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Discover Science at the British Library

Introduction

We are the British Library Science Team; we provide access to world-leading scientific information resources, manage UK DataCite and run science events and exhibitions. This blog highlights a variety of the activities we are involved with. Follow us on Twitter: @ScienceBL. Read more

23 June 2016

Illegal substances or aiding physical excellence? A few historical perspectives

Ahead of next week's TalkScience event on Doping in Sport Julian Walker explores some historical examples of performance enhancement described in his new book "The Roar of the Crowd".

The essence of the debate regarding the use of drugs in sport is: what is an unfair substance to use, and how do we decide? The F60146-12dividing line between acceptable and unacceptable is, and for decades has been, constantly moving. For the lay-person the terms ‘anabolic steroids’ and ‘human growth hormones’ sound warning bells, but the equally prohibited ‘diuretics’ sound relatively harmless, and the word ‘stimulants’ requires detailed specification to the point where the word itself is more or less meaningless. How does the cultural history of sport handle this subject?

In Book 23 of Homer’s Iliad the funeral games held for Patroclus include a boxing match and a wrestling match. When the boxing match is announced forward comes Epeues, who has certainly done his mental preparation:

"I boast myself To all superior"

His endorphins are running and performance-enhancing even before he has a challenger, his control of the mind-game as assured as Ferguson’s or Mourinho’s. He is answered by the equally confident Euryalus. The fighters each dress for the fight, and:

"Mingling with fists, to furious fight they fell;

  Dire was the crash of jaws, and the sweat stream'd

  From every limb"

Eurylaus looks for an opening but effectively the fight is over with a single blow from Epeues, and he is taken away, spitting blood.

The wrestling bout is more of a match, Homer pitting brain against brawn, Ulysses against Ajax, neither managing to lift and throw the other. Ulysses then enters the running match, against Oiliades. It’s a close thing, Ulysses is probably tired from the wrestling, and it looks like he is going to lose:

"Oiliades

  Led swift the course, and closely at his heels

  Ulysses ran. Near as some cinctured maid

  Industrious holds the distaff to her breast,                  

  While to and fro with practised finger neat

  She tends the flax drawing it to a thread,

  So near Ulysses follow'd him, and press'd

  His footsteps, ere the dust fill'd them again,

  Pouring his breath into his neck behind,                      

  And never slackening pace.[1]"

At this point Ulysses uses the Ancient Greek equivalent of a performance-enhancing drug – he calls on Minerva for help; and sure enough she trips his opponent so that he falls face-down in some cow-poo (ironically his prize for coming second is an ox). Quite blatantly Ulysses has use external assistance to gain victory, and got away with it. Oiliades puts in a complaint:

"Ah--Pallas tripp'd my footsteps; she attends                

  Ulysses ever with a mother's care."

And what happens?

    "Loud laugh'd the Grecians."

It’s a disgrace.

Robert Burton explores, in The Anatomy of Melancholy (1652), the role of exercise in balancing the body. He notes the Roman physician Galen’s contention that ‘to play at ball, be it with the hand or racket, in tennis-courts or otherwise, … exerciseth each part of the body, and doth much good, so that they sweat not too much’[2]. Burton here points out the control on exercise – do it to a certain level of sweating, but stop there; earlier he says that exercise should be done ‘after he hath done his ordinary needs, rubbed his body, washed his hands and face, combed his head and gargarised [gargled]’. These are physical and mental preparations, getting the body empty (I take this to be the meaning of ‘done his ordinary needs’), clean and warmed, and knowing exactly how far to go. While not explicitly involving the ingesting of external substances, they do indicate that exercise does not stand in isolation: the mind and body are made ready for maximum benefit by specific preparation.

F60146-17The pre-match preparation of Captain Barclay, the early nineteenth-century endurance athlete, pushed this process further, and was carefully described by Walter Thom in Pedestrianism (1813). Using Barclay as a model, Thom offers a regimen for the preparing athlete, beginning with ‘a regular course of physic, which consists of three dozes [doses]. Glauber salts are generally preferred’. Glauber salt, sodium sulphate decahydrate, is named after Joseph Glauber, who isolated it in 1625, and named it ‘sal mirabilis’ for its supposed medicinal properties; it was used as a purgative (laxative), and is currently deemed acceptable. Thom’s diet list for the aspiring athlete starts with ‘beef-steaks or mutton-chops under-done, with stale bread and old beer’, and goes on to prohibit any ‘preparations of vegetable matter’ other than ‘biscuit and stale bread’. Prohibited foods include veal, lamb and pork, vegetables, as well as fish, butter, cheese, or milk. Profuse sweating is required, induced by running four miles in flannel at top speed, followed by the imbibing of ‘sweating liquor’, made from caraway-seed, coriander-seed, and liquorice, boiled down in cider, after which the athlete is ‘put to bed in his flannels, and being covered with six or eight pairs of blankets, and a feather-bed’ for about half an hour. As regards hydration ‘water is never given alone … avoid liquids as much as possible, and no more liquor of any kind is allowed to be taken than what is merely requisite to quench the thirst’.

