By Dr Mary Floyd-Wilson
ISBN-10: 1107036321
ISBN-13: 9781107036321
During this ground-breaking examine, Mary Floyd-Wilson argues that the early sleek English believed their affections and behaviour have been inspired via hidden sympathies and antipathies that coursed throughout the flora and fauna. those forces not just produced emotional relationships yet they have been additionally levers during which usual humans intended they can control nature and convey new wisdom. certainly, it used to be the invisibility of nature's secrets-or occult qualities-that ended in a privileging of experimentation, aiding to displace a reliance on historic theories. Floyd-Wilson demonstrates how Renaissance drama participates in normal philosophy's creation of epistemological obstacles by way of staging tales that determine the knowledge-making authority of ladies healers and experimenters. concentrating on 12th evening, Arden of Faversham, A caution for reasonable ladies, All's good That Ends good, The Changeling, and The Duchess of Malfi, Floyd-Wilson means that as experiential proof received medical flooring, women's presumed intimacy with nature's secrets and techniques used to be both reduced or demonized
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Additional resources for Occult Knowledge, Science, and Gender on the Shakespearean Stage
Example text
9–11). Helena’s triumph over the Galenists and Paracelsians in particular valorizes experiential knowledge over theoretical frameworks, while also privileging the effects of occult operations over the discovery of causes. 32 Galenists held that most illnesses stemmed from disordered humors, and their cures aimed to restore humoral balance to the body. Paracelsians maintained that diseases had external causes, asserting that every individual disease had a corresponding individual cure. 114–15), before suggesting that Helena, in contrast, may be an empiric (120).
Paracelsians maintained that diseases had external causes, asserting that every individual disease had a corresponding individual cure. 114–15), before suggesting that Helena, in contrast, may be an empiric (120). 35 But Shakespeare’s omission of the site of the fistula also points up the hidden nature of the king’s disease. 39 His receipts, however, constitute his experiential knowledge, since the “how-to” instructions of receipt books provide only shrouded glimpses into the theoretical foundations of a cure.
96) and to “Doctor She” (77) as a “medicine” that can “[q]uicken a rock” (70–72). And yet, since the remedy remains hidden, the audience never knows how Helena restores the king to health. She may have applied an ointment, given him a cordial, or cured him with her body. All we can say definitively is that the nature of Helena’s treatment, whether its secrets lie in her body or in the receipt, is known only by its effects. For Lafew, the mystery of Helena’s curative methods, combined with the king’s wondrous recovery, constitutes a supernatural act.