Book contents
- Frontmatter
- Contents
- Preface
- List of Publications by Professor Marta Gibińska
- Part I
- The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays
- Shakespeare, Malory and The Sousing of Sir Dagonet
- Wrath and Anger in the Time of Shakespeare
- The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation
- Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
- Multicultural Shakespeare on the Contemporary Stage
- The Multifarious Times of One Body
- “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
- Rosalind's Robe: Who Is Who, or Shakespeare à la française
- “Music to hear …”: On Translating Sonnet VIII by William Shakespeare
- Part II
Wrath and Anger in the Time of Shakespeare
from Part I
Published online by Cambridge University Press: 05 September 2014
- Frontmatter
- Contents
- Preface
- List of Publications by Professor Marta Gibińska
- Part I
- The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays
- Shakespeare, Malory and The Sousing of Sir Dagonet
- Wrath and Anger in the Time of Shakespeare
- The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation
- Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
- Multicultural Shakespeare on the Contemporary Stage
- The Multifarious Times of One Body
- “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
- Rosalind's Robe: Who Is Who, or Shakespeare à la française
- “Music to hear …”: On Translating Sonnet VIII by William Shakespeare
- Part II
Summary
Introductory considerations: zooming in on the data
Wrath and anger are certainly not the feelings I associate with Marta Gibińska. But they are important elements in the English emotion lexicon, which has become my pet subject in the last few years. It might be argued, of course, that I could equally well write about joy and happiness, but negative emotions (and the words denoting them) happen to be more interesting. It seems that in all known languages the vocabulary for negative emotions is richer than that for positive ones (Averill 1980, Nöth 1992).
Given Marta's standing as a noted Shakespearean, I had hoped to deal with wrath and anger in both Shakespeare and his contemporaries, but unfortunately the subject has proved too vast. I decided to concentrate on Shakespeare's contemporaries, because in this particular case knowledge of Shakespeare's contemporaries seems a prerequisite for understanding Shakespeare rather than vice versa. What I can say about Shakespeare at the moment, sad to say, finds room in a small table which will appear at the end.
Wrath and anger deserve our special interest because the semantic difference between the two words is unlike the difference which we can observe in other European languages. Wrath has been defined as “intense anger” (Johnson-Laird and Oatley 1989: 121). Other European languages distinguish similarly between degrees of anger: gniew and złość, Zorn and Ärger. But while the difference between gniew and złość seems to be much the same as that between Zorn and Ärger, that between wrath and anger is clearly not the same. Most of English anger cannot be translated as Ärger.
- Type
- Chapter
- Information
- Eyes to Wonder, Tongue to PraiseVolume in Honour of Professor Marta Gibińska, pp. 57 - 70Publisher: Jagiellonian University PressPrint publication year: 2012