Abstract
Partner concludes by drawing together the themes and concerns of the previous chapters, comparing the different ways in which many of the texts examined offered themselves as an aid to the reader’s vision. This consolidation of the preceding arguments then opens out into an exploration of the ways in which each of the central themes and authors considered in the chapters left a legacy in the literary and intellectual culture of the following century.
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- 1.
Josuah Sylvester , Du Bartas his Divine Weekes, and Workes with a Compleate Collectio[n] of all the other most Delight-full Workes Translated and Written by the Famous Philomusus, Iosuah Syluester Gent (London: Printed by Robert Young, 1633), p. 602.
- 2.
Robert Hooke, Micrographia (London: Royal Society, 1665), sig . B1v.
- 3.
‘A Prospect of a Church in the Mind’, Margaret Cavendish, Poems, and Fancies (London: Printed by T.R. for J. Martin and J. Allestryre, 1653), p. 143.
- 4.
See, for example, Steven Shapin, The Social History of Truth: Civility and Science in Seventeenth-Century England (Chicago: University of Chicago Press, 1994).
- 5.
See, for example, Traherne, ‘Ease’, l. 28.
- 6.
George Berkeley, An Essay Towards a New Theory of Vision (Dublin: Aaron Rhames, for Jeremy Pepyat, 1709). For a discussion of this concept see George S. Pappas, Berkeley’s Thought (Ithaca, NY and London: Cornell University Press, 2000), pp. 103–46.
- 7.
Isaac Newton, Opticks, or, A Treatise of the Reflexions, Refractions, Inflexions and Colours of Light […] (London: Printed for Sam. Smith, and Benj. Walford, 1704). On the scientific influence see Marjorie Hope Nicolson, Newton Demands the Muse: Newton’s ‘Opticks’ and the Eighteenth-Century Poets (Princeton: Princeton University Press, 1946); on the scientific influences see G. N. Cantor, Optics after Newton: Theories of Light in Britain and Ireland, 1704–1840 (Manchester: Manchester University Press, 1983).
- 8.
Isaac Thompson, ‘A Night-Contemplation, In Imitation of Milton’s Stile’, in A Collection of Poems: Occasionally Writ on Several Subjects (London: John White, 1731), ll. 10–13.
- 9.
See Nicol son , Newton Demands the Muse; Andrew Cunningham, Romanticism and the Sciences (Cambridge: Cambridge University Press, 2009).
- 10.
Mark Akenside, Pleasures of the Imagination (London: Printed for R. Dodsley, 1744), 103–20.
- 11.
See, for example, Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (London: R. and J. Dodsley, 1757); Morton D. Paley, The Apocalyptic Sublime (New Haven: Yale University Press, 1986).
- 12.
See Donald D. Ault, Visionary Physics: Blake’s Response to Newton (Chicago: University of Chicago Press, 1974); Stuart Peterfreund, William Blake in a Newtonian World: Essays on Literature as Art and Science (Norman: University of Oklahoma Press, 1998).
- 13.
William Blake, Milton: A Poem (1804–10), in William Blake’s Illuminated Books: Milton: A Poem, ed. Robert N. Essick and Joseph Viscomi (London: Tate Gallery, 1993), Book I, plate 29, ll. 15–22; see also the accompanying notes.
- 14.
Blake, Milton, ‘Title Page (1)’.
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Partner, J. (2018). Conclusion. In: Poetry and Vision in Early Modern England. Early Modern Literature in History. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-71017-4_7
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