By Ryan J. Stark
Rhetoric operated on the crux of seventeenth-century suggestion, from arguments among scientists and magicians to anxieties over witchcraft and disputes approximately theology. Writers on each side of those the most important subject matters under pressure rhetorical discernment, simply because to the astute observer the form of one's eloquence used to be might be the main trustworthy indicator of the heart's piety or, however, of demonry. to appreciate the period's tenor, we needs to comprehend the period's rhetorical pondering, that's the focal point of this book.
Ryan J. Stark provides a spiritually delicate, interdisciplinary, and unique dialogue of early sleek English rhetoric. He indicates in particular how experimental philosophers tried to disenchant language. whereas rationalists and skeptics overjoyed during this disenchantment, mystics, wizards, and different practitioners of mysterious arts vehemently adverse the rhetorical precepts of recent technological know-how. those writers used tropes now not as undeniable tools yet quite as numinous units able to reworking fact. to the contrary, the recent philosophers perceived all esoteric language as a danger to learning's development, inflicting them to disavow either nefarious types of occult spell casting and, regrettably, edifying varieties of wonderment and incantation. This basic clash among scientists and mystics over the character of rhetoric is the main major linguistic occurring in seventeenth-century England, and, as Stark argues, it ought profoundly to notify how we talk about the increase of contemporary English writing.
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Additional info for Rhetoric, Science, and Magic in Seventeenth-Century England
Example text
It is true that some 82. : Harvard University Press, 1982). 83. The Enlightenment philosopher Pierre Laplace, when asked by Napoleon where God fit into his mechanical philosophy, famously replied that he no longer needed that assumption. On this episode, see Ivar Ekeland, Mathematics and the Unexpected (Chicago: University of Chicago Press, 1988), 12. 84. Ross MacDonald, “Occultism and Philosophy in the Seventeenth Century,” in Philosophy, Its History and Historiography, ed. A. J. Holland (Dordrecht: Reidel, 1985), 102.
Does the young Glanvill dabble in Rosicrucian philosophy? Probably. At the very least, he believes in the occult power of the rhetorical imagination. ” Such music undoubtedly carries with it occult qualities. Using the story of the magician, the young Glanvill conceptualizes the rhetorical imagination as capable of wizardry. Or, to use a more disturbing image, he conceptualizes it as having a Circe-like power to bind audiences. An open-minded philosopher, Glanvill entertains the possibility of organic spell casting, lending credence to the world of enchanted eloquence—a possibility he would later be less willing to entertain.
Glanvill, Sadducismus triumphatus (London, 1681), 16. Charmed and p l ai n tropes 29 pernatural, Hobbes became paradigmatic of the skeptic of all metaphysics, and of all spiritual rhetoric contained therein. As such, he functioned as a morality tale in the context of mainstream science, illustrating how disbelief toward wonderment, divine and demonic, soon turned into mordant materialism. Despite Hobbes’s negative remarks about mystical and magical rhetoric, however, he does not repudiate the rhetorical tradition, and this point is significant, because it further circumvents any perception that Hobbes is somehow suspicious of metaphors in and of themselves.