ABSTRACT

Unlike our 21st-century approaches to the disciplines, science and art were inextricably intertwined during the Early Modern Period. Innovations in scientific knowledge were both propagated and critiqued through various literary forms. Operating within the intersection of science and literature, this essay examines John Webster’s 17th-century play, The Duchess of Malfi, as a vehicle for critiquing contemporary anatomical dissections. Building upon Daisy Murray’s Twins in Early Modern English Drama and Shakespeare, and Albert H. Tricomi’s “The Severed Hand in Webster’s Duchess of Malfi,” this essay highlights the ways in which Webster engages with the anatomical dissections of his time. “From Anatomical Theatres to the Stage” begins with an overview of the history of European anatomical theatres and moves into an analysis of twinship as a dissection at birth and its implications for the early modern reader. Then, it considers Ferdinand’s association to witchcraft and his embodiment of the early modern surgeon as a means to showcase the immoral nature of the performance of human dissection. Beyond its demonstration of Webster’s engagement with his contemporary science, this essay ultimately illustrates the inseparability of art and science.