Alchemy Paracelsianism And Shakespeare S The Winter S Tale

This book explores the role of alchemy, Paracelsianism, and Hermetic philosophy in one of Shakespeare’s last plays, The Winter’s Tale. A perusal of the vast literary and iconographic repertory of Renaissance alchemy reveals that this late play is imbued with several topoi, myths, and emblematic symbols coming from coeval alchemical, Paracelsian, and Hermetic sources. It also discusses the alchemical significance of water and time in the play’s circular and regenerative pattern and the healing role of women. All the major symbols of alchemy are present in Shakespeare’s play: the intertwined serpents of the caduceus, the chemical wedding, the filius philosophorum, and the so-called rex chymicus. This book also provides an in-depth survey of late Renaissance alchemy, Paracelsian medicine, and Hermetic culture in the Elizabethan and Jacobean ages. Importantly, it contends that The Winter’s Tale, in symbolically retracing the healing pattern of the rota alchemica and in emphasising the Hermetic principles of unity and concord, glorifies King James’s conciliatory attitude.

Healy demonstrates how Renaissance alchemy shaped Shakespeare's bawdy but spiritual sonnets, transforming our understanding of Shakespeare's art and beliefs.

Often alchemy is seen as an example of medieval gullibility and the alchemists as a collection of eccentrics and superstitious fools. In this Pocket Essential Sean Martin shows that nothing could be further from the truth. It is important to see the search for the philosopher's stone and the attempts to turn base metal into gold as metaphors for the relation of man to nature and man to God as much as seriously held beliefs. Alchemy had a self-consistent outlook on the natural world and man's place in it. Alchemists like Paracelsus and Albertus Magnus were amongst the greatest minds of their time and the history of alchemy is both the history of a spiritual search and the history of a slowly developing scientific method. Sir Isaac Newton devoted as much time to his alchemical studies as he did to his mathematical ones. This book traces the history of alchemy from ancient times to the 20th century, highlighting the interest of modern thinkers like Jung in the subject, and in the process covers a major, if neglected area of Western thought.

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Suspicious King Leontes of Sicily accuses his pregnant wife Hermione of having an affair with his best friend, Polixenes, the King of Bohemia. Enraged at the alleged betrayal, he orders Polixenes poisoned, Hermione imprisoned, and her newborn daughter banished, leaving him a broken man. Sixteen years later, Perdita, the adopted daughter of a shepherd, falls in love with young Prince Florizel, much to the dismay of the boy’s father, Polixenes. He disapproves of the girl and her lowly status and orders his son to forget her. Instead, the young lovers escape in disguise and head for Sicily. There, the storylines of Leontes, Hermione, Polixenes, Perdita and Florizel finally come together. William Shakespeare’s "The Winter’s Tale" is filled with improbabilities, telling a story of obsession and redemption. Fans of "Mamma Mia" will enjoy the humorous misunderstandings and mistaken identities that take the characters on a journey of self-discovery. William Shakespeare (1564-1616) was an English playwright, poet and actor. Considered the greatest dramatist of all time, he is widely regarded as the most influential English language writer. Shakespeare’s plays focus on the range of human emotion and conflict, and have been translated into more than 100 languages. Many including "Hamlet" "Macbeth" and "Romeo and Juliet" have been adapted for stage and screen.

This volume addresses dealings with the wondrous, magical, holy, sacred, sainted, numinous, uncanny, auratic, and sacral in the plays of Shakespeare and contemporaries, produced in an era often associated with the irresistible rise of a thinned-out secular rationalism. By starting from the literary text and looking outwards to social, cultural, and historical aspects, it comes to grips with the instabilities of ‘enchanted’ and ‘disenchanted’ practices of thinking and knowledge-making in the early modern period. If what marvelously stands apart from conceptions of the world’s ordinary functioning might be said to be ‘enchanted’, is the enchantedness weakened, empowered, or modally altered by its translation to theatre? We have a received historical narrative of disenchantment as a large-scale early modern cultural process, inexorable in character, consisting of the substitution of a rationally understood and controllable world for one containing substantial areas of mystery. Early modern cultural change, however, involves transpositions, recreations, or fresh inventions of the enchanted, and not only its replacement in diminished or denatured form. This collection is centrally concerned with what happens in theatre, as a medium which can give power to experiences of wonder as well as circumscribe and curtail them, addressing plays written for the popular stage that contribute to and reflect significant contemporary reorientations of vision, awareness, and cognitive practice. The volume uses the idea of dis-enchantment/re-enchantment as a central hub to bring multiple perspectives to bear on early modern conceptualizations and theatricalizations of wonder, the sacred, and the supernatural from different vantage points, marking a significant contribution to studies of magic, witchcraft, enchantment, and natural philosophy in Shakespeare and early modern drama.