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The Melancholy Assemblage

Affect and Epistemology in the English Renaissance

Drew Daniel

Publication Year: 2013

This book considers melancholy as an "assemblage," as a network of dynamic, interpretive relationships between persons, bodies, texts, spaces, structures, and things. In doing so, it parts ways with past interpretations of melancholy. Tilting the English Renaissance against the present moment, Daniel argues that the basic disciplinary tension between medicine and philosophy persists within contemporary debates about emotional embodiment.To make this case, the book binds together the paintings of Nicholas Hilliard and Isaac Oliver, the drama of Shakespeare, the prose of Burton, and the poetry of Milton. Crossing borders and periods, Daniel combines recent theories which have--until now--been regarded as incongruous by their respective advocates.Asking fundamental questions about how the experience of emotion produces community, the book will be of interest to scholars of early modern literature, psychoanalysis, the affective turn, and continental philosophy.

Published by: Fordham University Press

Title Page, Copyright

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pp. i-vi

Contents

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pp. vii-viii

Illustrations

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pp. ix-x

Acknowledgments

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pp. xi-xvi

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Introduction

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pp. 1-33

The topic of melancholy courts a suitable exhaustion at the present moment. Faced with the prospect of a sequence of readings of early modern representations of this all-too-familiar emotional stance, one might well wonder whether anything could have gone unnoticed about this particular quintessence of scholarly dust. If, to take up the Ashbery poem’s sharp...

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1. From Dürer’s Angel to Harlow’s Monkey

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pp. 34-66

Melancholy arises through the composition and recomposition of bodies: substances flowing, heating, and cooling within the somatic interior, limbs and extremities falling into attitudes or taking up postures, skin surfaces growing taut or slack, tiny expressive muscle systems arranging themselves into legible states of display. Over time and across culture, the smooth spectrum of bodily affect is territorialized into a striated...

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2. Three Hundred Years Out of Fashion

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pp. 67-91

Love’s Labour’s Lost has irritated playgoers for centuries. Coming to grips with this slippery, curious play in his Remarks on the Plays of Shakespear (1710), Charles Gildon first pulls, then throws, his punch: “[ . . . ] [S]ince it is one of the worst of Shakespear’s Plays, nay I think I may say the very worst, I cannot but think that it is his first, notwithstanding those Arguments,...

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3. Let Me Have Judgment, and the Jew His Will

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pp. 92-119

Foreclosing knowledge from its first line, The Merchant of Venice may begin but it does not quite open. We start out startled, at impasse, greeted by this concession of defeat:
ANTONIO: In sooth, I know not why I am so sad. It wearies me, you say it wearies you; ...

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4. That Within Which Passes Show

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pp. 120-154

In a farcical piece of stage business with a flute, Hamlet issues a famous rebuke to the courtier spies Rosencrantz and Guildenstern that applies equally to the spectators, readers, and critics who attempt to cash out the meaning of his melancholy: ...

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5. Rhapsodies of Rags

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pp. 155-199

Imagine a book. This book fixates upon a particular cultural phenomenon, one not entirely marginal but far from obvious as a suitable subject for its imposing size. The book drifts from its stated occasion, relentlessly, and uses the explanation of its ostensibly modest topic to digress at great length across the entirety of the surrounding world, pursued to its stoppages...

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6. My Self, My Sepulcher

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pp. 200-228

Concluding our sequence of portraits in black, it must be said that Samson makes an unlikely candidate for melancholy. If we take up Robert Burton’s portable defi nition of this condition as “feare, and sadnesse without any apparant occasion,” then the application of this modish misfortune of early modernity to the Biblical hero from the Book of Judges seems, literally, woefully...

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Epilogue

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pp. 229-252

Melancholy never stops, but this book must. Before it does, I wish to both recapitulate and extend my argument, placing a fi nal pressure upon the question of melancholy as “matter,” in order to think about how and why melancholy still matters, and where it continues to circulate, today. At the risk of droning melancholically on, I hope to do four things: First, I hope...

Notes

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pp. 253-288

Bibliography

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pp. 289-302

Index

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pp. 303-312

Image Plates

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pp. 313-316


E-ISBN-13: 9780823251292
Print-ISBN-13: 9780823251278
Print-ISBN-10: 0823251276

Page Count: 328
Illustrations: 4 4/c, 6 b/w
Publication Year: 2013

Edition: Cloth

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Subject Headings

  • English literature -- Early modern, 1500-1700 -- History and criticism -- Theory, etc.
  • Affect (Psychology) in literature.
  • Knowledge, Theory of, in literature.
  • Literature and science -- Great Britain -- History.
  • Art and literature -- Great Britain -- History.
  • Science in literature.
  • Science -- Philosophy.
  • Renaissance -- England.
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