By Margaret L. Wiley
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Additional info for Subtle Knot: Creative Skepticism in Seventeenth-Century England
Sample text
Emerson's upholding of paradox is a kind of objectification of this experience. As in the case of 'a foolish consistency,' this will look to the world like a perverse and irresponsible shifting of position. But to the sceptic, with his eye on the farthest horizon, or even on the unapproachable stars, all this is merely necessary tacking. What does it matter if he angles now to port and now to starboard so long as his goal, though perhaps unseen, is fixed? ' 26 Among the Cambridge Platonists of the seventeenth century we shall find the same coupling of certainty with flexibility.
Yet the individual would be both blind and ungrateful who did not try, on occasion, to call the roll of those influences upon his thought and life of which he is most aware, realizing all the while, of course, that one neither knows what he is nor dares to lay at the door of others the responsibility for what he has thus far become. This book, for better or for worse, is one of the results of the kind of home my parents and grandparents provided, in which both literature and religion were made abundantly available, without either's having been strained through the sieve of dogma, and where actions spoke louder than words.
Behind this academic façade, however, was the fact that I had caught sight, in the thought of these writers, of a pattern which was gradually forming itself in my own living. They spoke to me because our experience seemed made of the same stuff, and to expatiate on their meaning was to make the meaning of my own experience clearer and more explicit. The specific anomaly which I had set myself to study, on a hint from Louis Bredvold (in The Intellectual Milieu of John Dryden), was the coexistence of faith and scepticism in the same seventeenthcentury writers.