英文摘要
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This paper will examine the destructive effects of sound/voice on ”Macbeth” by taking the standpoint of Macbeth-as-listener, that is, of his receptive ears. I will explore how Macbeth degenerates into a pathological subject by looking at early modern physiological theories, especially with a Galenic medicinal standpoint, about the human ear/hearing and its impact on the brain. More precisely, I will analyze Macbeth's various physical, spiritual, and moral transformations in terms of the interchange between his internal passions and the external sounds. In ”Macbeth”, then, Shakespeare shows us the fearful result of those unsettled passions made possible by the protagonist's desiring ears, once they have surrendered to the world's tempting voices and words. On the other hand, unable to unburden himself of his fear and grief generated from his acts of murder, Macbeth is suffocated by the heavy ”black bile” of the melancholy humor. In this play, evil is conceptualized as a disease, a disease of excessiveness that thickens the blood inside the body and blocks its healthy flow, and gives rise to a monstrous exaggeration, misinterpretation, distortion (as in hallucinations) of what lies outside of us. Thus, what Shakespeare is concerned with in ”Macbeth” is not so much with rebellion and murder as it is the Renaissance concept of the self's need to maintain a corporeal equilibrium that balance of the inner passions.
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Lin, Ying-chiao(2013).The Pathogenic Female Tongue: A Galenic and Paracelsian Diagnosis of Macbeth.Humanitas Taiwanica,78,209-37.
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