Digital resources for historical texts and theological documents

¶ … invention of electron microscopes and other high-powered devices used in the natural sciences, F. Hooke compiled his Micrographia. This 17th century text offers incredible drawings of the inner workings of the natural world from leaves to gems. For example, Observation XII in Micrographia describes "small diamants or sparks in flints," and the accompanying illustration depicts crystalline structures. This illustration is notable in that it reveals the literal facets of the physical universe that could not otherwise be seen.

Figure 2 shows a table top filled with flint-stones, which are seemingly flat and uninteresting objects. Placed below Figure 1, the table top shows what the naked eye can see. Hooke therefore offers readers the opportunity to understand that "there is more that meets the eye."

In the 17th century, when Hooke compiled his data, the naked eye was mainly what people relied on for their sensory data. A person living in London in the 17th century had no idea what an ordinary rock looked like under a microscope. Micrographia was therefore instrumental in increasing appreciation for science and expanding worldviews.

Hooke's description of the flint-stones and their crystalline structure is also important because of its scientific methodology. With meticulous notes, Hooke was part of the Enlightenment revolution that encouraged scientific inquiry and rational methodology.

Hooke describes what cannot be seen by the naked eye, a probing which has since expanded curiosity about the composition of organic matter. Illustrations such as Figure 1 accompanying Observation XII expanded the minds of 17th century readers. Hooke's work is therefore a quintessentially Enlightenment text.

2. Besides the differences in spelling, style, diction, and other elements of language, the Book of Common Prayer has evolved since the 16th century. In some ways, the Anglican Church has retained the core ideals of the original document, such as by invoking Christ immediately at the onset of the ceremony. However, the current edition reflects shifts in the culture and especially gender norms.

The 16th century Book of Common Prayer uses phrases like "dreadful day of judgement" and "fear of God" whereas the newer version avoids diction related to fear and dread. Similarly, the introductory sections differ in that the Elizabethan Book of Common Prayer offers a far longer introduction to the marriage service. The older introduction reads more like a sermon although both texts treat marriage with a high degree of solemnity.

One of the main differences between the two texts is that language has changed to reflect shifts in gender norms. Notably, the newer version omits the word "obey" for the woman's marriage vows. Likewise the phrase "Who geveth this woman to be maried unto this man?" is also removed in the current version.

In spite of key differences related to tone and gender, many features have changed little in the Book of Common Prayer marriage ceremony. The exchange of rings is a similar feature. Also, the purpose of marriage is outlined to mention procreation in both texts. Heterosexual language prevails.

Thus, the general structure of the two documents are remarkably similar and shows that the Anglican Church has attempted to remain true to the original document. For example, a pithy introduction is soon followed by the exchange of vows and the "declaration of consent." The main differences between the two texts are related to tone and gender norms.

3. As one of the most powerful female characters in English literature, Ophelia has been a common subject matter for artists. Wikimedia offers a virtual timeline of depictions of Ophelia, both in painting and in theater. The depictions share in common Ophelia's frank sexuality, mysteriousness, and defiance.

Sexuality is a main theme in representations of Ophelia. A 19th century painting by Ernest Herbert shows Ophelia with large, dark, seductive eyes that stare back at the viewer. Another 19th century painting by John William Waterhouse shows Ophelia lying down in a field of wildflowers beckoning the viewer with her eyes.