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Shakespeare's Representation of Weather, Climate and EnvironmentThe Early Modern 'Fated Sky'$
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Sophie Chiari

Print publication date: 2019

Print ISBN-13: 9781474442527

Published to Edinburgh Scholarship Online: September 2019

DOI: 10.3366/edinburgh/9781474442527.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 17 September 2021

Conclusion: ‘Under heaven’s eye’

Conclusion: ‘Under heaven’s eye’

Chapter:
(p.256) Conclusion: ‘Under heaven’s eye’
Source:
Shakespeare's Representation of Weather, Climate and Environment
Author(s):

Sophie Chiari

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474442527.003.0009

This General Conclusion argues that Shakespeare’s stance was of course not that of a would-be scientist, since what he was interested in was the representation of climate and its possible effects on a theatrical audience rather than trying to define its possible causes. To him, the various climatic manifestations and environmental phenomena were the ‘objective correlatives’ of his characters’ actions and emotions. The technical means then available served to reinforce these manifestations and turned them into material sensations that could instil surprise, terror or admiration in the spectators’ minds. In Shakespeare’s plays, climate/klima is to be taken as a liminal space that reveals tensions, anxieties, expectations, and oppositions. It is up to the present-day directors to turn this threshold zone into a dramatic locus where the trajectories, or fates, of the various dramatis personae may ultimately be grasped and mapped.

Keywords:   classical literature, popular knowledge, natural philosophy, weather correlates, Aristotle, Descartes, Locke, sensations, empiricism

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