Berkeley's doctrines about mind, the language of nature, substance, minima sensibilia, notions, abstract ideas, inference, and freedom appropriate principles developed by the 16th-century logician Peter Ramus and his 17th-century followers (e.g., Alexander Richardson, William Ames, John Milton). Even though Berkeley expresses himself in Cartesian or Lockean terms, he relies on a Ramist way of thinking that is not a form of mere rhetoric or pedagogy but a logic and ontology grounded in Stoicism. This article summarizes the central features of Ramism, (...) indicates how Berkeley adapts Ramist concepts and strategies, and chronicles Ramism's pervasiveness in Berkeley's education, especially at Trinity College Dublin. (shrink)

A revisionist account of how philosophical induction was conceived in the ancient world and how that conception was transmitted, altered, and then rediscovered. I show how philosophers of late antiquity and then the medieval period came step-by-step to seriously misunderstand Aristotle’s view of induction and how that mistake was reversed by humanists in the Renaissance and then especially by Francis Bacon. I show, naturally enough then, that in early modern science, Baconians were Aristotelians and Aristotelians were Baconians.

My first section considers Walter J. Ong’s influential analyses of the logical method of Peter Ramus, on whose system Milton based his Art of Logic. The upshot of Ong’s work is that philosophical logic has become a kind monarch over all other discourses, the allegedly timeless and universal method of mapping and diagramming all concepts. To show how Milton nevertheless resists this tyrannical result in his non-Logic writings, my second section offers new readings of Milton’s poems Il Penseroso and Sonnet (...) 16: “On His Blindness”, along with his prose epilogue to his elegies (and thereby the entire collection entitled Poems). These readings attempt to show (1) the original admixing of philosophy and poetry (under the heading of “thoughtfulness”), (2) the shadow-hidden superiority of poetry in connection to the effeminising disability of blindness, and (3) the potential irony of an apology that arguably suggests poetry’s superiority to philosophy. Finally, I rest my case for Milton’s rebellion by offering an interpretation of Paradise Lost which affirms the character of Satan qua dark, queer, poetic figure of classical republicanism. (shrink)