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STRUCTURES OF FEELING IN SEVENTEENTH-
CENTURY CULTURAL EXPRESSION
This page intentionally left blank
 STRUCTURES
OF FEELING IN
SEVENTEENTH-
CENTURY CULTURAL
EXPRESSION

Edited by Susan McClary

Published by the University of Toronto Press in association with the

UCLA Center for Seventeenth- and Eighteenth-Century Studies and
the William Andrews Clark Memorial Library
 © The Regents of the University of California 2013

www.utppublishing.com
Printed in Canada

ISBN 978-1-4426-4062-7

Printed on acid-free, 100% post-consumer recycled paper

with vegetable-based inks.

Library and Archives Canada Cataloguing in Publication

Structures of feeling in seventeenth-century cultural expression / edited

by Susan McClary.

(UCLA Center Clark Library series)

Essays based on papers presented at four international conferences held at
the UCLA Clark Library, 2005.
Includes bibliographical references and index.
ISBN 978-1-4426-4062-7

1. Arts, Modern—17th century—Congresses. 2. Emotions—History—

17th century—Congresses. 3. Expression—History—17th century—Congresses.
I. McClary, Susan II. William Andrews Clark Memorial Library
III. University of California, Los Angeles. Center for 17th- & 18th-Century
Studies IV. Series: UCLA Clark Memorial Library series

NX650.E46S77 2013 700'.4538 C2012-908145-0

This book has been published with the help of a grant from the UCLA Center for
Seventeenth- and Eighteenth-Century Studies.

University of Toronto Press acknowledges the financial assistance to its

publishing program of the Canada Council for the Arts and the
Ontario Arts Council.

University of Toronto Press acknowledges the financial support of

the Government of Canada through the Canada Book Fund
for its publishing activities.
 Contents

