In Theatre/{{1776}}, John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
Ditto, Coriolanus from Shakespeare's Coriolanus. He is the badass who runs into a city without backup and comes out a) alive and b) victorious. And that's just the first couple of acts.
And although Hamlet is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink hot blood,/And do such bitter business as the day/Would quake to look on."
Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
Romeo is actually not tha far off. He not only was more than able to keep up with Mercutio's pranks, but the reason why he got kicked out of Mantua was him going Hot Blooded when Tybalt fatally stabbed Mercutio and retaliating via killing Tybalt himself.
In Richard Wagner's Siegfried, it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
