In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbra... more In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbraids Samuel Parker, then Archdeacon of Canterbury, for his criticism of Marvell's former pamphlets. Disagreeing principally about the tolerance of religious dissenters, Marvell, in a vitriolic display of poetic wit, accuses Parker of various physiological and intellectual shortcomings that cause him to misinterpret Marvell's writing. Calling Parker "a meer Word-pecker," Marvell address his political advisory's arrogance and corrupt humoral disposition: You have contrary to all Architecture and good Oeconomy made a Snowhouse in your upper Room: which indeed was Philosophically done of you, seeing you bear your head so high as if it were in or above the middle Region, and so you thought it secure from melting. But you did not at the same time consider that your Brain is so hot, that the Wit is dissolv'd by it, and is always dripping away at the Icicles of your Nose. But it freezes again I confess as soon as it falls down, and hence it proceeds that there is no passage in my Book, deep or shallow, but with a chill and key-cold conceit you can ice it in a moment, and slide shere over it without scratches.
In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbra... more In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbraids Samuel Parker, then Archdeacon of Canterbury, for his criticism of Marvell's former pamphlets. Disagreeing principally about the tolerance of religious dissenters, Marvell, in a vitriolic display of poetic wit, accuses Parker of various physiological and intellectual shortcomings that cause him to misinterpret Marvell's writing. Calling Parker "a meer Word-pecker," Marvell address his political advisory's arrogance and corrupt humoral disposition: You have contrary to all Architecture and good Oeconomy made a Snowhouse in your upper Room: which indeed was Philosophically done of you, seeing you bear your head so high as if it were in or above the middle Region, and so you thought it secure from melting. But you did not at the same time consider that your Brain is so hot, that the Wit is dissolv'd by it, and is always dripping away at the Icicles of your Nose. But it freezes again I confess as soon as it falls down, and hence it proceeds that there is no passage in my Book, deep or shallow, but with a chill and key-cold conceit you can ice it in a moment, and slide shere over it without scratches.
PMLA/Publications of the Modern Language Association of America
The conceptual foundations of ecology were laid in the seventeenth century by the natural philoso... more The conceptual foundations of ecology were laid in the seventeenth century by the natural philosopher Kenelm Digby, when he developed the idea of “the oeconomy of nature.” Digby transformed the practical agrarian discourse of “natural oeconomy” (household management), which links human beings to their environments, into the natural-philosophical concept of the oeconomy of nature. Using the oeconomic values of thrift, regularity, and efficient dispensation to conceptualize natural processes, Digby projected a human institution, with all its ideological baggage, onto the natural world. But, for Digby, closely observing nonhuman creatures in the framework of oeconomy opened up the more radical possibility of a decentered system, in which each creature is a potential householder, each the center of its own oeconomy of nature.
at Boulder in 2012, and in 2013 he joined the faculty at Lewis and Clark State College in Lewisto... more at Boulder in 2012, and in 2013 he joined the faculty at Lewis and Clark State College in Lewiston, Idaho. So he's part of our wonderful collection of Idaho Scholars Talks around Shakespeare's first folio during the month that we have it here. Dr. Remien teaches a wide variety of courses at Lewis and Clark State College although in his heart and in his research is primarily a scholar of 17th century English literature and he gets pressed into duty to teach Medieval Literature and Shakespeare, of course. But also first year writing and British Literature survey courses and a wide variety of courses for the students at Lewis and Clark State College. In the short time that since he's completed his Ph.D. work he has been incredibly active and prolific scholar, publishing in a number of really impressive venues, including Spencer Studies, ISLE Interdisciplinary Studies in Literature and the Environment, Studies in Philology, Modern Philology, and he was telling me on the way over
My dissertation focuses on the development of the proto-ecological concept of “the oeconomy of na... more My dissertation focuses on the development of the proto-ecological concept of “the oeconomy of nature” in works of literature and natural philosophy of the sixteenth and seventeenth centuries. Tracing interconnections between the discourse of estate management and the rhetoric of natural philosophy, I find that “oeconomy” (the early modern art of household management) provides a conceptual vocabulary through which thinkers understood the natural world as a self-regulating system made up of independent agents. Through readings of Edmund Spenser, Ben Jonson, George Herbert, Kenelm Digby, Margaret Cavendish, and John Milton, my dissertation challenges recent accounts of early modern environmental thought by highlighting the historicity of concepts such as “ecology” and “environment” and by unearthing an alternative terminology that early modern thinkers used to understand the material world. The first three chapters trace a genealogy of the oeconomy of nature in the writings of natural...
