The Eagle Wounded by an Arrow

Rosa Bonheur's "The Wounded Eagle" c.1870, LACMA

The situation of the Eagle Wounded by an Arrow vaned with its own feathers is referred to in several ancient Greek sources and is listed as fable 276 in the Perry Index.^[1] It is generally applied to the misery of realising that one has contributed to one's own injury.

The fable and its variations

The earliest mention of the fable is a brief reference in The Myrmidons, a lost tragedy of Aeschylus written in the 5th century BCE. Here it is said to be of Libyan origin and is generally supposed to refer to the personal blame felt by Achilles for the death of his friend Patroclus.^[2] There are widespread references to it afterwards^[3] and, although it is not generally ascribed to Aesop, it does appear among the collection of his fables by Babrius under the title "The Archer and the Eagle".^[4]

The fable did not appear in mediaeval collections of fables reliant on Latin sources but began to be noticed in Europe during the 17th century. In Roger L'Estrange's collection of fables by Aesop and others (1692) it is recorded as follows: 'An Eagle that was watching upon a Rock once for a Hare, had the ill Hap to be struck with an Arrow. This Arrow, it seems was feather’d from her own Wing, which very Consideration went nearer her Heart, she said, than Death itself.^[5] When the situation appeared in La Fontaine's Fables, it was under the more generalised title of "The bird wounded by an arrow" (II.6) and a wider lesson is drawn from the incident. The dying bird blames humans for using its own parts against itself and claims that they have learnt this cruelty from the way they treat each other.^[6] A contemporary French emblem book took a different view, however, starting from the perception that the bird in the poem was on the look-out for a hare. If another hunter brings it down while so engaged then, according to Daniel de la Feuille's Devises et emblêmes (1691), it is a case of poetic justice, of having inflicted on itself the harm it was trying to inflict on others. Illustrated under the Latin title Capiens capior (the preyer become prey), it shows a sparrow hawk perched on a hare with an arrow through its own neck.^[7]

The fable had also travelled eastwards and reappeared in the 11th century in the Diwan (poetical works) of Nasir Khusraw. His poem against pride relates how an eagle soars through the air, vaunting itself. When it is brought down by a hunter and recognises its own feathers on the arrow, the realisation comes that it has been injured by its own means.^[8] Pieter de la Court was to give the story this interpretation in his Sinryke Fabulen (1685), making the point that those who thrust themselves into prominence become the mark for others to harm.^[9] The point is underlined by the Latin tag beneath the illustration of the injured bird, an adaptation of proverbial lines from the 4th century Latin poet Claudian: Vivitur exiguo melius, natura beatis / omnibus esse dedit, si quis cognoverit uti (it is better to live on little, [nature has provided for all to do so happily,] could one but know it).^[10]

The Greek origin of the fable was not lost sight of in France and Pierre de Frasnay (1676-1753) provided a four-line poetic version in his Mythologie ou recueil des fables grecques, ésopiques et sybaritiques (Orléans 1750). The moral he draws from the story of L'aigle blessé d'une flèche is that one should not be too self-reliant, for that too is an avenue that leads to harm.^[11]

Poetic allusions

The image of the wounded eagle was to become a common conceit in English poetry of the 17th century and after. Just as Aeschylus described his image as coming from Libya, James Howell identifies the 2nd century writer Lucian as his source in a commendatory poem on the work of Giles Fletcher:

England, like Lucian’s eagle with an arrow

Of her own plumes, piercing her heart quite thorow.^[12]

As he does so, he is also echoing the same conceit used in Fletcher's poem "Christ's Victory in Heaven".^[13]

Two poets identified with the Cavalier cause also used the conceit. Katherine Philips placed it at the start of her poem "On Controversies in Religion" (1667), arguing that religion becomes the victim of misapplied texts

And meets that Eagles destiny, whose breast

Felt the same shaft which his own feathers drest.^[14]

Edmund Waller, on the other hand, turned the image to Baroque hyperbole by making himself the victim of "A Lady singing a Song of his Composing".^[15]

The image was still current at the start of the 19th century. Lord Byron used it in the course of lamenting the early death of Henry Kirke White while still a student.^[16] At more or less the same time, Thomas Moore applied it in his early political poem "Corruption" (1808).^[17]

Artistic use

La Fontaine's version of the fable was illustrated by woodcuts in various editions over the centuries, usually by nothing more original than a picture of a bird lying on the ground with an arrow piercing its neck or breast. One or other of these served as model for the left-hand page of Kawanabe Kyosui's coloured woodcut in the collectors edition Choix de Fables de La Fontaine published from Tokyo in 1894 with illustrations by Japanese artists. What brings the composition to life is the depiction of the bowman crouching on the bushy shore on the right-hand page.^[18]

Marc Chagall also included a distant bowman in his coloured print of 1927 but gives greater prominence to the death agonies of the wounded bird, which is echoed by the waving foliage in the background.^[19] André Masson's L'oiseau percé de flèches (1925) equally gives a sense of painful movement. In this Cubist work, the stricken bird inclines diagonally across a stylised rocky background and still aspires upwards.^[20]

The painting by Rosa Bonheur of a wounded eagle in mid-air (c. 1870) is not generally referred to the original Greek fable and no arrow is shown there. Instead, it is the eagle's political symbolism on which critics comment, interpreting the work as referring both to the defeat of Napoleon III in the Franco-Prussian war and to the injury to the Prussian state of its aggression.^[21] Nevertheless, the theme of harm brought by its own agency is available as an alternative reading.

Musicians have also set Fontaine's fable: the Brazilian Heitor Villa-Lobos for voice and piano (1913), and Marcelle de Manziarly as the second of her Trois Fables de La Fontaine (1935).^[22] In addition, it was Marianne Moore’s versions that were used in Ned Rorem's Fables (1971) as the basis of his 'very short operas', of which "The bird wounded by an arrow" is placed third.^[23]

References

External links

Illustrations from the 15th - 20th centuries