Is there another system behind Milton? This question has intrigued scholars and readers for centuries, as they delve into the complex and often enigmatic works of John Milton. From the epic poem “Paradise Lost” to the political treatise “Areopagitica,” Milton’s writings are riddled with layers of meaning and symbolism. In this article, we will explore the possibility of an underlying system that governs Milton’s work, examining the various theories and interpretations that have emerged over time.
Milton’s literary career spanned a period of significant political and social upheaval, particularly during the English Civil War and the subsequent Restoration period. His works often reflect these turbulent times, and scholars have long debated whether there is a hidden system that unifies his diverse body of work. One such system that has garnered attention is Milton’s use of alchemy, a philosophical and protoscientific tradition that seeks to transform base metals into gold and to understand the fundamental nature of the universe.
Alchemy, as a system, has been associated with numerous aspects of Milton’s poetry, including the creation of the world in “Paradise Lost,” the transformation of Satan into a serpent in “Samson Agonistes,” and the alchemical imagery in “L’Allegro and Il Penseroso.” Proponents of this theory argue that Milton’s alchemical influences are evident in his portrayal of the human soul’s journey towards spiritual enlightenment and perfection. They suggest that Milton’s use of alchemical symbolism serves as a metaphor for the struggle between good and evil, as well as the quest for knowledge and understanding.
Another system that has been proposed is Milton’s reliance on the philosophy of the Renaissance thinker Giordano Bruno. Bruno’s ideas on infinity, the cosmos, and the existence of multiple worlds have been seen as a guiding force in Milton’s work. This theory posits that Milton’s portrayal of the cosmos in “Paradise Lost” is influenced by Bruno’s concept of the infinite universe, and that his exploration of the human condition is intertwined with the broader philosophical questions posed by Bruno’s thought.
Moreover, some scholars have suggested that Milton’s work is governed by a system of numerology, which is the study of the mystical significance of numbers. This theory suggests that Milton’s use of numbers in his poetry is not arbitrary but rather a deliberate attempt to convey deeper meanings. For instance, the number three appears frequently in “Paradise Lost,” symbolizing the Trinity and the three stages of the Fall: the temptation, the fall, and the expulsion from Eden. Similarly, the number seven is associated with perfection and completeness, and it is used to represent the seven days of creation in the poem.
While these theories provide intriguing insights into the potential systems that may underpin Milton’s work, it is important to acknowledge that interpreting his texts can be highly subjective. Milton’s texts are rich in symbolism and allusion, and their meanings can be interpreted in various ways depending on the reader’s perspective and the cultural and historical context in which they are read.
In conclusion, the question of whether there is another system behind Milton’s work remains a topic of debate among scholars. The theories of alchemy, Bruno’s philosophy, and numerology offer compelling explanations for the complexity and depth of Milton’s writing. However, it is ultimately up to the reader to decide which system, if any, they find most compelling and relevant to their understanding of Milton’s literary legacy. As we continue to explore the intricate web of meanings that lies within Milton’s works, we are reminded of the enduring power of literature to provoke thought and inspire wonder.