Acknowledgments ix
Illustrations xi

Introduction: On Bodies, Affects, and Cultural Identities

in the Seventeenth Century 3
SUSAN McCLARY

Part I: The Science of Affect

1 Disciplining Feeling: The Seventeenth-Century Idea of a

Mathematical Theory of the Emotions 19
DANIEL GARBER

2 Clockwork or Musical Instrument? Some English Theories of

Mind-Body Interaction before and after Descartes 35
PENELOPE GOUK

3 The Sound World of Father Mersenne 60

THOMAS CHRISTENSEN

Part II: Colonial Extensions

4 ‘Voluntary Subjection’: France’s Theory of Colonization/

Culture in the Seventeenth Century 93
SARA E . MELZER
vi Contents

5 Fear of Singing (Episodes from Early Latin America) 117

GAR Y TOMLINSON

6 The Illicit Voice of Prophecy 147

OLIVIA BLOECHL

Part III: The Politics of Opera

7 Daphne’s Dilemma: Desire as Metamorphosis in

Early Modern Opera 175
WENDY HELLER

8 A Viceroy behind the Scenes: Opera, Production, Politics,

and Financing in 1680s Naples 209
LOUISE K . STEIN

Part IV: Baroque Bodies

9 Crashaw and the Metaphysical Shudder;

Or, How to Do Things with Tears 253
RICHARD RAMBUSS

10 ‘Law’s Bloody Inflictions’: Judicial Wounding and Resistance

in Seventeenth-Century England 272
SARAH COVINGTON

11 Excursions to See ‘Monsters’: Odd Bodies and Itineraries

of Knowledge in the Seventeenth Century 296
KATHR YN A . HOFFMANN

Part V: Toward a History of Time and Subjectivity

12 Temporality and Ideology: Qualities of Motion

in Seventeenth-Century French Music 315
SUSAN M c CLAR Y
 Contents vii

13 Temporal Interventions: Music, Modernity,

and the Presentation of the Self 338
RICHARD LEPPERT

Contributors 361
Index 363
This page intentionally left blank
 Acknowledgments

All books rely on a great many individuals from inception to finished

product, and Structures of Feeling in Seventeenth-Century Cultural Expres-
sion is no exception. I wish to thank first the University of Toronto Press
for making this publication possible. At Toronto, Richard Ratzlaff and
Wayne Herrington shepherded the project along, Patricia Simoes ar-
ranged for the magnificent cover design, and James Leahy served as our
painstaking copy editor. I am also grateful to the two anonymous readers
who made invaluable suggestions for the improvement of all the essays.
The chapters in the book emerged from a series of four international
conferences held at the UCLA Clark Library in 2005. It was my hon-
our as Clark Professor that year to invite forty illustrious scholars of
seventeenth-century history and culture to participate in those confer-
ences, which surely count as the highlight of my own intellectual career.
Although I would prefer to have had the work of all forty authors in
this volume, I had to choose no more than twelve. I selected the papers
finally included because of their natural clustering around particular
topics. My heartfelt thanks to all those who made the conferences them-
selves so extraordinary.
I owe special thanks to the authors who agreed to revise their papers
for publication in this book. As the reader can see, each of the writers
makes important contributions with respect to her or his own field. It
is my hope that together they will provide insights not easily available
within separate disciplines, and I am delighted to see these interlocking
chapters finally reaching the public.
But neither the conferences nor the book could have occurred with-
out UCLA’s Center for Seventeenth- and Eighteenth-Century Studies.
The Center supported my research assistants, Ljubica Ilic and Eric
x Acknowledgments

Wang, who helped me assemble and edit the book. The expert staff took
care of organizing the conferences, ensuring that they unfolded with
the elegance characteristic of the Clark. The Center provided the fund-
ing for the speakers’ honoraria and, of course, for my own stint as Clark
Professor.
My greatest debt, however, is to Peter Reill, the brilliant Director of
the Center for Seventeenth- and Eighteenth-Century Studies for nearly
twenty years. Peter helped recruit me to UCLA and became one of my
dearest friends when I was on that faculty. At the committee meetings for
the Center each year, Peter would ask us who wanted to be the next Clark
Professor, and then he would glare daggers at me. I finally relented and
embarked upon the adventure that has resulted in this book.
Peter and I both retired from UCLA in June 2011. He will always be
my model of the engaged humanist who somehow manages to continue
his own groundbreaking scholarship while coaxing the best efforts out of
everyone around him. I dedicate Structures of Feeling in Seventeenth-Century
Cultural Expression to Peter Reill.

Susan McClary
Cleveland Heights, OH
October 2011
 Illustrations

Figure 1.1 Galileo, Discorsi (1638), p. 170. 23

Figure 2.1 The universe as monochord, from Robert Fludd, Utriusque
cosmi . . . historia (Oppenheim, 1617), I, tract. 1, p. 90. Wellcome
Library, London. 40
Figure 2.2 Man the microcosm, from Robert Fludd, Utriusque cosmi . . .
historia (Oppenheim, 1618), II, tract. 1, p. 274. Wellcome Library,
London. 41
Figure 2.3 Hydraulic organ and forge from Athanasius Kircher,
Musurgia universalis (Rome 1650), II, icon XII, f.p. 347. Wellcome
Library, London. 45
Figure 2.4 T. Cook, after William Hogarth, ‘Credulity, Superstition and
Fanaticism’ (1798). Wellcome Library, London. 52
Figure 4.1 ‘The Gallic Hercules.’ Printed in Geoffroy Tory, Champ fleury
(Paris, 1529) Courtesy of the British Library. 101
Figure 6.1 Several Powhatan priests singing and dancing around a fire.
From John Smith, The Generall Historie of Virginia, New-England, and
the Summer Isles (1624). 148
Figure 6.2 After Egbert van Heemskerck (1645–1704), The Quakers
Meeting. Mezzotint – engraved by John Bowles. © Library of the
Religious Society of Friends. 150
Figure 7.1 Gian Lorenzi Bernini, Apollo and Daphne. Detail of heads.
Galleria Borghese, Rome. Scala / Art Resource, NY. 188
Figure 7.2 Giorgio Ghisi, after Francesco Primaticcio, Apollo, Pan, and
a Putto Blowing a Horn, 1560s. Engraving (29.8 × 16.5 cm). The Elisha
Whittelsey Collection, The Metropolitan Museum of Art, New York,
NY, USA / Art Resource, NY. 194
xii Illustrations

