From Heavenly Harmony to Eloquent Silence: Representations of World Order from Dryden to Shelley
Identifieur interne : 000151 ( Main/Exploration ); précédent : 000150; suivant : 000152From Heavenly Harmony to Eloquent Silence: Representations of World Order from Dryden to Shelley
Auteurs : Karina Williamson [Royaume-Uni]Source :
- The Review of English Studies [ 0034-6551 ] ; 2004-09.
English descriptors
- Teeft :
- Actual music, Adam smith, Aesthetic appeal, Aesthetic values, Alexander pope, Allegorical poem, Augustan period, Battestin, Benjamin martin, Best model, Browne, Celestial harmony, Celestial music, Christian theology, Concordia discors, Copernican revolution, Cosmic dance, Cosmic harmony, Cosmic order, Cosmic system, Divine order, Dryden, Eloquent silence, English poetry, Harmonia mundi, Harmonious laws, Heavenly bodies, Henry brooke, Holiest strains, Hollander, Ideal harmony, Ideal order, Isaac newton, James thomson, Karina, Karina williamson, Last line, Moses browne, Musica, Musica humana, Musica speculativa, Musical associations, Musick, Mute quire, Mutual love, Natural philosophy, Natural theology, Newtonian, Newtonian cosmology, Newtonian philosophy, Newtonian science, Newtonian system, Opening verses, Religio medici, Ruling angels, Same time, Seamless perfection, Silent harmony, Solar system, Speculative music, Stanza, Sunday thoughts, Thomas browne, Thomson, Traditional principles, Twickenham edition, Universal beauty, Universal harmony, Universal system, Visual music, Vols, William derham, Williamson, World harmony, World order, Young gentleman.
Abstract
Ideas and images of harmony were common place in seventeenth-and eighteenth-century descriptions of the system of the universe. In particular, the Pythagorean concept of the music of the spheres, which was based on Ptolemaic cosmology, survived the Copernican revolution and continued to be used by poets to represent the beauty of the planetary system designed by God and revealed by Newton. It has been argued that the persistence of such ideas and images contradicts the view that the rise of new science caused a breakdown in metaphysical beliefs. Poets in the Augustan period, it is claimed, adjusted to the challenge by assimilating Newtonian science to traditional principles, and continued to use the traditional musical metaphors for world harmony. This article contends that use of such metaphors indicates rather the strain of adjusting poetic language to the new metaphysics. They are employed for rhetorical purposes in a struggle to conserve the spiritual and aesthetic values invested in the older classical and Christian world-view. The concept of ‘silent harmony’ evolved as a means of retaining the potent appeal of the music of the spheres even while acknowledging its fictionality.
Url:
DOI: 10.1093/res/55.221.527
Affiliations:
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In particular, the Pythagorean concept of the music of the spheres, which was based on Ptolemaic cosmology, survived the Copernican revolution and continued to be used by poets to represent the beauty of the planetary system designed by God and revealed by Newton. It has been argued that the persistence of such ideas and images contradicts the view that the rise of new science caused a breakdown in metaphysical beliefs. Poets in the Augustan period, it is claimed, adjusted to the challenge by assimilating Newtonian science to traditional principles, and continued to use the traditional musical metaphors for world harmony. This article contends that use of such metaphors indicates rather the strain of adjusting poetic language to the new metaphysics. They are employed for rhetorical purposes in a struggle to conserve the spiritual and aesthetic values invested in the older classical and Christian world-view. The concept of ‘silent harmony’ evolved as a means of retaining the potent appeal of the music of the spheres even while acknowledging its fictionality.</div></front></TEI><affiliations><list><country><li>Royaume-Uni</li></country><region><li>Écosse</li></region><settlement><li>Édimbourg</li></settlement><orgName><li>Université d'Édimbourg</li></orgName></list><tree><country name="Royaume-Uni"><region name="Écosse"><name sortKey="Williamson, Karina" sort="Williamson, Karina" uniqKey="Williamson K" first="Karina" last="Williamson">Karina Williamson</name></region></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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