Prayer and Physic in Seventeenth-Century England

Historians have often represented prayer as an instrumental response to illness. We argue instead that prayer, together with physic, was part of larger regimes to preserve health and prevent disease. We focus on early modern England, through the philosophical writings of the physician, Robert Fludd, and the medical records of the clergyman, Richard Napier. Fludd depicted health as a fortress and illness as an invasion by demons; the physician counsels the patient in maintaining and restoring moral and bodily order. Napier documented actual uses of prayer. As in Fludd’s trope, through prayer, Napier and his patients enacted their aspiration for health and their commitment to a Christian order in which medicine only worked if God so willed it. Prayer, like physic, was a key part of a regime that the wise practitioner aimed to provide for his patients, and that they expected to receive from him.

Johannes Kepler and Twenty-First-Century Science

Johannes Kepler’s little book on the snowflake anticipates one direction of twenty-first-century science. Why do snowflakes all have six corners? Kepler searches for a geometry inscribed in nature, a “formative faculty” that shapes the dynamic patterns of both inorganic and organic forms. A similar search drives modern biotechnology. Twentieth-century science, exemplified by Wolfgang Pauli, had built on principles in tune with those of Kepler’s rival, the hermeticist Robert Fludd. Quantum physics is invested in archetypal numbers (such as 137, the fine-structure constant), in unobjectifiability (the impossibility of viewing a world unaffected by the observer), and in action-at-a-distance (effects that can be calculated but whose cause remains unknown). Kepler scorns such principles. Instead he looks for patterns of organization that account for the real world, whether in snowflakes, the heavens, or living bodies. Today that project has been revived in the life sciences, in ecology and ecosystems, in fractal geometry, in nanotech and biotech. Perhaps Kepler’s vision of science has come into its own.

The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd

This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574–1637). By reconsidering the implications of Fludd’s interpretation of Marsilio Ficino’s musical philosophy, I propose that his “reconstruction” of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the “silent” harmony of the universe and of the human body). Music played a central role in Fludd’s polemics with the scientists Johannes Kepler (1571–1630) and Marin Mersenne (1588–1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd’s musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century. Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574–1637). En reconsidérant ce qu’implique l’interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d’une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu’est l’harmonie des sphères (comprise comme harmonie silencieuse de l’univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571–1630) et Marin Mersenne (1588–1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l’univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu’au delà de la pratique musicale, c’est une conception scientifique générale, médicale et philosophique qu’engage la pensée musicale du début du XVIIe siècle.