The ingenious and diverting letters of the Lady--travels into Spain; describing the devotions, nunneries, humours, customs, laws, militia, trade, diet, and recreations of that people.

"Reprinted for Archer M. Huntington."

The humours of purgatory. A farce, as it is acted at the New theatre in Lincolns-Inn-Fields.

Dedication signed: Ben. Griffin.

The art of speaking : containing, an essay, in which are given rules for expressing properly the principal passions and humours, which occur in reading, or public speaking, and lessons, taken from the ancients and moderns ... /

Bookseller's advertisements: p. [4]-[7] at end.

The humours of Eutopia: a tale of colonial times.

Wright I, 2278.

The rambling justice, or, The jealous husbands. With the humours of Sir John Twiford. As it is acted at the Theatre Royal ...

Mode of access: Internet.

The sot-weed factor, or, A voyage to Maryland : a satyr : in which is describ'd, the laws, government, courts and constitutions of the country, and also the buildings, feasts, frolicks, entertainments and drunken humours of the inhabitants of that part of America ; in burlesque verse /

150 copies printed of which 36 were on large paper (29 x 23 cm.). Cf. Sabin, Bibl. Amer.

Theorica Pantegni . Facsimile and Transcription of the Helsinki manuscript (Codex EÖ.II.14)

The Theorica Pantegni is a medieval medical textbook written in Latin. The author was Constantine the African (Constantinus Africanus), a monk of Tunisian origin. He compiled the work in the latter half of the eleventh century at the Benedictine monastery of Monte Cassino in Italy. - Manuscript Eö.II.14, containing the Theorica Pantegni published here, belongs today to the National Library of Finland. It can be dated to the third quarter of the twelfth century, which makes it one of the earliest surviving exemplars of the Theorica Pantegni: over seventy manuscripts of the work survive, of which about fifteen can be dated to the twelfth century. Manuscript Eö.II.14 is written in black ink on 210 parchment leaves (recto and verso), amounting to 420 pages, in pre-Gothic script. - The present text is a transcription of Ms Eö.II.14. The goal is to provide the reader with an accessible text that is faithful to the original.

No Laughing Matter: Shakespearean Melancholy and the Transformation of Comedy

Mon projet de thèse démontre le rôle essentiel que tient la mélancolie dans les comédies de Shakespeare. J’analyse sa présence au travers de multiples pièces, des farces initiales, en passant par les comédies romantiques, jusqu’aux tragicomédies qui ponctuent les dernières années de sa carrière. Je dénote ainsi sa métamorphose au sein du genre comique, passant d’une représentation individuelle se rapportant à la théorie des humeurs, à un spectre émotionnel se greffant aux structures théâtrales dans lesquelles il évolue. Je suggère que cette progression s’apparent au cycle de joie et de tristesse qui forme la façon par laquelle Shakespeare dépeint l’émotion sur scène. Ma thèse délaisse donc les théories sur la mélancolie se rapportant aux humeurs et à la psychanalyse, afin de repositionner celle-ci dans un créneau shakespearien, comique, et historique, où le mot « mélancolie » évoque maintes définitions sur un plan social, scientifique, et surtout théâtrale. Suite à un bref aperçu de sa prévalence en Angleterre durant la Renaissance lors de mon introduction, les chapitres suivants démontrent la surabondance de mélancolie dans les comédies de Shakespeare. A priori, j’explore les façons par lesquelles elle est développée au travers de La Comedie des Erreurs et Peines d’Amour Perdues. Les efforts infructueux des deux pièces à se débarrasser de leur mélancolie par l’entremise de couplage hétérosexuels indique le malaise que celle-ci transmet au style comique de Shakespere et ce, dès ces premiers efforts de la sorte. Le troisième chapitre soutient que Beaucoup de Bruit pour Rien et Le Marchand de Venise offrent des exemples parangons du phénomène par lequel des personnages mélancoliques refusent de tempérer leurs comportements afin de se joindre aux célébrations qui clouent chaque pièce. La mélancolie que l’on retrouve ici génère une ambiguïté émotionnelle qui complique sa présence au sein du genre comique. Le chapitre suivant identifie Comme il vous plaira et La Nuit des Rois comme l’apogée du traitement comique de la mélancolie entrepris par Shakespeare. Je suggère que ces pièces démontrent l’instant où les caractérisations corporelles de la mélancolie ne sont plus de mise pour le style dramatique vers lequel Shakespeare se tourne progressivement. Le dernier chapitre analyse donc Périclès, prince de Tyr et Le Conte d’Hiver afin de démontrer que, dans la dernière phase de sa carrière théâtrale, Shakespeare a recours aux taxonomies comiques élucidées ultérieurement afin de créer une mélancolie spectrale qui s’attardent au-delà des pièces qu’elle hante. Cette caractérisation se rapporte aux principes de l’art impressionniste, puisqu’elle promeut l’abandon de la précision au niveau du texte pour favoriser les réponses émotionnelles que les pièces véhiculent. Finalement, ma conclusion démontre que Les Deux Nobles Cousins représente la culmination du développement de la mélancolie dans les comédies de Shakespeare, où l’incarnation spectrale du chapitre précèdent atteint son paroxysme. La nature collaborative de la pièce suggère également un certain rituel transitif entre la mélancolie dite Shakespearienne et celle développée par John Fletcher à l’intérieure de la même pièce.