The Concept of Nature in Early Modern English Literature, 2019
In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbra... more In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbraids Samuel Parker, then Archdeacon of Canterbury, for his criticism of Marvell's former pamphlets. Disagreeing principally about the tolerance of religious dissenters, Marvell, in a vitriolic display of poetic wit, accuses Parker of various physiological and intellectual shortcomings that cause him to misinterpret Marvell's writing. Calling Parker "a meer Word-pecker," Marvell address his political advisory's arrogance and corrupt humoral disposition: You have contrary to all Architecture and good Oeconomy made a Snowhouse in your upper Room: which indeed was Philosophically done of you, seeing you bear your head so high as if it were in or above the middle Region, and so you thought it secure from melting. But you did not at the same time consider that your Brain is so hot, that the Wit is dissolv'd by it, and is always dripping away at the Icicles of your Nose. But it freezes again I confess as soon as it falls down, and hence it proceeds that there is no passage in my Book, deep or shallow, but with a chill and key-cold conceit you can ice it in a moment, and slide shere over it without scratches.
This article considers how authors adapted the genre of the seventeenth-century country house poe... more This article considers how authors adapted the genre of the seventeenth-century country house poem in order to reconcile the rise of merchant trade with feudal economic models resistant to the importation of foreign luxury goods. After a survey of examples illuminating a shift in the country house poem's attitude toward foreign trade, I focus on how in "A Peppercorn or Small Rent" Mildmay Fane uses this shift to reconceptualize the roles of both poet and poem in the economy of literature. By titling his poem "A Peppercorn" (an imported commodity excluded from earlier examples of the genre), Fane highlights the fact that works of literature, like foreign luxury goods, circulate in the marketplace. While the country house poem is typically understood as a genre emblematic of the patronage relations underlying its creation, Fane points to the fact that the future of literary production may lie less in the poet's ability to court patrons than in the poem's status as a commodity. Fane's poem, therefore, exemplifies an ideological shift with implications not only for the economics of foreign trade, but also for how literature circulates in society.
The seventeenth-century country house poem is an exceedingly carnivorous genre; Raymond Williams ... more The seventeenth-century country house poem is an exceedingly carnivorous genre; Raymond Williams famously describes it as based on a “natural order” that is “simply and decisively on its way to table.” Poems in the vein of Jonson’s “To Penshurst” ðca. 1612Þ and Carew’s “To Saxham” ðca. 1631–32Þ serve up copious platters of edible creatures, ceaselessly creeping, swimming, and flying toward the open mouth-like gates of the eponymous estates. It is difficult to reconcile this bloodshed with the ideals of balance, harmony, and ðostensiblyÞ prelapsarian innocence at the genre’s core, particularly given the absence of carnivorousness in the biblical Eden. In Genesis, it is not until after the flood, with the establishment of the “Noahic Covenant,” that God would sanction the human consumption of animal flesh. This article highlights the centrality of the biblical account of the flood, as it was translated and interpreted by early modern readers, to the country house poem’s representation of the relationship between humans and animals. Reading the flood as ðamong other thingsÞ
2 "To My Muse," 15-16. 3 Ibid., 2. 4 Jonson has long been understood as a critic of the society i... more 2 "To My Muse," 15-16. 3 Ibid., 2. 4 Jonson has long been understood as a critic of the society in which he lived. In his 5 Jonson was among the most successful professional authors of his time.