Figure 8.1 Jacques Blondeau, Gaspar de Haro y Guzmán, engraving,

1682. Madrid, Biblioteca Nacional de España. 212
Figure 8.2 Baccio del Bianco, drawing with dedication scene, shows the
curtain being raised as the loa begins, from the 1653 production
of Fortunas de Andrómeda y Perseo (text by Calderón de la Barca).
Courtesy Houghton Library, Harvard University. 231
Figure 8.3 Baccio del Bianco, drawing of set from the loa, with Atlante
holding the globe on his shoulders and dancers as signs of the zodiac
being lowered to the stage on clouds, from the 1653 production of
Fortunas de Andrómeda y Perseo (text by Calderón de la Barca).
Courtesy of Houghton Library, Harvard University. 232
Figure 9.1 Icon of the contemplative life. Titian, The Penitent Magdalene
(1555–65); oil on canvas, 106.7 × 93 cm. Courtesy of The J. Paul
Getty Museum, Los Angeles. 258
Figure 9.2 ‘Then, and only then, she wears / Her proudest pearls;
I mean, thy tears’ (Crashaw, ‘The Weeper,’ lines 41–2). Man Ray, Les
Larmes (Tears) (1930–3); gelatin silver print, 22.9 × 29.8 cm. Courtesy
of The J. Paul Getty Museum, Los Angeles. 264
Figure 11.1 Mary Davis, from Joseph Mayer, ‘On Shotwich Church
and Its Saxon Foundation,’ Proceedings and Papers [of the] Historic
Society of Lancashire and Cheshire, Session VI, 1854 (Liverpool, 1854),
unnumbered page preceding page 83. Accessed through Google
Book Search. 298
Figure 12.1 Jean-Baptiste Greuze Girl with Dead Bird. Edinburgh,
National Gallery of Scotland. 325
Figure 13.1 Jan Brueghel the Younger (1601–78) and Jan van Kessel
the Elder (attr.) (1626–79), Hearing. Whereabouts unknown. Photo:
IRPA-KIK-Brussels, B154569. 340
Figure 13.2 Flemish (17th century). Bird Concert. Whereabouts
unknown. Photo: IRPA-KIK-Brussels, B115729. 346
Figure 13.3 Jan van Oost the Elder (1601–71), Meditating Philosopher
[with Vanitas Still Life] (1647), Bruges, Comissies van Openbare
Onderstand Museum, Burgelijke Godshuizen. Photo: IRPA-KIK-
Brussels, B112471. 350
Figure 13.4 Johann Friedrich Grueber [formerly attributed to Cornelis
de Heem (1631–95)], Still Life [Vanitas] (1662–81). Amsterdam,
Rijksmuseum, SK-A-2564. Photo: Rijksmuseum. 351
Figure 13.5 Double-manual Harpsichord (1612, Antwerp; rebuilt 1774),
case paintings by Adam Frans van der Meulen (1632–90). Brussels,
Conservatoire Royal de Musique. Photo: IRPA-KIK-Brussels,
B182534. 354
 Illustrations xiii

Figure 13.6 Double-manual Harpsichord (1612, Antwerp; rebuilt 1774),

case paintings by Adam Frans van der Meulen (1632–90). Detail:
Landscape with Louis XIV and Mounted Entourage; Siege of a Town.
Brussels, Conservatoire Royal de Musique. Photo: IRPA-KIK-Brussels,
B182535. 355
Figure 13.7 Gonzales Coques (1618–84, attr.), House Concert.
Whereabouts unknown. Photo: IRPA-KIK-Brussels, C1716. 355
Figure 13.8 Sir Nathaniel Dance-Holland (1735–1811), Musical Party.
Whereabouts unknown. 357

Musical Examples

Example 7.1 Francesco Cavalli, Gli amori di Apollo e di Dafne, act 1, scene
4: ‘Musica dolce, musica tu sei’ (I-Vnm IV 404 [= 9928]). 186
Example 7.2 Cavalli, Gli amori di Apollo e di Dafne: excerpt from
conclusion of act 3, scene 2 and opening of subsequent scene. 189
Example 7.3a/b Cavalli, Gli amori di Apollo e di Dafne, act 3, scene 3:
excerpt from ‘Misero, Apollo’ and melisma at conclusion of his
monologue. 191
Example 7.4 Cavalli, Gli amori di Apollo e di Dafne, act 3, scene 4: final
duet, excerpt. 195
Example 7.5 Giovanni Battista Volpe, Gli amori di Apollo e Leucotoe,
act 3, scene 17: ‘Diffondete miei ragi’ (I-Vnm, Cod. It IV 386
[= 9910]). 197
Example 7.6 Volpe, Gli amori di Apollo e Leucotoe, act 3, scene 17:
‘O qual violente.’ 199
Example 12.1 Jean Henry D’Anglebert, ‘Tombeau de
Mr Chambonnières’ 319
This page intentionally left blank
STRUCTURES OF FEELING IN SEVENTEENTH-
CENTURY CULTURAL EXPRESSION
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