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The word "complexion" is derived from the Late Latin complexi, which initially referred in general terms to a combination of things, and later in physiological terms, to the balance of humors.

The four humours were four fluids that were thought to permeate the body and influence its health.

They have no sense of temperance in anything they do, and only bang their head against the wall.

They're very iniquitous, petulant, miserable...” Complexion, in its original sense, engaged the attention of philosophers and musical theorists from ancient times right through to the Renaissance and beyond, in relation to the most favourable balancing of the 'qualities' or elements in order to heal and invigorate the soul: from Pythagoras and the musical theorist Aristoxenus, through Plato's dialogue Phaedo, Aristotle, Saint Augustine in his thesis on music, and Aquinas; and in the Florentine Renaissance, Marsilio Ficino in his work on the immortality of the soul, the Theologia Platonica.

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Thus there are many references which filter through into Shakespeare's plays and sonnets derived from this body of thought; particularly in the description of important characters, and to the power of music above all to 'charm the savage breast', adjust the elements, and restore the equilibrium and balance, the 'harmony' of the soul: his characters call for music and are spellbound or restored by it, and in elevated mood, may hear it in the air, or sense its immortal harmonies everywhere.

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