In the sixteenth century, John Lyly's 1597 play, The Woman in the Moon, is wholly motivated by astrology,[178] while Christopher Marlowe makes astrological references in his plays Doctor Faustus and Tamburlaine (both c. 1590),[178] and Sir Philip Sidney refers to astrology at least four times in his romance The Countess of Pembroke's Arcadia (c. 1580).[178] Edmund Spenser uses astrology both decoratively and causally in his poetry, revealing "...unmistakably an abiding interest in the art, an interest shared by a large number of his contemporaries."[178] George Chapman's play, Byron's Conspiracy (1608), similarly uses astrology as a causal mechanism in the drama.[179] William Shakespeare's attitude towards astrology is unclear, with contradictory references in plays including King Lear, Antony and Cleopatra, and Richard II.[179] Shakespeare was familiar with astrology and made use of his knowledge of astrology in nearly every play he wrote,[179] assuming a basic familiarity with the subject in his commercial audience.[179] Outside theatre, the physician and mystic Robert Fludd practised astrology, as did the quack doctor Simon Forman.[179] In Elizabethan England, "The usual feeling about astrology ... [was] that it is the most useful of the sciences."[179]
Bonatti On Basic Astrology Pdf Download
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