Melancholy - Revision history

https://el.rub.de/wiki/Brit-Cult/index.php?action=history&feed=atom&title=Melancholy Melancholy - Revision history 2026-05-11T20:42:42Z Revision history for this page on the wiki MediaWiki 1.43.0 https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13541&oldid=prev Adina at 19:54, 8 May 2022 2022-05-08T19:54:15Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:54, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy referred to a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a disposition in which <del style="font-weight: bold; text-decoration: none;">there was believed to be </del>a natural preponderance of black bile over the other humours (blood, phlegm, and yellow bile)<del style="font-weight: bold; text-decoration: none;">, and which </del>was <del style="font-weight: bold; text-decoration: none;">linked </del>to a <del style="font-weight: bold; text-decoration: none;">host </del>of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. At the same time, melancholy constituted a source of fascination for artists and <del style="font-weight: bold; text-decoration: none;">writers</del>, being seemingly accompanied by a touch of brilliance in those who displayed its symptoms. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ (Aristotle 155, 953a, II. 10- 12). This link between genius and melancholy was given a special place in the work of Renaissance scholars, such as Robert Burton, author of the ''Anatomy of Melancholy'', who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association between melancholy and artistic genius remained a powerful one. In the tradition of Aristotle, numerous artists and writers of the time explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. William Shakespeare is a case in point: Among the melancholic characters in his <del style="font-weight: bold; text-decoration: none;">work</del>, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, to Jacques, <del style="font-weight: bold; text-decoration: none;">reflecting </del>on the seven ages of man in ''As You Like It'', as well as to Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (2.1.5).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy referred to a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a disposition in which a natural preponderance of black bile over the other humours (blood, phlegm, and yellow bile) was <ins style="font-weight: bold; text-decoration: none;">assumed </ins>to <ins style="font-weight: bold; text-decoration: none;">cause </ins>a <ins style="font-weight: bold; text-decoration: none;">wealth </ins>of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. At the same time, melancholy constituted a source of fascination for artists<ins style="font-weight: bold; text-decoration: none;">, writers </ins>and <ins style="font-weight: bold; text-decoration: none;">philosophers alike</ins>, being seemingly accompanied by a touch of brilliance in those who displayed its symptoms. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ (Aristotle 155, 953a, II. 10- 12). This link between genius and melancholy was given a special place in the work of Renaissance scholars, such as Robert Burton, author of the ''Anatomy of Melancholy'', who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association between melancholy and artistic genius remained a powerful one. In the tradition of Aristotle, numerous artists and writers of the time explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. William Shakespeare is a case in point: Among the melancholic characters in his <ins style="font-weight: bold; text-decoration: none;">comedies and tragedies</ins>, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the <ins style="font-weight: bold; text-decoration: none;">melancholic </ins>condition can also be linked to love-sick Romeo, to Jacques, <ins style="font-weight: bold; text-decoration: none;">when he reflects </ins>on the seven ages of man in ''As You Like It'', as well as to Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (2.1.5).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13540&oldid=prev Adina at 17:09, 8 May 2022 2022-05-08T17:09:13Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:09, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l6">Line 6:</td> <td colspan="2" class="diff-lineno">Line 6:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Jouanna, Jacques. ''Greek Medicine from Hippocrates to Galen: Selected Papers''. Ed. Philip van der Eijk. Trans. Neil Allies. Koninklijke Brill NV, 2012. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Jouanna, Jacques. ''Greek Medicine from Hippocrates to Galen: Selected Papers''. Ed. Philip van der Eijk. Trans. Neil Allies. <ins style="font-weight: bold; text-decoration: none;">Leiden: </ins>Koninklijke Brill NV, 2012. </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: CUP, 2021.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: CUP, 2021.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Shakespeare, William. ''Much Ado About Nothing''. Ed. R.A. Foakes. London; New York: Penguin, 2005.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Shakespeare, William. ''Much Ado About Nothing''. Ed. R.A. Foakes. London; New York: Penguin, 2005.</div></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13539&oldid=prev Adina at 17:08, 8 May 2022 2022-05-08T17:08:45Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:08, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l5">Line 5:</td> <td colspan="2" class="diff-lineno">Line 5:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr> <tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Jouanna, Jacques. ''Greek Medicine from Hippocrates to Galen: Selected Papers''. Ed. Philip van der Eijk. Trans. Neil Allies. Koninklijke Brill NV, 2012. </ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: CUP, 2021.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: CUP, 2021.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Shakespeare, William. ''Much Ado About Nothing''. Ed. R.A. Foakes. London; New York: Penguin, 2005.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Shakespeare, William. ''Much Ado About Nothing''. Ed. R.A. Foakes. London; New York: Penguin, 2005.