This article considers the significance of two competing versions of matter represented in the op... more This article considers the significance of two competing versions of matter represented in the opening canto of The Faerie Queene. The first, given shape in the tree catalogue (I.i.8–9), introduces the perspective of instrumental materialism (associated with the Greek hyle): the idea that matter comprises a vast storehouse of resources for human use. The second, dramatized by the Redcrosse Knight’s ensuing battle with the monster Errour (I.i.14–26), embodies chaotic matter (associated with the Latin materia), which subverts the instrumental by highlighting matter’s resistance to fixed form, along with the human subject’s entanglement in the material world. Taken together, these episodes demonstrate how the failure of instrumentality reconfigures humankind’s relationship with the material world; the economic tenor of the tree catalogue gives way to the grotesque ecology of Errour. I argue that Spenser utilizes these two versions of matter to embody the problem of literary production at this opening juncture of his epic. While one version offers a link to the literary past (even as it threatens sterile imitation), the other embodies the promise of creating something new, while highlighting the danger of chaotic formlessness.
Interdisciplinary Studies in Literature and Environment, 2013
Ecocriticsm has remained curiously landlocked given that water covers approximately seventy perce... more Ecocriticsm has remained curiously landlocked given that water covers approximately seventy percent of the Earth's surface. It is precisely this "terrestrial bias" (18) that Dan Brayton seeks to remedy in his monograph Shakespeare's Ocean: An Ecocritical Exploration. Against dangerous notions of the ocean's infinitude and timelessness, Brayton asserts that Shakespeare's representations of the global ocean and its inhabitants bespeak a "profound ontological relationship between humanity and the sea that is not merely metaphorical but material" (4-5). The ocean not only surrounds us, Brayton observes, it also mirrors the composition of our bodies, which contain approximately the same ratio of water as the Earth itself. Considering an array of Shakespeare's works, ranging from The Rape of Lucrece to The Tempest, Brayton explores the profound depths of Shakespeare's maritime imagination. For Shakespeare, the ocean evokes a "plasticity of meaning" (9)-at once characterized by both "magical otherness" and "strange familiarity" (201). Brayton's book is rigorously historical, drawing upon early modern maritime law, the development of the global fish market, sixteenth-century cartography, and historical perceptions of marine mammals to contextualize and redirect our understanding of Shakespeare's works. Balancing this historicism is an awareness of modern marine ecology, adroitly integrated through personal anecdotes and disquieting narratives about threats facing ocean life in the early twenty-first century. The effect is to lend a sense of urgency to Brayton's analysis of Shakespeare's world, and to transform literary criticism into a call to action. Brayton's book stands not only as a significant contribution to Shakespeare scholarship, but also as a manifesto and model for a "terraqueous ecocriticsm" (199). The chapters of Shakespeare's Ocean are arranged thematically, each building upon the insights of the last. In Chapter 1, Brayton opens with a trenchant critique of the conceptual metaphorics ecocritics have used to ground our subjects of inquiry. He argues that the ecocritical focus on green literary studies, coupled with our obsession with the land, proscribes our ability to see the larger, more aqueous environment that surrounds us: "the emblematic color of environmentalism and ecocritical inquiry imposes a categorical limitation on scholarly discourse" (38). Brayton would have us ask, does Aldo Leopold's celebrated "land ethic" apply also to the ocean? The sharp and well contextualized analysis of Shakespeare's works that Brayton develops in the ensuring chapters serves as a model for what a bluer version of ecocriticsm might look like. Having opened with a terminological critique, Brayton is extremely careful in his conceptual vocabulary, using such novel phrases as "benthic imagination" (68) and "figurative fishmongering" (145) to highlight Shakespeare's complex engagement with the sea. Reading this book, we are constantly reminded of how language, often unconsciously, shapes our perceptions, illuminating certain ideas while blinding us to others. Brayton begins this textual analysis in Chapter 2 with a consideration of how the semantic ambiguity of Shakespeare's crabs both foregrounds and subverts how the European imagination figures the sea as a place of radical alteriority. This ambiguity, embodied most fully in the character Caliban, bespeaks the epistemological uncertainty surrounding the sea. Chapter 3, "Shakespeare's Benthic Imagination," considers how the ocean's floor, both beautiful and terrifying, represents for Shakespeare the depths of human subjectivity. This chapter is notable for its benthic interpretation of Hamlet's famously elusive interiority: "Hamlet's wildness manifests itself in a kind of oceanic subjectivity
In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbra... more In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbraids Samuel Parker, then Archdeacon of Canterbury, for his criticism of Marvell's former pamphlets. Disagreeing principally about the tolerance of religious dissenters, Marvell, in a vitriolic display of poetic wit, accuses Parker of various physiological and intellectual shortcomings that cause him to misinterpret Marvell's writing. Calling Parker "a meer Word-pecker," Marvell address his political advisory's arrogance and corrupt humoral disposition: You have contrary to all Architecture and good Oeconomy made a Snowhouse in your upper Room: which indeed was Philosophically done of you, seeing you bear your head so high as if it were in or above the middle Region, and so you thought it secure from melting. But you did not at the same time consider that your Brain is so hot, that the Wit is dissolv'd by it, and is always dripping away at the Icicles of your Nose. But it freezes again I confess as soon as it falls down, and hence it proceeds that there is no passage in my Book, deep or shallow, but with a chill and key-cold conceit you can ice it in a moment, and slide shere over it without scratches.
