Sleep, Romance and Human Embodiment

Brutus himself at first believes it to be the latter: Later, he reports that the ghost of Caesar has indeed reappeared to him 5.

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• Garrett Sullivan — Department of English;
• Professor Garrett Sullivan.
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• embodiment;

He never slept in the day tyme, and in the night no lenger. After describing the appearance of the spirit, Plutarch narrates how Brutus went to see Cassius the following day, who provided a rational explanation for this occurrence: Cassius beeing in opinion an Epicurian [ In our secte, Brutus, we have an opinion, that we doe not always feele, or see, that which we suppose we doe both see and feele: For, our minde is quicke and cunning to worke without eyther cause or matter any thinge in the imagination whatsoever.

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And therefore the imagination is resembled to claye, and the minde to the potter: For you being by nature given to melancholick discoursing, and of late continually occupied: For, to say that there are spirits or angells, and if there were, that they had the shape of men, or such voyces, or any power at all to come unto us: Brutus is in that respect portrayed as being of a melancholic disposition, which was viewed as the mood most conducive to strong dreaming and to hallucinations.

Additionally, sleep deprivation, from which Brutus suffers, was thought to produce the same melancholic humour that is here associated with false sensory perception. All of these events, however, are problematised in the play: Lear himself eventually notices the madness coming upon when his appeal to higher powers fails and he cries out: Lear is first associated with prolonged sleeplessness, albeit implicitly, when he is shown awake and outside during a nightly tempest. While this particular case of nocturnal wakefulness on its own may merely constitute a tenuous reference to insomnia, it becomes much more significant when considered alongside Scene There is means, madam.

Our foster-nurse of nature is repose, The which he lacks.

Sleep, Romance and Human Embodiment by Garrett A. Sullivan Jr.

That to provoke in him Are many simples operative, whose power Will close the eye of anguish Insomnia thus forms part of the vicious cycle in which Lear finds himself: AD 54, translated by Jasper Heywood in There is also , however, a major difference between Hercules and Lear: It is even possible to pinpoint the exact moment when the madness arranged by Juno begins to affect Hercules line , p. This becomes clear from one of the most unsettling episodes for Lear, in Scene 4.

All of this leads him to question his perception of the world around him: His ontological uncertainty only deepens afterwards: Doth any here know me? Why, this is not Lear.

embodiment

Doth Lear walk thus, speak thus? Where are his eyes? Either his notion weakens, or his discernings Are lethargied. Sleeping or waking, ha?

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IAS Benjamin Meaker Visiting Professor Garrett Sullivan, Jnr.

Garrett Sullivan explores the changing impact of Aristotelian conceptions of vitality and humanness on sixteenth- and seventeenth-century literature before and after the rise of Descartes. Aristotle's tripartite soul is usually considered in relation to concepts of psychology and physiology. However, Sullivan argues that its significance is much greater, constituting a the Garrett Sullivan explores the changing impact of Aristotelian conceptions of vitality and humanness on sixteenth- and seventeenth-century literature before and after the rise of Descartes.

However, Sullivan argues that its significance is much greater, constituting a theory of vitality that simultaneously distinguishes man from, and connects him to, other forms of life.

He contends that, in works such as Sidney's Old Arcadia, Shakespeare's Henry IV and Henry V, Spenser's Faerie Queene, Milton's Paradise Lost and Dryden's All for Love, the genres of epic and romance, whose operations are informed by Aristotle's theory, provide the raw materials for exploring different models of humanness; and that sleep is the vehicle for such exploration as it blurs distinctions among man, plant and animal.

Sullivan investigates the importance of all three aspects of the Aristotelian soul—the vegetative, sensitive, and rational—as, crucially, intercommunicative or, in his terms, connected horizontally as well as vertically—that is, by association, episode and accumulation as well as by hierarchy. He tracks the ability of the human actor to be motivated by all three. While acknowledging the importance of hierarchy in the understanding of the soul and therefore the moralised aspect of human sliding to bestial status, Sullivan also indicates the moments in texts which evoke the blending of human into environment through the dominance of the sensitive or vegetative souls.

There is a focus on the vegetative soul—in Aristotle the foundation of connected life, possessing the kind of vitality shared by plants, creatures, and humans, but little studied within either literary studies or ecological thought, though, as Sullivan notes, some contemporary philosophy uses the concept. He discusses the soul in the formation of vegetative, sensitive, and rational; the soul which was refused so significantly by Descartes. This exploration of the vitality of all living things and many, indeed, that we would not now consider to be exactly living sets the scene for the place of both hierarchy in life forms and connectedness among plants, animals, and humans.

Sullivan identifies both the body and the environment as enacting the competition between the heroic achievement of hierarchy and the romance contiguity, and particularly explores attraction between romance episodes and heroic modes. This gives a significant framing to, for example, Sidney writing as author of the Old Arcadia who both fears and identifies with the sleepy irresolution of his figures in romance as opposed to heroic mode.

Discussing the place of Verdant in Book 2 of The Faerie Queene , Sullivan teases out the importance of the vegetative soul in locating the If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.