</div></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13538&oldid=prev Adina at 15:34, 8 May 2022 2022-05-08T15:34:59Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:34, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy referred to a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a disposition in which there was believed to be a natural preponderance of black bile over the other humours (blood, phlegm, and yellow bile), and which was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ (Aristotle 155, 953a, II. 10- 12). This link between genius and melancholy was given a special place in the work of Renaissance scholars, such as Robert Burton, who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association between melancholy and artistic genius remained a powerful one. <del style="font-weight: bold; text-decoration: none;">Numerous </del>artists and writers <del style="font-weight: bold; text-decoration: none;">in </del>the <del style="font-weight: bold; text-decoration: none;">sixteenth and seventeenth centuries </del>explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. Shakespeare is a case in point: Among the melancholic characters in his <del style="font-weight: bold; text-decoration: none;">canon</del>, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, to Jacques, reflecting on the seven ages of man in ''As You Like It'', as well as to Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (2.1.5).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy referred to a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a disposition in which there was believed to be a natural preponderance of black bile over the other humours (blood, phlegm, and yellow bile), and which was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic<ins style="font-weight: bold; text-decoration: none;">. At the same time, melancholy constituted a source of fascination for artists and writers, being seemingly accompanied by a touch of brilliance in those who displayed its symptoms</ins>. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ (Aristotle 155, 953a, II. 10- 12). This link between genius and melancholy was given a special place in the work of Renaissance scholars, such as Robert Burton<ins style="font-weight: bold; text-decoration: none;">, author of the ''Anatomy of Melancholy''</ins>, who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association between melancholy and artistic genius remained a powerful one. <ins style="font-weight: bold; text-decoration: none;">In the tradition of Aristotle, numerous </ins>artists and writers <ins style="font-weight: bold; text-decoration: none;">of </ins>the <ins style="font-weight: bold; text-decoration: none;">time </ins>explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. <ins style="font-weight: bold; text-decoration: none;">William </ins>Shakespeare is a case in point: Among the melancholic characters in his <ins style="font-weight: bold; text-decoration: none;">work</ins>, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, to Jacques, reflecting on the seven ages of man in ''As You Like It'', as well as to Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (2.1.5).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13537&oldid=prev Adina at 14:05, 8 May 2022 2022-05-08T14:05:42Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:05, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l2">Line 2:</td> <td colspan="2" class="diff-lineno">Line 2:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. "Book XXX." ''Problemata / Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard UP, 1965 [c.350 BC]. 154-81.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. "Book XXX." ''Problemata / Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard UP, 1965 [c. 350 BC]. 154-81.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13536&oldid=prev Adina at 14:05, 8 May 2022 2022-05-08T14:05:22Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:05, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l2">Line 2:</td> <td colspan="2" class="diff-lineno">Line 2:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. <del style="font-weight: bold; text-decoration: none;">'</del>Book XXX.<del style="font-weight: bold; text-decoration: none;">' </del>''Problemata <del style="font-weight: bold; text-decoration: none;">I </del>Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard UP, 1965 [c.350 BC]. 154-81.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. <ins style="font-weight: bold; text-decoration: none;">"</ins>Book XXX.<ins style="font-weight: bold; text-decoration: none;">" </ins>''Problemata <ins style="font-weight: bold; text-decoration: none;">/ </ins>Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard UP, 1965 [c.350 BC]. 154-81.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13535&oldid=prev Adina at 13:57, 8 May 2022 2022-05-08T13:57:33Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:57, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l2">Line 2:</td> <td colspan="2" class="diff-lineno">Line 2:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. 'Book XXX.' ''Problemata I Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard UP, <del style="font-weight: bold; text-decoration: none;">196S </del>[c.350 BC]. 154-81.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. 'Book XXX.' ''Problemata I Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard UP, <ins style="font-weight: bold; text-decoration: none;">1965 </ins>[c.350 BC]. 154-81.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13534&oldid=prev Adina at 13:56, 8 May 2022 2022-05-08T13:56:54Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:56, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy <del style="font-weight: bold; text-decoration: none;">represents </del>a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a <del style="font-weight: bold; text-decoration: none;">constitution that </del>was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ This link between genius and melancholy was given a special place in the work of Renaissance scholars such as Robert Burton, who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association between melancholy and artistic genius remained a powerful one. Numerous artists and writers in the sixteenth and seventeenth centuries explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. Shakespeare is a case in point<del style="font-weight: bold; text-decoration: none;">. </del>Among the melancholic characters in his canon, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, Jacques, reflecting on the seven ages of man in ''As You Like It'', as well as Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (<del style="font-weight: bold; text-decoration: none;">Act Two, scene </del>1).