By Judy A. Hayden
Advances in astronomy corresponding to the theories of Copernicus and the improvement of the telescope sparked a robust reaction inside Early glossy literature. The essays during this assortment express this discourse went directly to improve a political context to debate issues like New international exploration or even kingship and regicide, good into the 18th century.
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Extra info for Literature in the Age of Celestial Discovery: From Copernicus to Flamsteed
For the same reason, he argues, things fall down and perish with time: If the [planet] Earth were at rest . . the world would not endure. It turns always; therefore, we continuously turn as well. These buildings that become cracked from the top to the ground . . it happens because they are not firmly founded, due to the fact that the turning of the Earth sometimes produces a shake and the buildings risk falling down in ruins. Do you not see that everything falls down with time? 22 Additionally, the circular form of the Earth and its motion would make it difficult for men to remain standing.
Aphra Behn, Emperor of the Moon: A Farce, in The Plays 1682–1696 , vol. 7 of The Works of Aphra Behn , ed. Janet Todd (London: William Pickering, 1996), 153–207. Mary Baine Campbell, Wonder and Science: Imagining Worlds in Early Modern Europe (Ithaca: Cornell University Press, 1999), 152–153. John Wilkins, The Discovery of a World in the Moone. G. for Michael Sparke and Edward Forrest, 1938), 2–3. Francis Godwin, The Man in the Moone, ed. William Poole (Peterborough, ON: Broadview, 2009). Campbell, Wonder and Science, 176.
This new generation went far beyond the literary and rhetorical culture on which previous vernacular writers rested. In Critics of the Italian World , Paul F. Grendler regards Campanella and Bruno as examples of an indirect reception of Doni; in particular, this scholar points out the stylistic closeness between the Mondi and the Spaccio : To convey his tradition-shattering ideas, Bruno sought a new language and broke the old rules. His deformed syntax, lexicological experimentation, and reliance on popular idiom opposed the ordered, logical prose of Bembo and Speroni .