Rhetorical Difference and the Orders of Meaning
Some of the best dozens players were girls. . . . before you can signify you got to be able to rap. . . . Signifying allowed you a choice-you could either make a cat feel good or bad. If you had just destroyed someone or if they were down already, signifying could help them over. Signifying was also a way of expressing your own feelings. . . . Signifying at its best can be heard when the brothers are exchanging tales. H. Rap Brown
And they asked me right at Christmas
If my blackness, would it rub off?
I said, ask your Mama.
If Esu-Elegbara stands as the central figure of the Ifa system of interpretation, then his Afro-American relative, the Signifying Monkey, stands as the rhetorical principle in Afro-American vernacular discourse. Whereas my concern in Chapter 1 was with the elaboration of an indigenous black hermeneutical principle, my concern in this chapter is to define a carefully structured system of rhetoric, traditional Afro-American figures of signification, and then to show how a curious figure becomes the trope of literary revision itself. My movement, then, is from hermeneutics to rhetoric and semantics, only to return to hermeneutics once again.
Thinking about the black concept of Signifyin(g) is a bit like stumbling unaware into a hall of mirrors: the sign itself appears to be doubled, at the very least, and (re)doubled upon ever closer examination. It is not the sign itself, however, which has multiplied. If orientation prevails over madness, we soon realize that only the signifier has been doubled and (re)doubled, a signifier in this instance that is silent, a "sound-image" as Saussure defines the signifier, but a "sound-image" sans the sound. The difficulty that we experience when thinking about the nature of the visual (re) doubling at work in a hall of mirrors is analogous to the difficulty we shall encounter in relating the