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy <ins style="font-weight: bold; text-decoration: none;">referred to </ins>a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a <ins style="font-weight: bold; text-decoration: none;">disposition in which there was believed to be a natural preponderance of black bile over the other humours (blood, phlegm, and yellow bile), and which </ins>was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ <ins style="font-weight: bold; text-decoration: none;">(Aristotle 155, 953a, II. 10- 12). </ins>This link between genius and melancholy was given a special place in the work of Renaissance scholars<ins style="font-weight: bold; text-decoration: none;">, </ins>such as Robert Burton, who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association between melancholy and artistic genius remained a powerful one. Numerous artists and writers in the sixteenth and seventeenth centuries explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. Shakespeare is a case in point<ins style="font-weight: bold; text-decoration: none;">: </ins>Among the melancholic characters in his canon, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, <ins style="font-weight: bold; text-decoration: none;">to </ins>Jacques, reflecting on the seven ages of man in ''As You Like It'', as well as <ins style="font-weight: bold; text-decoration: none;">to </ins>Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (<ins style="font-weight: bold; text-decoration: none;">2.</ins>1<ins style="font-weight: bold; text-decoration: none;">.5</ins>).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. 'Book XXX.' ''Problemata I Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard <del style="font-weight: bold; text-decoration: none;">University Press</del>, 196S [c.350 BC]. 154-81.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. 'Book XXX.' ''Problemata I Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge: Harvard <ins style="font-weight: bold; text-decoration: none;">UP</ins>, 196S [c.350 BC]. 154-81.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd. by Angus Gowland. London: Penguin, 2021 [1621].</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: <del style="font-weight: bold; text-decoration: none;">Cambridge UP</del>, 2021.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: <ins style="font-weight: bold; text-decoration: none;">CUP</ins>, 2021.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Shakespeare, William. ''Much Ado <del style="font-weight: bold; text-decoration: none;">about </del>Nothing''. London; New York: Penguin, 2005.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Shakespeare, William. ''Much Ado <ins style="font-weight: bold; text-decoration: none;">About </ins>Nothing''<ins style="font-weight: bold; text-decoration: none;">. Ed. R.A. Foakes</ins>. London; New York: Penguin, 2005.</div></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13533&oldid=prev Adina at 08:47, 8 May 2022 2022-05-08T08:47:22Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 08:47, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy represents a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a constitution that was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ This link between genius and melancholy was given a special place in the work of Renaissance scholars such as Robert Burton, who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association <del style="font-weight: bold; text-decoration: none;">with </del>artistic genius remained a powerful one. Numerous artists and writers in the sixteenth and seventeenth centuries explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. Shakespeare is a case in point. Among the melancholic characters in his canon, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, Jacques, reflecting on the seven ages of man in ''As You Like It'', as well as Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (Act Two, scene 1).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy represents a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile), a constitution that was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ This link between genius and melancholy was given a special place in the work of Renaissance scholars such as Robert Burton, who translated and reinterpreted Greek philosophical and medical texts. In Elizabethan England, melancholy retained its status as a highly fashionable albeit elusive malady, and the association <ins style="font-weight: bold; text-decoration: none;">between melancholy and </ins>artistic genius remained a powerful one. Numerous artists and writers in the sixteenth and seventeenth centuries explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. Shakespeare is a case in point. Among the melancholic characters in his canon, Hamlet – caught up in morbid philosophical ruminations – is perhaps the most famous one, but the condition can also be linked to love-sick Romeo, Jacques, reflecting on the seven ages of man in ''As You Like It'', as well as Don John and Benedick in ''Much Ado About Nothing'', who are described as being „of a very melancholic disposition“ (Act Two, scene 1).</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>  </table>