In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbra... more In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbraids Samuel Parker, then Archdeacon of Canterbury, for his criticism of Marvell's former pamphlets. Disagreeing principally about the tolerance of religious dissenters, Marvell, in a vitriolic display of poetic wit, accuses Parker of various physiological and intellectual shortcomings that cause him to misinterpret Marvell's writing. Calling Parker "a meer Word-pecker," Marvell address his political advisory's arrogance and corrupt humoral disposition: You have contrary to all Architecture and good Oeconomy made a Snowhouse in your upper Room: which indeed was Philosophically done of you, seeing you bear your head so high as if it were in or above the middle Region, and so you thought it secure from melting. But you did not at the same time consider that your Brain is so hot, that the Wit is dissolv'd by it, and is always dripping away at the Icicles of your Nose. But it freezes again I confess as soon as it falls down, and hence it proceeds that there is no passage in my Book, deep or shallow, but with a chill and key-cold conceit you can ice it in a moment, and slide shere over it without scratches.
PMLA/Publications of the Modern Language Association of America
The conceptual foundations of ecology were laid in the seventeenth century by the natural philoso... more The conceptual foundations of ecology were laid in the seventeenth century by the natural philosopher Kenelm Digby, when he developed the idea of “the oeconomy of nature.” Digby transformed the practical agrarian discourse of “natural oeconomy” (household management), which links human beings to their environments, into the natural-philosophical concept of the oeconomy of nature. Using the oeconomic values of thrift, regularity, and efficient dispensation to conceptualize natural processes, Digby projected a human institution, with all its ideological baggage, onto the natural world. But, for Digby, closely observing nonhuman creatures in the framework of oeconomy opened up the more radical possibility of a decentered system, in which each creature is a potential householder, each the center of its own oeconomy of nature.
at Boulder in 2012, and in 2013 he joined the faculty at Lewis and Clark State College in Lewisto... more at Boulder in 2012, and in 2013 he joined the faculty at Lewis and Clark State College in Lewiston, Idaho. So he's part of our wonderful collection of Idaho Scholars Talks around Shakespeare's first folio during the month that we have it here. Dr. Remien teaches a wide variety of courses at Lewis and Clark State College although in his heart and in his research is primarily a scholar of 17th century English literature and he gets pressed into duty to teach Medieval Literature and Shakespeare, of course. But also first year writing and British Literature survey courses and a wide variety of courses for the students at Lewis and Clark State College. In the short time that since he's completed his Ph.D. work he has been incredibly active and prolific scholar, publishing in a number of really impressive venues, including Spencer Studies, ISLE Interdisciplinary Studies in Literature and the Environment, Studies in Philology, Modern Philology, and he was telling me on the way over
My dissertation focuses on the development of the proto-ecological concept of “the oeconomy of na... more My dissertation focuses on the development of the proto-ecological concept of “the oeconomy of nature” in works of literature and natural philosophy of the sixteenth and seventeenth centuries. Tracing interconnections between the discourse of estate management and the rhetoric of natural philosophy, I find that “oeconomy” (the early modern art of household management) provides a conceptual vocabulary through which thinkers understood the natural world as a self-regulating system made up of independent agents. Through readings of Edmund Spenser, Ben Jonson, George Herbert, Kenelm Digby, Margaret Cavendish, and John Milton, my dissertation challenges recent accounts of early modern environmental thought by highlighting the historicity of concepts such as “ecology” and “environment” and by unearthing an alternative terminology that early modern thinkers used to understand the material world. The first three chapters trace a genealogy of the oeconomy of nature in the writings of natural...
