‘Le Sigh’: Enactive and Psychoanalytic Insights into Medieval and Renaissance Paralanguage

Abstract

Sighing is both performative and vital activity, and exemplifies the role of ‘primordial affectivity’ in the organism’s co-creativity with its environment. Emerging from the organism’s ‘cares’, transforming the atmosphere and the affect that initiated it, the sigh is a striking instance of distributed cognition, an action reaching through ancient respiratory processes to the most deliberate forms of self-care. Premodern psychology understood the sigh as an attempt to free the circulation of vital and animal spirits from blockage caused by the overheating of imaginative and estimative faculties when obsessed by the image of a loved object. Contemporary science similarly sees the chief physiological action of the sigh, the opening of air spaces in the lungs, as dynamically engaged with affective experience. In the domain of psychoanalysis, the sigh is a transitional phenomena; it buys time and gives us the time to open up to something new. The sigh relaxes constriction, opening the throat and enabling speech. Hence its vital importance in amorous verse. ‘Le Sigh’ proposes that sighing is the template for the concluding couplet of Shakespeare’s sonnet form. Its innovation is to give us the breathing room to bear our care-full lives.