Angels, Devils, and Evil Spirits in Seventeenth-Century Thought: Balthasar Bekker and the Collegiants

Recent studies of John Wilkins, author ofAn essay towards a real character, and a philosophical language(1668) have examined aspects of his life and work which illustrate the modernity of his attitudes, both as a theologian, sympathetic to the ecumenical ideals of seventeenth-century reformers like John Amos Comenius (DeMott 1955, 1958), and as an amateur scientist enthusiastically engaged in forwarding the interests of natural philosophy in his involvement with the Royal Society. His linguistic work has, accordingly, been examined for its relevance to seventeenth-century thought and for evidence of its modernity; described by a twentieth-century scientist as “impressive” and as “a prodigious piece of work” (Andrade 1936:6, 7), theEssayhas been highly praised for its classification of reality (Vickery 1953:326, 342) and for its insight into phonetics and semantics (Linsky 1966:60). It has also, incidentally, been examined for the evidence it offers on seventeenth-century pronunciation (Dobson 1968).

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Freedom of Speech in Seventeenth-Century Thought

The Antioch Review ◽

10.2307/4613840 ◽

1999 ◽

Vol 57 (2) ◽

pp. 165

Author(s):

Leonard W. Levy

Keyword(s):

Seventeenth Century ◽

Freedom Of Speech ◽

Century Thought

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MUSIC, MORALITY AND SYMPATHY IN THE EIGHTEENTH-CENTURY ENGLISH SERMON

Eighteenth Century Music ◽

10.1017/s1478570619000435 ◽

2020 ◽

Vol 17 (1) ◽

pp. 9-35

Author(s):

JONATHAN RHODES LEE

Keyword(s):

Eighteenth Century ◽

Seventeenth Century ◽

Adam Smith ◽

Musical Life ◽

Moral Sentiments ◽

Religious Writing ◽

Aesthetic Concepts ◽

Century Thought ◽

Scholarly Attention ◽

Theory Of Moral Sentiments

ABSTRACTWhile the furrows of sixteenth- and seventeenth-century religious writing on music have been deeply ploughed, eighteenth-century English sermons about music have received relatively slight scholarly attention. This article demonstrates that the ideas of sympathy and sensibility characteristic of so much eighteenth-century thought are vital to understanding these sermons. There is an evolution in this literature of the notion of sympathy and its link to musical morality, a development in the attitude towards music among clergy, with this art of sympathetic vibrations receiving ever higher approbation during the century's middle decades. By the time that Adam Smith was articulating his Theory of Moral Sentiments (1759) and Handel's oratorios stood as a fixture of English musical life, religious thinkers had cast off old concerns about music's sensuality. They came to embrace a philosophy that accepted music as moral simply because it made humankind feel, and in turn accepted feeling as the root of all sociable experience. This understanding places the music sermon of the eighteenth century within the context of some of the most discussed philosophical, social, literary, musical and moral-aesthetic concepts of the time.

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