Perception plays a central and wide-ranging role in the philosophy of Margaret Cavendish. In this paper, I argue that Cavendish holds a naïve realist theory of perception. The case draws on what Cavendish has to say about perceptual presentation, the role of sympathy in experience, the natures of hallucination and of illusion, and the individuation of kinds. While Cavendish takes perception to have representational content, I explain how this is consistent with naïve realism. In closing, I address challenges to the (...) interpretation, one of which turns on whether Cavendish allows for action at a distance. I argue that she does. (shrink)

In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...) there are passages in Cavendish’s work that might seem to count against my reading—specifically, passages on disagreement in aesthetic judgement, on the power of beauty to elicit the passions, and on our inability to specify the nature of beauty—I show that, when situated against the background of Cavendish’s broader metaphysical and epistemological views, those passages in fact support the realist interpretation. (shrink)

Throughout her philosophical writing, Margaret Cavendish is clear in stating that colours are real; they are not mere mind-dependent qualities that exist only in the mind of perceivers. This puts her at odds with other seventeenthcentury thinkers such as Galileo and Descartes who endorsed what would come to be known as the ‘primary-secondary quality distinction’. Cavendish’s argument for this view is premised on two claims. First, that colourless objects are inconceivable. Second, that if an object is inconceivable then it could (...) not possibly exist in nature. My aim in this paper is to explain why Cavendish accepts both premises of this argument. However, the repercussions of this paper go much further than just explaining why she thinks colourless objects cannot exist in nature and the upshots are twofold. First, it provides new insights into the fundamental role that perception plays in Cavendish’s metaphysics. While Cavendish’s view that all of nature perceives is well-established, I show that Cavendish is also committed to the view that all of nature is perceivable. Second, it provides the first in-depth discussion of Cavendish’s modal epistemology and her reasons for thinking that inconceivability entails impossibility (in nature). (shrink)

Margaret Cavendish’s views about the nature of bodies and perception leave her with a potentially problematic implication: that light has no role in visual perception. For her, perception occurs through the self-motion of animate matter, not through a mechanical system that appeals to local motions and collisions of contiguous bodies. This means that motion is not transferred from external objects with light playing a mediating role; the matter of our eyes simply moves itself to copy the sensible qualities of external (...) bodies. However, Cavendish cannot ignore the simple empirical fact that we appear to have visual perceptions in the presence of light but not in the presence of darkness. Light must play some role. I argue that light for Cavendish plays an intermediary role but does not transfer motions as the mechanical model suggests. Rather, light behaves like our eyes by moving itself to form copies of external objects. Our eyes then see these copies. For Cavendish, we are directly acquainted with a “veil of light” rather than the objects themselves. (shrink)

This paper reconstructs Margaret Cavendish’s theory of the metaphysics of artifacts. It situates her anti-mechanist account of artifactual production and the art-nature distinction against a background of Aristotelian, Scholastic, and mechanist theories. Within this broad context, it considers what Cavendish thinks artisans can actually do, grounding her terminological stipulation that there is no genuine generation in nature in a commitment to natural and artistic production as the mere rearrangement of bodies. Bodies themselves are identified, in a conceptually Ockhamist manner, with (...) their figures, so that the resulting theory of mere rearrangement is Scholastically respectable. The paper also offers literal interpretations, focused narrowly on the philosophical content of her theories of art and artifacts, of her claims that art concerns only “nature’s sporting or playing actions”, that its products are “deformed and defective”, and that they are “at best …mixt or hermaphroditical.". (shrink)

In the Fifth Meditation Descartes considers the problem of knowledge preservation : the challenge of accounting for the diachronic certainty of perfect knowledge [scientia]. There are two general solutions to PKP in the literature: the regeneration solution and the infallible memory solution. While both readings pick up on features of Descartes’ considered view, I argue that they ultimately fall short. Salvaging pieces from both readings and drawing from Descartes’ virtue theory, I argue on textual and systematic grounds for a dispositionalist (...) solution. On this view, the diachronic certainty of scientia is achieved through virtuous habits of belief. (shrink)

That Descartes’ God is not a deceiver is amongst the canonical claims of early modern philosophy. The significance of this (purported) fact to the coherence of Descartes’ system is likewise canonical, infused in how we teach and think about the _Meditations_. Though prevalent, both ends of this narrative are suspect. We argue that Descartes’ color eliminativism, when coupled with his analysis of the cognitive structure of our sensory systems, entails that God is a deceiver. It’s doubtful that Descartes recognized this, (...) given his insistence that God is not a deceiver, and the role this plays in his system. But this is a concession Descartes can grant if we are careful about the kind of deception at play—a kind Descartes _does_ recognize, albeit not without some ambiguity. On our story, Descartes’ metaphysics and epistemology are not driven by concerns about deception _per se_, but by concerns about God’s _benevolence_. (shrink)

Margaret Cavendish is widely known as a materialist. However, since Cavendishian matter is always in motion, “matter” and “motion” are equally important foundational concepts for her natural philosophy. In Philosophical Letters (1664), she takes to task her materialist rival Thomas Hobbes by assaulting his account of accidents in general and his concept of “rest” in particular. In this article, I argue that Cavendish defends her continuous-motion view in two ways: first, she claims that her account avoids seeing accidents as capable (...) of generation and annihilation, which she argues is inconceivable; and second, she contends that according to Hobbes’s own view “rest” is an absurd conception since it cannot be drawn from experience. Beyond its function as a defense, I claim that Cavendish’s focused criticism of “rest” shows that she is a perceptive reader of Hobbes’s natural philosophy, insofar as her criticisms undercut the two a priori principles of Hobbesian physics. Finally, I show how her views developed in more detail in Philosophical and Physical Opinions (1663) and Observations upon Experimental Philosophy ([1666] 2001) avoid the worries she raises for Hobbesian materialism. (shrink)

Clear and distinct perception is the centrepiece of Descartes’s philosophy — it is the source of all certainty — but what does he mean by ‘clear’ and ‘distinct’? According to the prevailing approach, what it means for a perception to be clear is that its content has a certain objective property, like truth. I argue instead that clarity is at least partly a subjective, phenomenal quality whereby a content is presented as true to the perceiving subject. Clarity comes in degrees. (...) Any weak degree of clarity, available to the senses, can be merely subjective, since what it presents as true may not actually be true. But complete clarity, available to intellectual perception, has an objective dimension, since what it presents as true is always some truth, some bit of reality. Further, I argue that the other perceptual qualities that Descartes identifies — obscurity, confusion, and distinctness — are all defined in terms of clarity. Of particular note is the fact that distinctness is not a positive feature to be added to clarity: a distinct perception is just a completely clear perception. (shrink)