My chapter examines Isaac Watts’s and Catharine Trotter Cockburn’s views concerning the metaphysics of the mind and their underlying accounts of powers and substances. In Philosophical Essays on Various Subjects Watts criticizes Locke’s account of substances and argues for his own preferred account of substance. Watts argues that there is no need to postulate an unknown substratum, as Locke does. Instead, Watts searches for a better explanation of what substances are. His proposal is that bodily substance just is solid extension (...) and that mental substance is identical with the power of thinking. This means that Watts believes that some powers can be substances. I will show how Watts defends his account of substances against various objections. Cockburn was not satisfied by Watts’s account of substance and disagrees with Watts’s understanding of powers. She believes that Watts is too quick to draw metaphysical conclusions. Cockburn takes seriously the limitations of human understanding and emphasizes that humans are ignorant about many metaphysical truths. I end by assessing the strengths and weaknesses of Watts’s and Cockburn’s accounts of powers and substances. (shrink)

My aim in this chapter is to survey some of the most important developments in thinking about essence in the early modern period, highlighting ways in which thinkers in the period gradually depart from the medieval Aristotelian tradition. In this tradition, essence is thought of as selective, explanatory, and kind-determining. Whereas in the beginning of the early modern period some figures (such as René Descartes, Thomas Hobbes, Margaret Cavendish, and Anne Conway) still adhere to this traditional view, later figures (including (...) Benedict de Spinoza, G.W. Leibniz, and John Locke) reject it. (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)