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In this period, as in many others, philosophy and art are distinct and often opposed-the former seeking to pass through the wonder that the latter seeks to enhance-and each is in turn distinct from discourses like history, theology, natural history, and law. Each of the discursive regimes has its own characteristic concerns, intellectual and procedural boundaries, specialized languages. But each of these also touches and interacts with the others in a loose but powerful association, an association driven by certain mimetic assumptions, shared metaphors, operational practices, root perceptions.

We continue, as a consequence, to speak of Mandeville as ifhe existed, and as if the text referred back to his bodily existence. To do so is not simply to submit to an imposition; it is to participate in one of the founding desires oflanguage, the desire to refer us to the world. And iflanguage in this case, as in so many others, works deviously, it is not altogether empty even here. For it betokens not material existence as such but a circulation of signs that makes material existence meaningful, comprehensible, resonant.

Such a response, in Lery's view, condemns the Tupinamba to fear, credulity, and superstition. It is not an accident that the Protestant Lery thought that the low chanting from the men's house sounded at first 'like the muttering of someone reciting his hours' (p. 141); we have already glimpsed his condemnation of the Catholic Mass as cannibalism. 22 For Lery, whose History ofa Voyage was published in Calvinist Geneva, Catholic rituals are occasions in which the devil is doing his work, and he invites his readers to interpret the Tupinamba ceremony in the light of that Mass: in both the experience of wonder is linked to a violation of all that is most holy.

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