The Concept of Nature in Early Modern English Literature, 2019
In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbra... more In his polemical prose treatise The Rehearsall Transpros'd: The Second Part, Andrew Marvell upbraids Samuel Parker, then Archdeacon of Canterbury, for his criticism of Marvell's former pamphlets. Disagreeing principally about the tolerance of religious dissenters, Marvell, in a vitriolic display of poetic wit, accuses Parker of various physiological and intellectual shortcomings that cause him to misinterpret Marvell's writing. Calling Parker "a meer Word-pecker," Marvell address his political advisory's arrogance and corrupt humoral disposition: You have contrary to all Architecture and good Oeconomy made a Snowhouse in your upper Room: which indeed was Philosophically done of you, seeing you bear your head so high as if it were in or above the middle Region, and so you thought it secure from melting. But you did not at the same time consider that your Brain is so hot, that the Wit is dissolv'd by it, and is always dripping away at the Icicles of your Nose. But it freezes again I confess as soon as it falls down, and hence it proceeds that there is no passage in my Book, deep or shallow, but with a chill and key-cold conceit you can ice it in a moment, and slide shere over it without scratches.
This article considers how authors adapted the genre of the seventeenth-century country house poe... more This article considers how authors adapted the genre of the seventeenth-century country house poem in order to reconcile the rise of merchant trade with feudal economic models resistant to the importation of foreign luxury goods. After a survey of examples illuminating a shift in the country house poem's attitude toward foreign trade, I focus on how in "A Peppercorn or Small Rent" Mildmay Fane uses this shift to reconceptualize the roles of both poet and poem in the economy of literature. By titling his poem "A Peppercorn" (an imported commodity excluded from earlier examples of the genre), Fane highlights the fact that works of literature, like foreign luxury goods, circulate in the marketplace. While the country house poem is typically understood as a genre emblematic of the patronage relations underlying its creation, Fane points to the fact that the future of literary production may lie less in the poet's ability to court patrons than in the poem's status as a commodity. Fane's poem, therefore, exemplifies an ideological shift with implications not only for the economics of foreign trade, but also for how literature circulates in society.
The seventeenth-century country house poem is an exceedingly carnivorous genre; Raymond Williams ... more The seventeenth-century country house poem is an exceedingly carnivorous genre; Raymond Williams famously describes it as based on a “natural order” that is “simply and decisively on its way to table.” Poems in the vein of Jonson’s “To Penshurst” ðca. 1612Þ and Carew’s “To Saxham” ðca. 1631–32Þ serve up copious platters of edible creatures, ceaselessly creeping, swimming, and flying toward the open mouth-like gates of the eponymous estates. It is difficult to reconcile this bloodshed with the ideals of balance, harmony, and ðostensiblyÞ prelapsarian innocence at the genre’s core, particularly given the absence of carnivorousness in the biblical Eden. In Genesis, it is not until after the flood, with the establishment of the “Noahic Covenant,” that God would sanction the human consumption of animal flesh. This article highlights the centrality of the biblical account of the flood, as it was translated and interpreted by early modern readers, to the country house poem’s representation of the relationship between humans and animals. Reading the flood as ðamong other thingsÞ
2 "To My Muse," 15-16. 3 Ibid., 2. 4 Jonson has long been understood as a critic of the society i... more 2 "To My Muse," 15-16. 3 Ibid., 2. 4 Jonson has long been understood as a critic of the society in which he lived. In his 5 Jonson was among the most successful professional authors of his time.