While none of these steps, however eccentric, look ethically dubious, they do make up a massive control regimen for the enhancement of the athlete’s performance. The commodified successor to Capt Barclay’s ‘red-meat & no veg’ diet was Vin Mariani, the so-called ‘athlete’s wine’, launched in 1863. This popular concoction of red wine and coca leaves, whose stimulant properties were praised by the mostly sedentary great and the good, also happened to aid endurance for athletes and cyclists. Cocaine is now, of course, a banned substance for athletes, but Capt Barclay’s coriander-seed and caraway-seed are both diuretics.

By the end of the 19th century training itself, in some circles, was deemed unsporting. When Blackburn Olympic had the temerity to beat the Old Etonians in the 1883 FA Cup Final the Eton College Chronicle wrote,

‘So great was their desire to wrest the Cup from the holders that they introduced into football a practice which has excited the greatest disapprobation in the South.  For three weeks before the final match they went into a strict course of training …’

Blackburn Olympic won 2:1 after extra time. Somehow the Old Etonians had not noticed that the goalposts had moved.

F60104-57

But that perhaps is the question: when we come to look at acceptable or unacceptable substances, can we compare them to laxatives, diuretics, diets and sweating regimes, training or neglecting to train, or even the possible advantage of supreme arrogance, which though it did not work for the 1883 Old Etonians probably helped Epeues? Seeding, records, divisions and trophy cabinets ensure that competing athletes never start on a level playing field. Professional status, sponsorship and training facilities make a real difference to achievement. The ethical paradigms by which we judge acceptable from unacceptable are based on judgements and categorisations that fluctuate all the time. When we compare Phendimetrazine with good old mutton chops are we looking at a difference of kind or a difference of degree?

Julian Walker is an artist, writer, researcher and educator. His latest book "The Roar of the Crowd" is a major new anthology of sports writing that captures the drama, excitement and intrigue of athletic achievement and celebrates the innate urge to compete, to fight, and to test the human body. He is also the author of "The Finishing Touch: Cosmetics Through the Ages" and "How to Cure the Plague and other Curious Remedies".

[1] William Cowper’s translation, 1791

[2] Part 2, Section 2, Member 4.

18 May 2016

Shakespeare on the couch: The bard and psychology

To celebrate the opening of the British Library’s Shakespeare in Ten Acts exhibition, Paul Allchin explores Shakespeare’s perceptive understanding of human psychology.   

 “What makes Shakespeare eternal is his grasp of psychology. He knew how to nail stuff” Martin Freeman (Actor) 

Shakespeare -The Chandos portrait
The Chandos portrait, artist and authenticity unconfirmed. Courtesy of National Portrait Gallery, London.


As far back as the ancient Greeks and Egyptians we have reflected on human behaviour and yet psychology was considered a branch of philosophy until the 1870s, from when it developed as an independent scientific discipline in Germany and the United States. Much has been written in the last couple of centuries on the psychology of Shakespeare and his dramatic works.

Shakespeare understood our inner demons and knew how to express them on the written page. For example Shakespeare’s “Measure for Measure”, pinpoints man’s flaws, that so well, feeds the fuel for his dramas:

But man, proud man, Drest in a little brief authority, Most ignorant of what he’s most assur'd; 

His glassy essence, like an angry ape, Plays such fantastic tricks before high heaven, As make the angels weep.

Whether it is man’s inflated views of himself or the range of emotions from love to anger, Shakespeare seemed always to have something to say. In Henry VIII, Act 1, Scene 1, he advises on  anger management:

“Be advised, heat not a furnace for your foe so hot, that it do singe yourself”.

The British Library has a rich and varied collection in psychology, counselling and psychoanalysis, both historical and current, as well as electronic journals and databases such as PsychInfo and PsychExtra.  Both the humanities and science reading rooms include works on the open shelves and we hold a wealth of psychology texts in our storage areas. Some of these are in our lending collection and can be requested through college and public libraries using their inter-library lending services.

