Book contents
- Frontmatter
- Shakespeare’s History Plays: 1952–1983
- Shakespeare and History: Divergencies and Agreements
- Shakespeare’s Georgic Histories
- The Nature of Topicality in Love’s Labour’s Lost
- The Tragic Substructure of the Henry IV Plays
- Hal and the Regent
- The Rite of Violence in I Henry IV
- The Fortunes of Oldcastle
- Hand D in Sir Thomas More: An Essay in Misinterpretation
- Livy, Machiavelli, and Shakespeare’s Coriolanus
- Henry VIII and the Ideal England
- The Strangeness of a Dramatic Style: Rumour in Henry VIII
- ‘Edgar I Nothing Am’: Figurenposition in King Lear
- ‘Very like a whale’: Scepticism and Seeing in The Tempest
- Shakespeare’s Medical Imagination
- Shakespeare in the Theatrical Criticism of Henry Morley
- Shakespeare Performances in Stratford-upon-Avon and London 1983–4
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Editions and Textual Studies
- Index
Shakespeare’s Medical Imagination
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare’s History Plays: 1952–1983
- Shakespeare and History: Divergencies and Agreements
- Shakespeare’s Georgic Histories
- The Nature of Topicality in Love’s Labour’s Lost
- The Tragic Substructure of the Henry IV Plays
- Hal and the Regent
- The Rite of Violence in I Henry IV
- The Fortunes of Oldcastle
- Hand D in Sir Thomas More: An Essay in Misinterpretation
- Livy, Machiavelli, and Shakespeare’s Coriolanus
- Henry VIII and the Ideal England
- The Strangeness of a Dramatic Style: Rumour in Henry VIII
- ‘Edgar I Nothing Am’: Figurenposition in King Lear
- ‘Very like a whale’: Scepticism and Seeing in The Tempest
- Shakespeare’s Medical Imagination
- Shakespeare in the Theatrical Criticism of Henry Morley
- Shakespeare Performances in Stratford-upon-Avon and London 1983–4
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Editions and Textual Studies
- Index
Summary
Shakespeare, unlike Chaucer, is still intelligible to us directly. But though his language in general needs no translation for speakers of modern English, his ideas often do. In particular his ideas about the hidden workings of our body were quite different from our own. For instance, he thought that sighing caused loss of blood, that tears were an overflow from the brain, and that falling in love was caused by the liver. The temptation is to hurry over these oddities, understanding statements of fact in a metaphorical sense, or, where this won’t do, glossing them with a synonym. So we may be told that ‘spirits’ means ‘energy’ or ‘character’ or ‘resolve’ as the context demands. The deception works if the cases are far enough apart. But if allegedly different meanings for the same word come in the same line we lose confidence. Another kind of confusion can be caused by the gloss itself. For instance on one occasion we are told by Dover Wilson that ‘blood’ means ‘spirit’. But it does not. Blood was a kind of liquid in the veins and spirit was a kind of air in the arteries. It cannot be right to explain them as if they were interchangeable, even if in some situations they perform equivalent functions. We would hardly approve a glossator in the microwave future who explained to his readers a point that was obscure to them in a twentieth-century kitchen scene by cheerfully writing ‘gas = electricity’.
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- Information
- Shakespeare Survey , pp. 175 - 186Publisher: Cambridge University PressPrint publication year: 1986