Cosmology in Milton’s Paradise Lost Essay

The Oxford incline Dictionary defines cosmos as the public or globekind as an ordered and harmonious system, from the Greek, kosmos, referring to an ordered and/or ornamental thing. When deity created the universe of discourse he had this in mind. To have a harmonious system in the universe where alwaysything can live in peace and free of entirely worry. God was on top and e precisething was peaceful. Until the angles in Miltons Paradise garbled had a fight. After the fight God banished these bad angels and had the last disunite of his universe created, hell.This completed a very complex picture of Miltons vision of the universe in the beginning. The encyclopedic writers of the archaeozoic ticker Ages communicated a modest assortment of basic cosmological information, drawn from a mutation of ancient sources, especially Platonic and Stoic. These writers proclaimed the sphericity of the earth, discussed its circumference, and defined its climatical z whizzs and division in to continents. They described the celestial heavens and the circles used to map it many a nonher(prenominal) a nonher(prenominal) revealed at least an elementary understanding of the solar, lunar and otherwise tellurian accomplishments.They discussed the nature and size of the sun and moon, the cause of eclipses, and a variety of metrological phenomena. Another novelty was the frequent argument of the twelfth- carbon authors that God limited His yeasty activity to the moment of creation thereafter, they held, the natural causes that He had created directed the level of things. Twelfth-century cosmologists stressed the unified, organic character of the cosmos, ruled by a arena soul and bound together by astrological forces and the macrocosm-microcosm relationship.In an grand continuation of early medieval thought, twelfth-century scholars described a cosmos that was fundamentally homogeneous, constitute of the same elements from top to bottom Aristotles quintessence or aet her and his radical dichotomy between the celestial and terrestrial spheres had not yet do their presence entangle. Cosmology, like so many other subjects, was transformed by the wholesale translation of Greek and Arabic sources in the twelfth and thirteenth centuries.Specifically, the Aristotelic tradition gained center stage in the thirteenth century and gradually substituted its instauration of the cosmos for that of Plato and the early Middle Ages. This is not to suggest that Aristotle and Plato disagree on all the important issues on many of the basics they were in full accord. Aristotelians, like Platonists, conceived the cosmos to be a great ( scarcely unquestionably finite) sphere, with the havens above and the earth at the center.All agreed that it had a beginning in time although some Aristotelians of the thirteenth century were prep ared to argue that this could not be established by philosophic arguments. Nobody representing either school of thought doubted that t he cosmos was unique although closely everybody acknowledged that God could have created multiple worlds, it is difficult to assume that anybody soberly believed He had done so. However, where Aristotle and Plato disagreed, the Aristotelian world picture gradually dis lined the Platonic. superstar of the major differences concerned the issue of homogeneity.Aristotle divided the cosmic sphere into two straightforward regions, made of polar stuff and operating according to different principles. Below the moon is the terrestrial region, formed pop of the four elements. This region is the scene of generation and turpitude, of birth and death, and of transient (typically rectilinear) accomplishments. Above the moon are the celestial spheres, to which the fixed stars, the sun and the remaining planets are attached. This celestial region, composed of aether or the quintessence (the fifth element), is characterized by unchanging flawlessness and uniform circular motion.Other Arist otelian contributions to the cosmological picture were his cipher system of roving spheres and the principles of causation by which the celestial motions produced generation and corruption in the terrestrial realm. A variety of Aristotelian features, then, merged with handed-down cosmological beliefs to define the essentials of late medieval cosmogeny a cosmology that became the shared intellectual property of educated Europeans in the course of the thirteenth century.Universal agreement of much(prenominal) magnitude emerged not because the educated felt compelled to yield to the authority of Aristotle, but because his cosmological picture offered a compelling and satisfying account of the world as they perceive it. Nonetheless, certain elements of Aristotelian cosmology quickly became the objects of criticism and debate, and it is here, in the attempt to flesh out and fine-tine Aristotelian cosmology and bring it into harmony with the opinions of other authorities and with biblical teaching, that medieval scholars made their cosmological contribution.But the most interesting tear down about Milton? s cosmology is this why, when he k tonic of the discoveries Galileo had made with his scope-as Book eight-spot clearly proves-and mustiness have accepted the validity of the Copernican cosmology, wich our planetary system revolves, did Milton base his universe upon the Ptolematic pattern?The make out lies in the literary advantages of accepting the older though erreoneous concept it was known, and Copernicanism was strongly resisted and only slowly accepted the Ptolematic system was orderly, it laid down limits inwardly wich Milton found it easier to work, and it made God and man the two ends of a chain-man can ascend, onward and ever upward, to union with the divinity, and this could never have happened in an open-ended Copernican universe.From the early through the late Middle Ages, Europeans moved from a disorganized, almost confidential way of t hinking about the universe to an acceptance of a well-ordered, geocentric universe based upon the ideas of Greek philosophers such as Ptolemy and Aristotle. In this universe, the humanity was at the center and other heavenly bodies rotated slightly it in a series of concentric spheres . The entire system was powered by the primum mobile, or Prime Mover, which was the outmostmost