An example of such reflective literature is the book entitled “The Vale of Soulmaking: the post-Kleinian model of the mind” by Meg Harris Williams, H.Karnac (Books) Ltd. 2005, shelf mark YC.2006.a.12437, which includes Chapter 7, “Cleopatra’s monument”. This chapter outlines the post Kleinian psychological perspective on some of Shakespeare’s works. 

The post Kleinian model of the mind is an aesthetic one, developed by W.R. Bion and Donald Meltzer and takes Melanie Klein’s ideas of our infant Self’s relationship to evolving “internalised objects”, often parental and the resolution of emotional turmoil through symbol formation, dreaming, envisioning, and counter-transference.

Procession of characters from Shakespeares Plays by an unknown artist
Procession of Characters from Shakespeare's Plays by an unknown 19th-century artist

Shakespeare’s literary power resides in him being one of the great literary symbol makers and metaphor developers, along with Milton, Keats, Homer and Sophocles, able to articulate and give form to man’s deepest desires and dilemmas. Shakespeare’s role in feeding food to psychology and the 19th and 20th century psychoanalysis tradition through his plays and dramas is a testament to his insights into human nature.

Freud, Jung, Klein, and the post Kleinians provide psychological meaning making frameworks, varied lenses through which contemporary thinkers can appreciate and understand Shakespeare’s works.

William Shakespeares First Folio
William Shakespeare's First Folio (Image: WIkipedia)

 

Some of our out of copyright books have been digitised and are available through Google books and the British Library Explore catalogue remotely e.g. The Psychology of Macbeth, a lecture, etc. by George Sexton, (active 1857-1887).

What is clear is that Shakespeare has an uncanny ability to create characters that are archetypal and sets up in his plays, the conflicts, challenges, resolutions and pitfalls found in our daily lives. He gave us the psychodramas on the stage through which we can project our internal worlds and learn from the characters he invented.    

Paul Allchin, Science Reference Specialist.


The British Library's current exhibition Shakespeare in Ten Acts is a landmark exhibition on the performances that made an icon, charting Shakespeare’s constant reinvention across the centuries and is open until Tuesday 6th September 2016.

To find out more about Shakespeare collections at the British Library join our reference team for a special tour where you can find out how to access and research Shakespeare related collections not on display in the exhibition. Tickets are available here.

Find out more about Shakespeare and psychology here

After Oedipus : Shakespeare in psychoanalysis, Julia Reinhard Lupton and Kenneth Reinhard. Ithaca/Cornell University Press, 1993. Shelfmark: 93/12357 DSC 

Elizabethan psychology and Shakespeare’s plays by Ruth Leila Anderson. Shelfmark: W42/6604 DSC  

The mad folk of Shakespeare, John Charles Bucknill, (1817-1897), Second edition, revised, 1867, Shelfmark 2300.c.3. 

The mind according to Shakespeare : psychoanalysis in the bard's writing, Marvin Bennett Krims. Shelfmark YC.2007.a.1806 and m06/.37542 DSC   

Psyche & symbol in Shakespeare, Alex Aronson. Bloomington. Shelfmark: 72/10648 DSC 

Psychoanalysis and ShakespeareNorman N. Holland. New York : Octagon Books, 1976, c1966. Shelfmark: 77/30526 DSC

The psychology of Shakespeare, by Bucknill, John Charles, 1970, Shelf mark X11/1303 DSC 

Shakespeare and psychoanalytic theory, Carolyn E. Brown, Shelfmark  YC.2015.a.10365

Shakespeare on the couch : on behalf of the United Kingdom Council for Psychotherapy  by Michael Jacobs. Shelfmark YC.2009.a.9109 

The Vale of Soulmaking: the post-Kleinian model of the mind, by Meg Harris Williams, shelf mark YC.2006.a.12437 and  m05/.26094 DSC   

13 May 2016

Shakespeare: a King of Infinite Space?

To celebrate the opening of the British Library’s Shakespeare in Ten Acts exhibition, Richard Wakeford (information specialist in science, technology and medicine) looks at how Shakespeare wove contemporary science into his work.

William Shakespeare lived in a remarkable time, on the cusp of the medieval world view and the scientific revolution. But how far was he aware of this new thinking and how much did it appear in his writing? Certainly Shakespeare did not make any scientific ideas obvious, any more than he made his views on religion or politics obvious. The clues are scattered but have been explored in a recent book by Dan Falk.

The Starry Messenger

One striking resonance is that the play Cymbeline, written in 1610 and first performed in 1611, drew upon Galileo Galilei’s publication of Siderius Nuncius (The Starry Messenger) in 1610. Incidentally, Shakespeare and Galileo were exact contemporaries, born two months apart in 1564.

