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Renaissance PsychologiesSpenser and Shakespeare$
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Robert Lanier Reid

Print publication date: 2017

Print ISBN-13: 9781526109170

Published to Manchester Scholarship Online: May 2017

DOI: 10.7228/manchester/9781526109170.001.0001

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Depicting passion

Depicting passion

Chapter:
(p.77) 2 Depicting passion
Source:
Renaissance Psychologies
Author(s):

Robert Lanier Reid

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781526109170.003.0003

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

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