Adina https://el.rub.de/wiki/Brit-Cult/index.php?title=Melancholy&diff=13532&oldid=prev Adina at 08:45, 8 May 2022 2022-05-08T08:45:35Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 08:45, 8 May 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy represents a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile). In Elizabethan England, a <del style="font-weight: bold; text-decoration: none;">common, </del>fashionable <del style="font-weight: bold; text-decoration: none;">though </del>elusive malady, <del style="font-weight: bold; text-decoration: none;">associated </del>with <del style="font-weight: bold; text-decoration: none;">intellect and </del>artistic genius. Among the melancholic <del style="font-weight: bold; text-decoration: none;">figures of the day</del>, <del style="font-weight: bold; text-decoration: none;">Shakespeare's </del>Hamlet is perhaps the most famous, but the condition can also be linked to Romeo, Jacques in ''As You Like It'' as well as Don John and Benedick in ''Much Ado About Nothing''. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>One of the four temperaments in Greek ancient medicine, melancholy represents a disease of the mind, body and soul. The word 'melancholy' derives from the Greek word for the humour black bile (μελαν- dark,+ χολή bile)<ins style="font-weight: bold; text-decoration: none;">, a constitution that was linked to a host of symptoms including delusions, anxiety, griefs, phobia, stomach-aches, migraines, and skin rashes. While it was already discussed by the Father of Medicine, Hippocrates, melancholy reached its highest prominence during the sixteenth and seventeenth centuries, when the illness came to be perceived as a European epidemic. In ''Problems'' Pseudo-Aristotle had posed the question, "Why is it that all those men who have become extraordinary in philosophy, poetry or the arts are obviously melancholic?“ This link between genius and melancholy was given a special place in the work of Renaissance scholars such as Robert Burton, who translated and reinterpreted Greek philosophical and medical texts</ins>. In Elizabethan England, <ins style="font-weight: bold; text-decoration: none;">melancholy retained its status as </ins>a <ins style="font-weight: bold; text-decoration: none;">highly </ins>fashionable <ins style="font-weight: bold; text-decoration: none;">albeit </ins>elusive malady, <ins style="font-weight: bold; text-decoration: none;">and the association </ins>with artistic genius <ins style="font-weight: bold; text-decoration: none;">remained a powerful one. Numerous artists and writers in the sixteenth and seventeenth centuries explored the creative side of melancholy, while also stressing the inevitable pain and frustration that accompanied greatness. Shakespeare is a case in point</ins>. Among the melancholic <ins style="font-weight: bold; text-decoration: none;">characters in his canon</ins>, Hamlet <ins style="font-weight: bold; text-decoration: none;">– caught up in morbid philosophical ruminations – </ins>is perhaps the most famous <ins style="font-weight: bold; text-decoration: none;">one</ins>, but the condition can also be linked to <ins style="font-weight: bold; text-decoration: none;">love-sick </ins>Romeo, Jacques<ins style="font-weight: bold; text-decoration: none;">, reflecting on the seven ages of man </ins>in ''As You Like It''<ins style="font-weight: bold; text-decoration: none;">, </ins>as well as Don John and Benedick in ''Much Ado About Nothing''<ins style="font-weight: bold; text-decoration: none;">, who are described as being „of a very melancholic disposition“ (Act Two, scene 1)</ins>.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">tbc</del></div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Sources</del>:</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Aristotle. 'Book XXX.' ''Problemata I Problems II. Books XXII-XXXVIII''. Trans. W. S. Hett. Cambridge</ins>: <ins style="font-weight: bold; text-decoration: none;">Harvard University Press, 196S [c.350 BC]. 154-81.</ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">https://shakespeareandbeyond</del>.<del style="font-weight: bold; text-decoration: none;">folger</del>.<del style="font-weight: bold; text-decoration: none;">edu/</del>2021<del style="font-weight: bold; text-decoration: none;">/04/09/renaissance-melancholy-better-than-laughing/</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Burton, Robert. ''The Anatomy of Melancholy''. Ed. and introd</ins>. <ins style="font-weight: bold; text-decoration: none;">by Angus Gowland</ins>. <ins style="font-weight: bold; text-decoration: none;">London: Penguin, </ins>2021 <ins style="font-weight: bold; text-decoration: none;">[1621].</ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">https://www</del>.<del style="font-weight: bold; text-decoration: none;">bl</del>.<del style="font-weight: bold; text-decoration: none;">uk/collection-items/brights-treatise-of-melancholy-1586#</del>:<del style="font-weight: bold; text-decoration: none;">~:text=Melancholy%2C%20the%20'sadde%20and%20fearful</del>,<del style="font-weight: bold; text-decoration: none;">also%20refinement%20and%20male%20intellect</del>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Lund, Mary Ann</ins>. <ins style="font-weight: bold; text-decoration: none;">''A User's Guide to Melancholy''</ins>. <ins style="font-weight: bold; text-decoration: none;">Cambridge</ins>: <ins style="font-weight: bold; text-decoration: none;">Cambridge UP</ins>, <ins style="font-weight: bold; text-decoration: none;">2021</ins>.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Burton</del>, <del style="font-weight: bold; text-decoration: none;">Robert</del>. ''<del style="font-weight: bold; text-decoration: none;">The Anatomy of Melancholy</del>''<del style="font-weight: bold; text-decoration: none;">. 1621. Ed. and introd. by Angus Gowland</del>. London: Penguin, <del style="font-weight: bold; text-decoration: none;">2021.</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Shakespeare</ins>, <ins style="font-weight: bold; text-decoration: none;">William</ins>. ''<ins style="font-weight: bold; text-decoration: none;">Much Ado about Nothing</ins>''. London<ins style="font-weight: bold; text-decoration: none;">; New York</ins>: Penguin, <ins style="font-weight: bold; text-decoration: none;">2005</ins>.</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Lund, Mary Ann. ''A User's Guide to Melancholy''. Cambridge: Cambridge UP, 2021</del>.</div></td><td colspan="2" class="diff-side-added"></td></tr>  </table>

Adina