He thinks too much—such men are dangerous.
Fear, trouble, distress of conscience, despair, are little less powerful in their effects than the most violent fevers. Richard, when in deepest anxiety, finds his former cheerfulness is gone, and thinks to bring it back with a glass of wine. But it is not mental sorrow only that has banished comfort, it is a sensation of discomfort proceeding from the very root of his physical organism, the very same sensation that announces a malignant fever. The Moor, heavily burdened with crimes, and once crafty enough in absolving all the sensations of humanity—by his skeleton-process—into nothing, now rises from a dreadful dream, pale and breathless, with a cold sweat upon his brow. All the images of a future judgment which he had perhaps believed in as a boy, and blotted out from his remembrance as a man, assail his dream-bewildered brain. The sensations are far too confused for the slower march of reason to overtake and unravel them. Reason is still struggling with fancy, the spirit with the horrors of the corporeal frame.[[24]]
Moor.—No! I am not shaking. It was but a dream. The dead are not beginning to rise. Who says I tremble and turn pale? I am quite well, quite well.
Bed.—You are pale as death; your voice is frightened and hesitating.
Moor.—I am feverish. I will be bled to-morrow. Say only, when the priest comes, that I have fever.
Bed.—But you are very ill.
Moor.—Yes truly; that is all. And sickness disturbs the brain and breeds strange mad dreams. Dreams mean nothing. Fie on womanish cowardice! Dreams mean nothing. I have just had a pleasant dream.
[He falls down in a faint.
Here we have the whole image of the dream suddenly forcing itself upon a man, and setting in motion the entire system of obscure ideas, stirring up from the foundation the organ of thought. From all these causes arises an intense sensation of pain in its utmost concentration, which shatters the soul from its depth, and lames per consensum the whole structure of the nerves.
The cold horror that seizes on the man who is about to commit some crime, or who has just committed one, is nothing else than the horror which agitates the feverish man, and which is felt on taking nauseous medicines. The nightly tossings of those who are troubled by remorse, always accompanied by a high pulse, are veritable fevers, induced by the connection between the physical organism with the soul; and Lady Macbeth, walking in her sleep, is an instance of brain delirium. Even the imitation of a passion makes the actor for the moment ill; and after Garrick had played Lear or Othello he spent some hours in convulsions on his bed. Even the illusion of the spectator, through sympathy with acted passion, has brought on shivering, gout, and fits of fainting.