{"id":37366,"date":"2016-09-09T12:45:49","date_gmt":"2016-09-09T11:45:49","guid":{"rendered":"https:\/\/blogs.bmj.com\/bmj\/?p=37366"},"modified":"2016-09-09T12:45:49","modified_gmt":"2016-09-09T11:45:49","slug":"jeffrey-aronson-when-i-use-a-word-mind-your-temper","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/bmj\/2016\/09\/09\/jeffrey-aronson-when-i-use-a-word-mind-your-temper\/","title":{"rendered":"Jeffrey Aronson: When I use a word . . . Mind your temper"},"content":{"rendered":"<p><a href=\"https:\/\/blogs.bmj.com\/bmj\/files\/2014\/12\/jeffrey_aronson.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-32935\" src=\"https:\/\/blogs.bmj.com\/bmj\/files\/2014\/12\/jeffrey_aronson-223x300.jpg\" alt=\"jeffrey_aronson\" width=\"92\" height=\"124\" srcset=\"https:\/\/blogs.bmj.com\/bmj\/files\/2014\/12\/jeffrey_aronson-223x300.jpg 223w, https:\/\/blogs.bmj.com\/bmj\/files\/2014\/12\/jeffrey_aronson.jpg 446w\" sizes=\"auto, (max-width: 92px) 100vw, 92px\" \/><\/a>According to Galen, whose views influenced the practice of medicine for hundreds of years, each of the four fluid <a href=\"https:\/\/blogs.bmj.com\/bmj\/2016\/09\/02\/jeffrey-aronson-when-i-use-a-word-humours-and-humour\/\">humours<\/a> of the body, \u03b1\u1f37\u03bc\u03b1, blood, \u03c6\u03bb\u03ad\u03b3\u03bc\u03b1, phlegm, \u03c7\u03bf\u03bb\u03ae, [yellow] bile, and \u03bc\u03ad\u03bb\u03b1\u03b9\u03bd\u03b1 \u03c7\u03bf\u03bb\u03ae, black bile, was associated with a mood, called a temperament: sanguine (optimistic), phlegmatic (stoical), choleric (irascible), and melancholic (depressive). Others described <a href=\"https:\/\/www.ncbi.nlm.nih.gov\/pubmed\/16075496\">other bodily fluids as humours<\/a>, but Galen\u2019s account became the universal standard.<\/p>\n<p>Galen described this analysis in his book \u03a0\u03b5\u03c1\u03af \u03ba\u03c1\u03ac\u03c3\u03b5\u03c9\u03bd. The Greek verb <em>\u03ba\u03b5\u03c1\u03b1\u03bd\u03bd\u03cd\u03bd\u03b1\u03b9<\/em>\u00a0meant to mix or blend, often applied to wine and water, and hence to cool by mixing, or to temper.<!--more--> The related noun was \u03ba\u03c1\u1fb6\u03c3\u03b9\u03c2, and so Galen\u2019s title meant <em>On Blending Fluids<\/em>. The word could also mean climate, particularly if temperate, or the temperature of the air, and also temperament of the body or mind. Crasis in English originally meant the blending of humours in the body that determined one&#8217;s state of health or disease. It was later used by grammarians to describe the combination of the vowels of two syllables into one long vowel or diphthong, as sometimes occurred in ancient Greek.<\/p>\n<p>The title of Galen\u2019s text in Latin was <em>De Temperamentis<\/em>, since temperamentum meant the same as \u03ba\u03c1\u1fb6\u03c3\u03b9\u03c2. The IndoEuropean root TEMP was an extended form of TEN, to stretch. Tempus in Latin meant both time, which stretches out behind and before us, and the temple of the head, where the skin is tightly stretched. \u201cTemporal\u201d describes both, although \u201ctemporary\u201d relates only to the former. TEMP also gave the Greek word \u03c4\u1fb0\u03c0\u03ae\u03c4\u03b9\u03bf\u03bd, a diminutive of\u00a0\u03c4\u03ac\u03c0\u03b7\u03c2, a woven cloth, whose production involved stretching the fabric over a loom. The Latin word was tapetum, which gave the French tapis, a carpet, and the English tapestry, originally tapissery. Taffeta is from the Persian taftan, to twist or weave.<\/p>\n<p>Temperare\u00a0in classical Latin meant to mix in good proportions. Bach\u2019s <em>Well-Tempered Clavier<\/em> was tuned in equal proportions, and a good temperament was one in which the four humours were in perfect balance. In postclassical times distemperare meant to mix disproportionately and hence to soak or macerate; distemper is used to paint in tempera. Distemper also meant a disordered condition of the body, ill health, or disease. Claudius tells Gertrude (<em>Hamlet<\/em>, Act 2, Scene 2) that Polonius has found \u201cThe head and source of all your son\u2019s distemper\u201d, but she already knows: \u201cI doubt it is no other but . . . His father\u2019s death and our o&#8217;erhasty marriage.