'Nature concocts & expels': the agents and processes of recovery from disease in Early Modern England

The ‘golden saying’ in early modern medicine was ‘Nature is the healer of disease’. This article uncovers the meaning and significance of this forgotten axiom by investigating perceptions of the agents and physiological processes of recovery from illness in England, c.1580-1720. Drawing on sources such as medical texts and diaries, it shows that doctors and laypeople attributed recovery to three agents – God, Nature, and the practitioner. While scholars are familiar with the roles of providence and medicine, the vital agency of Nature has been overlooked. In theory, the agents operated in a hierarchy: Nature was ‘God’s instrument’, and the physician, ‘Nature’s servant’; but in practice the power balance was more ambivalent. Nature was depicted both as a housewife who cooked and cleaned the humours, and as a warrior, who defeated the disease. Through exploring these complex dynamics, the article sheds fresh light on concepts of gender, disease, and bodies.

The Irishman in London; or, The happy African. A farce. In two acts. Performed at the Theatre-Royal, Covent-Garden.

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Emotion in Cervantes and Shakespeare

Early modern thought found in emotion a key to explaining human behaviour, highlighting the powerful way in which it can influence and disturb human life. Shakespeare’s and Cervantes’s treatment of emotion includes a full acknowledgement of its mental and bodily aspects and functions. But emotion rarely comes in a pure state. Character and emotion interact and their responses are often contradictory. Since emotions are sentiments that we feel and actions that we perform, it is worth inquiring into how, in Cervantes and Shakespeare, emotion affects their characters in different ways.

Nature in the books of seven metals – Ǧābirian corpus in dialogue with ancient Greek philosophy and Byzantine alchemy –

The Ǧābirian corpus was a receiver of ancient Greek ideas and, at the same time, a source of knowledge for the later Greek-speaking world, in particular for medieval Byzantine alchemy. Both aspects are explored in the dissertation with respect to the notion of nature. After a general introduction to the Corpus and the sciences described in it, particular attention is devoted to a Byzantine anonymous text, The Work of Four Elements, which was probably influenced by the Ǧābirian Books of Seventy. These texts exemplify how, in the theory of the Ǧābirian science, things are constructed from four natures (hot, cold, moist and dry), the balance of which defines what a thing is. By changing the balance of natures, one can transmute any metals into gold that is perfectly proportioned in terms of natures. Ǧābir presents the art of dyeing metals gold in the Books of Seven Metals which, along with chrysopoetic recipes, also include medical recipes and theoretical contents such as the theories of four humours, properties, and talismans. Moreover, Ǧābir postulated a substrate that does not change in itself and continues to exist when natures move in and out of things. Such primary existence is called the fifth nature as an additional principle to the four natures. This key concept for the Ǧābirian theory, which has been underexplored so far, is discussed through the textual and critical analysis of various unedited sources: the Books of Seven Metals and the Book of the Fifth Nature. This study confirms that the fifth nature was probably derived from ancient Greek philosophical concepts such as the Empedoclean particles, the Aristotelian fifth element and the Stoic pneuma. Thus, this research indicates the importance of the Ǧābirian corpus both in the history of alchemy and the history of philosophy.