In Cymbeline, a tangled tale of death, rape and cross-dressing, the character Postumus is in prison awaiting execution. In a masque scene, four ghosts of his dead family appear in a dream to dance around the god Jupiter, pleading for his life. This chimes directly with Galileo’s observations in the Starry Messenger that Jupiter is orbited by four moons.

The Starry Messenger
Left: Frontispiece of The Starry Messenger (Sidereus Nuncius) 1610. Right: Inside page.  (Images: Wikipedia)

 Galileo recorded the movement of four new objects around Jupiter over several successive nights.

“I therefore concluded and decided unhesitatingly, that there are three stars in the heavens moving about Jupiter, as Venus and Mercury round the Sun; which at length was established as clear as daylight by numerous subsequent observations. These observations also established that there are not only three, but four, erratic sidereal bodies performing their revolutions round Jupiter...the revolutions are so swift that an observer may generally get differences of position every hour.”

He hath overthrown all astronomy

This discovery cracked Aristotelian cosmology apart and rang around Europe. It is known that the mathematician and astronomer Thomas Harriot had read the work in London during the summer of 1610, soon after its publication in March in Venice1 and the English ambassador in Venice, Sir Henry Wotton, had immediately sent a copy to Sir Robert Cecil, the Lord Chamberlain, for the attention of the King, writing that “he [Galileo] hath first overthrown all former astronomy”.

It is likely that a book with such a high profile was read, or even more likely, gossiped about, by the King's playwright. Shakespeare’s company had become the Kings Men on the accession of James the First with Shakespeare made a “groom extraordinary of the chamber”. Furthermore the King was a science and technology fan, an enthusiastic collector of clocks and mechanical devices, and an admirer of the German astronomer Kepler2.

What was Shakespeare attempting to do in the masque scene? Scholars have disagreed over his knowledge of science, seeing him either as a native of the medieval world of astrology, or a science nerd writing Hamlet as a detailed, coded exposition of Copernican astronomy. Or maybe it was neither of these two extremes but simply that he sprinkled fashionable new ideas over his play to catch the fancy of the King. It is not known if Cymbeline was performed at court but a masque, accompanied by music, dancing and spectacular staging, strongly suggests a court performance.

William Herschel and Hubble Space Telescope
Left: William Herschel, discover of Uranus' moons Titania and Oberon. Right: Hubble Space telescope used to identify the moons Mab and Cupid (Images: Wikipedia)

Shakespeare’s links to astronomy have continued down the centuries. Sir William Herschel, after discovering Uranus in 1781, went on to locate the first two of its many moons in 1787, naming them Titania and Oberon. In 2003 the moons Cupid (after a character in Timon of Athens) and Mab (after Queen Mab in Romeo and Juliet), were discovered using the Hubble space telescope.

Richard Wakeford, Science Reference Specialist


To find out more about Shakespeare collections at the British Library join our reference team for a special tour where you can find out how to access and research Shakespeare-related collections that not on display in the exhibition. Tickets are available here

The British Library's current exhibition Shakespeare in Ten Acts is a landmark exhibition on the performances that made an icon, charting Shakespeare’s constant reinvention across the centuries and is open until Tuesday 6th September 2016.

An original copy of the Starry Messenger is displayed in the science case in the Treasures of the British Library gallery. It opens at one of the pages illustrating the surface features of the Moon, another of Galileo’s discoveries that broke with the traditional concept of celestial perfection. Galileo’s sunspot letters are also on display and can be seen here.

The title of this blog "A king of infinite space" is taken from a quote by Shakespeare's Hamlet: "O God, I could be bounded in a nutshell, and count myself a king of infinite space—were it not that I have bad dreams" (Act II, Scene 2)

 Read more about Shakespeare and Galileo here:

  1. Bloom T,F., Borrowed perceptions: Harriot’s maps of the moon. Journal for the History of Astronomy, 1978, 9: 117-122. An online version is here.
  2.  Feingold, M. The mathematicians' apprenticeship : science, universities and society in England 1560-1640.Cambridge: Cambridge University Press, 1984.General Reference Collection X.800/38615
  3.  Galileo, G. The starry messenger or Galileo's O, edited by Horst Bredekamp. Berlin: AkademieVerlag, c2011. General Reference Collection YD.2012.b.2230
  4. 4Shakespeare W. Cymbeline; edited by John Pitcher London: Penguin, 2005 General Reference Collection YC.2005.a.2678 (John Pitcher’s introduction also explores the link between Shakespeare and Galileo.)
  5. Richard Wakeford: Science Reference Specialist