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Parts of the body are scattered throughout the literary and cultural texts of early modem Europe. The proliferation of social and symbolic practices of piecing out the body in the early modem period has generated a significant body of recent criticism about the logic of fragmentation. The fragmentation may be punitive dismemberment, pictorial isolation, poetic emblazoning, satirical biting, scientific categorizing, or medical anatomizing. But the body in parts is not always the body in pieces. Recent studies examine the ways in which social and psychic conditions of fragmentation were encoded in practices of bodily partitioning, they also examine the body that is constituted by a multiplicity of individuated organs. The extent to which aspects of culture were imagined to reside in, on, and about individual parts of the body in some of Shakespeare's plays is the subject of this essay.
Shakespeare's plays are filled with references to human entrails. While there are of course several plays in which the body's entrails and internal organs are barely mentioned, there are also in his plays quite a few works that are preoccupied with an imagination of the visceral interior of the human body. Troilus and Cress ida and Hamlet can be examined to understand Shakespeare's view of corporeal inwardness.
The dismemberment enacted and represented in Macbeth kills, but it also seems to allow for a resistance to the sort of moral and political closure that appears too easily to distinguish the good and the evil of the play. The witches open Macbeth to a break with his own moral values and eventually to a form of political rebellion. The play itself punishes that rebellion by branding Macbeth as evil, but it also enacts his fantasy of dismemberment, providing a more covert textual affirmation of this very destructive power.
Shakespeare's plays are filled with references to human entrails. While there are of course several plays in which the body's entrails and internal organs are barely mentioned, there are also in his plays quite a few works that are preoccupied with an imagination of the visceral interior of the human body. Troilus and Cress ida and Hamlet can be examined to understand Shakespeare's view of corporeal inwardness.
The dismemberment enacted and represented in Macbeth kills, but it also seems to allow for a resistance to the sort of moral and political closure that appears too easily to distinguish the good and the evil of the play. The witches open Macbeth to a break with his own moral values and eventually to a form of political rebellion. The play itself punishes that rebellion by branding Macbeth as evil, but it also enacts his fantasy of dismemberment, providing a more covert textual affirmation of this very destructive power.
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