\u201d Distemper now usually describes a disease of dogs.<\/p>\n<p>The four movements of Carl Nielsen\u2019s <a href=\"http:\/\/americansymphony.org\/symphony-no-2-de-fire-temperamenter-the-four-temperaments-op-16-1901-02\/\">second symphony<\/a>, subtitled \u201cThe Four Temperaments\u201d (Op. 16, 1901\u20132), which he dedicated to Busoni, are Allegro collerico, Allegro comodo e flemmatico, Andante malincolico, and Allegro sanguineo. Paul Hindemith\u2019s <em>The Four Temperaments<\/em>, on which Diaghilev based a ballet, has five movements, a theme, and four variations: Melancholic, Sanguinic, Phlegmatic, and Choleric.<\/p>\n<p>Emil Zola wrote, in the preface to the second French edition of his novel <em>Th\u00e9r\u00e8se Raquin<\/em>, \u201cI have sought to study temperaments and not characters. In that lies the entire book. I have selected personages sovereignly dominated by their nerves and their blood, destitute of free will, led at each act of their life by the fatalities of their flesh.\u201d<\/p>\n<p>In <em>Tristram Shandy<\/em>, Lawrence Sterne describes his alter ego, the parson Yorick, whose family was, he says, of Danish extraction, although Yorick \u201cseem\u2019d not to have had one single drop of <em>Danish<\/em> blood in his whole crasis; in nine hundred years, it might possibly have all run out . . . The fact was this:\u2015That instead of that cold phlegm and exact regularity of sense and humours, you would have looked for, in one so extracted;\u2015he was, on the contrary, as mercurial and sublimated a composition,\u2015as heteroclite a creature in all his declensions;\u2015with such life and whim, and <em>gait\u00e9 de coeur<\/em> about him, as the kindliest climate could have engendered and put together.\u201d Heteroclite meant eccentric but was also used grammatically to describe words that were irregularly or anomalously declined or inflected. Thus Sterne extracts linguistic humour from the temperamental humours.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-37375 \" src=\"https:\/\/blogs.bmj.com\/bmj\/files\/2016\/09\/aronson_temper.png\" alt=\"aronson_temper\" width=\"470\" height=\"329\" srcset=\"https:\/\/blogs.bmj.com\/bmj\/files\/2016\/09\/aronson_temper.png 562w, https:\/\/blogs.bmj.com\/bmj\/files\/2016\/09\/aronson_temper-300x210.png 300w\" sizes=\"auto, (max-width: 470px) 100vw, 470px\" \/><\/p>\n<p>Corporal Trim reads out a sermon by Yorick at Shandy Hall (<em>Tristram Shandy<\/em>, Book II, Chapter XVII). Sterne&#8217;s Sermons and <em>A Sentimental Journey Through France and Italy<\/em> were both published under the pseudonym of Yorick.<\/p>\n<p><em><strong>Jeffrey Aronson<\/strong> is a clinical pharmacologist, working in the Centre for Evidence Based Medicine in Oxford&#8217;s Nuffield Department of Primary Care Health Sciences. He is also president emeritus of the British Pharmacological Society.<\/em><\/p>\n<p><strong>Competing interests:<\/strong>\u00a0None declared.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>According to Galen, whose views influenced the practice of medicine for hundreds of years, each of the four fluid humours of the body, \u03b1\u1f37\u03bc\u03b1, blood, \u03c6\u03bb\u03ad\u03b3\u03bc\u03b1, phlegm, \u03c7\u03bf\u03bb\u03ae, [yellow] bile, [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/blogs.bmj.com\/bmj\/2016\/09\/09\/jeffrey-aronson-when-i-use-a-word-mind-your-temper\/\">More&#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5762],"tags":[],"class_list":["post-37366","post","type-post","status-publish","format-standard","hentry","category-jeff-aronsons-words"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jeffrey Aronson: When I use a word . . . 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