the poets' engagement with "the descriptive mode itself" in sixteenth-century French blazons, see, respectively, Nancy J.
(42) On the minor tradition of blazons composed about plants, some of which have natural-historical content, see Robert E.
Uman, Deborah and Sara Morrison, eds, Staging the Blazon in Early Modern English Theatre (Studies in Performance and Early Modern Drama), Farnham, Ashgate, 2013; hardback; pp.
Editors Deborah Uman and Sara Morrison claim the essays collected in this volume 'complicate what has become a standard reading of the blazon' (p.
Hermione's uncertain state between living and dead allows Kellett to explore the blazon through an incorporeal body.
The anthology The Body in Parts presents itself as a kind of critical blazon
of the early modern body, each essay focusing on some body part which, in its negotiations with the whole, frustrates and suspends attempts towards a corporate unity.
Balizet remind the reader that male bodies can also be the subject of blazon: like the blazons of female bodies which are discussed elsewhere, male blazons can also be loaded with violence, humiliation, and de-humanization.
Because the book's two main contributions to scholarly debate are to assert that staged blazons are 'at once reliant on, yet distinct from the lyric' (9) and to assert that anyone can be a blasonneur, rather than just male characters performing an act of erotic violence, the book ultimately turns attention to the role that the theatrical audience plays in the blazoning of the staged body.
The cohesion rests in its persistent statement that blazons can be performed and active, rather than textual and passive; blazons are witnessed rather than read, enacted rather than spoken.
(7) Her insistence that Antonio use her ring to heal his 'bloodshot' eye initiates an exchange of spirits (vaporous fluids that coursed through the body) and then leads to a conversation littered by blazons (1.1.396).
As Antonio continues to repel the Duchess's advances, the Duchess again suits the blazon to her own needs, this time imagining the flight of an organ into the body of another:
Though the Duchess appears to be speaking metaphorically--presumably her heart is not, in fact, within Antonio's chest--her remark, 'you do tremble', implies the affective and physical force of this seemingly morbid blazon. That is, organs and fluids do things, but so do disturbing images of bodily parts.
Starks-Estes, "Transforming Ovid: Images of Violence, Vulnerability, and Sexuality in Shakespeare's Titus Andronicus" (53-66); Sara Morrison, "Embodying the Blazon
: Performing and Transforming Pain in Measure for Measure and The Duchess of Malfi" (67-84).