This article considers the significance of two competing versions of matter represented in the op... more This article considers the significance of two competing versions of matter represented in the opening canto of The Faerie Queene. The first, given shape in the tree catalogue (I.i.8–9), introduces the perspective of instrumental materialism (associated with the Greek hyle): the idea that matter comprises a vast storehouse of resources for human use. The second, dramatized by the Redcrosse Knight’s ensuing battle with the monster Errour (I.i.14–26), embodies chaotic matter (associated with the Latin materia), which subverts the instrumental by highlighting matter’s resistance to fixed form, along with the human subject’s entanglement in the material world. Taken together, these episodes demonstrate how the failure of instrumentality reconfigures humankind’s relationship with the material world; the economic tenor of the tree catalogue gives way to the grotesque ecology of Errour. I argue that Spenser utilizes these two versions of matter to embody the problem of literary production at this opening juncture of his epic. While one version offers a link to the literary past (even as it threatens sterile imitation), the other embodies the promise of creating something new, while highlighting the danger of chaotic formlessness.
Interdisciplinary Studies in Literature and Environment, 2013
Ecocriticsm has remained curiously landlocked given that water covers approximately seventy perce... more Ecocriticsm has remained curiously landlocked given that water covers approximately seventy percent of the Earth's surface. It is precisely this "terrestrial bias" (18) that Dan Brayton seeks to remedy in his monograph Shakespeare's Ocean: An Ecocritical Exploration. Against dangerous notions of the ocean's infinitude and timelessness, Brayton asserts that Shakespeare's representations of the global ocean and its inhabitants bespeak a "profound ontological relationship between humanity and the sea that is not merely metaphorical but material" (4-5). The ocean not only surrounds us, Brayton observes, it also mirrors the composition of our bodies, which contain approximately the same ratio of water as the Earth itself. Considering an array of Shakespeare's works, ranging from The Rape of Lucrece to The Tempest, Brayton explores the profound depths of Shakespeare's maritime imagination. For Shakespeare, the ocean evokes a "plasticity of meaning" (9)-at once characterized by both "magical otherness" and "strange familiarity" (201). Brayton's book is rigorously historical, drawing upon early modern maritime law, the development of the global fish market, sixteenth-century cartography, and historical perceptions of marine mammals to contextualize and redirect our understanding of Shakespeare's works. Balancing this historicism is an awareness of modern marine ecology, adroitly integrated through personal anecdotes and disquieting narratives about threats facing ocean life in the early twenty-first century. The effect is to lend a sense of urgency to Brayton's analysis of Shakespeare's world, and to transform literary criticism into a call to action. Brayton's book stands not only as a significant contribution to Shakespeare scholarship, but also as a manifesto and model for a "terraqueous ecocriticsm" (199). The chapters of Shakespeare's Ocean are arranged thematically, each building upon the insights of the last. In Chapter 1, Brayton opens with a trenchant critique of the conceptual metaphorics ecocritics have used to ground our subjects of inquiry. He argues that the ecocritical focus on green literary studies, coupled with our obsession with the land, proscribes our ability to see the larger, more aqueous environment that surrounds us: "the emblematic color of environmentalism and ecocritical inquiry imposes a categorical limitation on scholarly discourse" (38). Brayton would have us ask, does Aldo Leopold's celebrated "land ethic" apply also to the ocean? The sharp and well contextualized analysis of Shakespeare's works that Brayton develops in the ensuring chapters serves as a model for what a bluer version of ecocriticsm might look like. Having opened with a terminological critique, Brayton is extremely careful in his conceptual vocabulary, using such novel phrases as "benthic imagination" (68) and "figurative fishmongering" (145) to highlight Shakespeare's complex engagement with the sea. Reading this book, we are constantly reminded of how language, often unconsciously, shapes our perceptions, illuminating certain ideas while blinding us to others. Brayton begins this textual analysis in Chapter 2 with a consideration of how the semantic ambiguity of Shakespeare's crabs both foregrounds and subverts how the European imagination figures the sea as a place of radical alteriority. This ambiguity, embodied most fully in the character Caliban, bespeaks the epistemological uncertainty surrounding the sea. Chapter 3, "Shakespeare's Benthic Imagination," considers how the ocean's floor, both beautiful and terrifying, represents for Shakespeare the depths of human subjectivity. This chapter is notable for its benthic interpretation of Hamlet's famously elusive interiority: "Hamlet's wildness manifests itself in a kind of oceanic subjectivity
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