By Harold Bloom (ed)
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Additional info for William Shakespeare's Hamlet (Bloom's Modern Critical Interpretations)
In this way, cinema elaborates the dreams of exoteric man. 49. Floyd-Wilson, English Ethnicity, 78. 50. 1 (1961), 22. 51. Coleridge, Coleridge’s Shakespeare Criticism, 1:38–39. 52. v. “mad,” 6. 53. Citing Helkiah Crooke’s Description of the Body of Man, Paster notes that “anger” was associated with women while “wrath” was reserved for men (“The Unbearable Coldness of Female Being,” 429). 54. v. ” 55. 9). 32 Daryl W. Palmer 56. Botero, Historicall Description, 3. 57. John Lyly provides a comic prologue to these scenes in his Gallathea as Rafe, Robin, and Dick attempt to become real men after their ship sinks.
18. Paster, “The Unbearable Coldness of Female Being,” 439–440. 19. For an important geohumoral revision of the usual reading of Morocco’s failure, see Floyd-Wilson, English Ethnicity, 42–43. 20. Paster, “The Unbearable Coldness of Female Being,” 435. 21. On this phenomenon in particular and English contact with Russia in general, see Daryl W. : Ashgate, 2004), 9–11, and passim. 22. E. G. R. Taylor, Tudor Geography 1485–1583 (London: Methuen, 1930), 91. 23. v. “mechanician,” n. 1. 24. Hakluyt, Principal Navigations, Voyages, Traffiques, and Discoveries of the English Nation, 8 vols.
What work does this air or breath do? Let me first consider the ways in which it does not work. In its suggestion that playgoers may, like Hamlet, “eat the air” or feed on what is transmitted by it, the play goes well beyond any idea of the theater tied to mimesis. It also goes beyond the transmission of breath for or as language. The play, I suggest, although it exploits what mimetic representation can offer, is also suspicious of the kinds of effect to which mimesis lends itself, and Hamlet is of course famously dismissive of words.