By Raphael Lyne
Raphael Lyne addresses an important Shakespearean query: why do characters within the grip of emotional crises carry such terribly attractive and bold speeches? How do they be ready to be so creative once they are puzzled? Their dense, advanced, articulate speeches at intensely dramatic moments are frequently visible as mental - they discover and examine inwardness, personality and motivation - and as rhetorical - they contain heightened language, deploying recognizable innovations. concentrating on A Midsummer Night's Dream, Othello, Cymbeline and the Sonnets, Lyne explores either the mental and rhetorical parts of Shakespeare's language. within the mild of cognitive linguistics and cognitive literary conception he indicates how Renaissance rhetoric should be thought of a type of cognitive technology, an try to map out the styles of considering. His research finds how Shakespeare's metaphors and similes paintings to imagine, interpret and get to the bottom of, and the way their fight to take action leads to remarkable poetry.
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Additional info for Shakespeare, Rhetoric and Cognition
Sample text
Attempts to explain the workings of the brain make use of laboratory experiments on human subjects, evidence from neurology, conclusions drawn from computer modelling, and the scientists’ ability to create descriptive tools (for instance, analogies). In memory, for example, various processes require the connection of parts (fragmentary cues, where one part of something is offered to an experimental subject) and wholes (the remembered item that the cue elicits). 4 In vision and visual recognition – and more generally in the study of the senses – parts and wholes are again at issue.
Lakoff and his collaborators are known for their capitalised metaphorical fields. 8 Metaphor in language, then, arises from the evolved interface of the brain with the world, and records the ways in which we think through problems and opportunities. It is most active in relation to the things that prove most challenging. In this book the importance of the conceptual side of metaphor, rather than the embodied side, will be paramount. As has already been evident in the discussion of Macbeth, the aim here is to explore literary means of representing thought when it struggles to take shape.
238–9 in the Riverside). Macbeth’s fear of martial angels is more easily explicable by the fact that he is a military man contemplating a terrible sin. This quibble aside, Braunmuller’s gloss encourages us, with good reason, to recognise that the patterns of metaphor in a Shakespeare play often work outside the limits of character and chronology, and justifying what is said here, by a given person, might need recourse to the larger system of language in a play. I think in this case it is possible and desirable to situate the complexity in an individual cognitive crisis, but this is not the only way of addressing it.