Depicting passion

Robert Lanier Reid

in Renaissance Psychologies

Published by Manchester University Press

Published in print February 2017 | ISBN: 9781526109170
Published online May 2017 | e-ISBN: 9781526121134 | DOI:

Series: The Manchester Spenser MUP

Depicting passion

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The poets also differ in portraying the four humors and their passional offshoots. The diverse humoralism of Spenser, Shakespeare, and Jonson is missed if weassume humoral consistency and ignore the role of intellect and providence in managing it. Spenser controls the humors partly by figurative houses: passion is spiritualised in the House of Holiness, it issimply moderated in Alma’s Castle. Spenser views humoral passions (and the body) negatively, needing moral guidance and Christlike rescue. In contrast tohis restrictive allegory of humor figures (fiery Pyrochles, watery Cymochles, airy Phaedria, earthy Mammon and Maleger), the humor-types in Shakespeare’s Henriad (melancholic Henry IV, choleric Hotspur, phlegmatic Falstaff, sanguine Hal) are spacious and flexible, gifted with self-conscious speech and witty mimicry of the others. Shakespeare’s view of humoral passions evolves intodazzlingly complex nuances and paradoxes in the tragedies and romances.

Keywords: elements; humors; Galenism; bodily spirits; passions; Legend of Temperance; Henriad

Chapter.  22054 words.  Illustrated.

Subjects: Shakespeare Studies and Criticism

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