sphere set in motion directly by God.This Primum Mobile trasformed the love of God for mankind into elan vital and provided the impetus that made the whole universe rotate It took some very creative thinking to make this universe work well. For example, the retrograde motion of the planets in which they sometimes seemed to be changing directions and moving backwards was explained by way of epicycles (see the diagram on the right below). Specifically, it was proposed that the planets rotated around a center point fixed in place on the sphere of that planet, causing the apparent change in the direction of planetary motion.The cardinal known planets orbited the Earth, each one? atmosphere pushing round the one next inside it by friction all of this motion created a beautiful music of the spheres which could not be detected by cosmos (at least not until after they died and went to heaven), but which provided pleasure for angels and other weird beings. The outermost orbit, that of the planet Saturn, was itself surrounnded by the spere of the fixed stars (Book III,481) and outside that again was the ample expanse of the waters of firmament, also called by Milton the Crystalline firmament, as distinct from the waters on the earth and under the earth, had been used by God as an insulating jacket esigned to protect His madhouse through wich Satan locomote at the end of Book II.The whole universe was suspended from heaven (also frequently called the Empyrean) by a golden chain. Since medieval Europeans had no conception of a vacuum, it was believed that the heavens were filled with a celestial fluid that flowed as the spheres of the universe rotated, thus sustaining the motion of the planets. In Heaven, God sits on His tail end supported by four seraphim, the most powerful of the nine orders of angels wich had remained loyal. he middle Ages believed literally that it was Divine Love that made the world go round.The rebel tenth who had revolted under Satan had been hurled down into another arrest realm, Hell, created for them to occupy beyond the domain of Chaos and Old Night to the outer surface of our universe. Deceiving Uriel, regent of the sun, he flies down to Eden. The subsequent movements of both(prenominal) Satan and the guardians of Paradise are explained in Books IV and IX with dilate astronomical references.Just as the physical universe was thought to be centered around the Earth, the psychological universe of Medieval Europeans revolved around humans. Any understanding of the psychology and behavior of individuals at that time requires a considera tion of the persons desire for eternal salvation. For Medieval European Christians, time had essentially two divisions The brief and insignificant one in which they lived out their sinful lives, and the cosmically enduring one in which the suffering or joy of their souls would occur.In Medieval Europe, there was no room for mental defectiveness or nonconformity, as ANY deviation was considered to be the work of the devil. A hierarchy was everywhere in all things. People accepted their place in the social order no matter how lowly it superpower have been, and everything in the world had the potential for symbolizing something supernatural. People perceived messages from God in virtually every natural and human event. However, By the 17th century, the Copernican and Galilean models gained ground, and replaced this worldview.It was still an attractive philosophical tress and one that persisted for a long time in the collective conversion consciousness. Milton, who chose to use the P tolemaic cosmology for his Paradise Lost, was not alone in Renaissance literature to hold on to the Medieval worldview, if not in scientific earnest, as a poetical conceit (cf. Donnes The beginning(a) Anniversary and Good Friday, 1613). Nothing less than the creation and ordering of the universe defines the scope of Paradise Lost.The epic explores its cosmological theme in hypothetical discussions between Adam and Raphael and in the narrators descriptions and metaphors. Further, Milton imagines Satan appraise the universe in an expedition of discovery through a refreshing world in his fall from Heaven and his passage through Chaos to Earth. Adam tries to understand the earths physical place in the universe and its associated ontological and theological value as the home of man.He wonders aloud about this Earth a spot, a grain,/ An Atom, with the Firmament compard/ And all her numbered Starrs, that seem to rowl /Spaces incomprehensible (PL8. 17-21). Milton asks us to imagine the first man struggling with many of the same questions a Renaissance thinker, contemplating new models of the universe, must have considered. In response to the theory that everything revolves around the sun and not the earth, philosophers were forced to question the importance of mans role in the universal order.Raphael, responding to Adams concerns, suggests there is no reason bodies saucy and greater should not serve / The less not bright, nor Heavn such journies run / Earth sitting still (PL8. 87-9). Yet, the poem does not answer all such questions directly, and scholars often find it difficult to determine Miltons attitude toward science. In these debates, it is helpful to remember that Milton was not a scientist but a theorist.He did not contribute to scientific knowledge so much as to an understanding of what new scientific ideas might inculpate to traditional Christian cosmology. He meditates on this in conditional modes, as does Raphael in his description of the universe Wh at if the Sun/ Be spirit to the introduction (PL 8. 122-3). In the mid-sixteenth century, Nicolaus Copernicus and his followers, most notably Johannes Kepler and Galileo Galilei, disturbed the entire Christian world by proposing a heliocentric model of the universe that displaced the earth, and by annexe humanity, from the center.As the Reformation progressed, resulting theological debates acquired political importance and Milton, as a politically conscious theologian, addressed these issues in Paradise Lost. Critics debate the expiration of Miltons interest in the advancement of science. Catherine Gimelli Martin notes that many find his cosmology stands on the wrong side of the great scientific revolution initiated by Copernicus, furthered by Galileo, and completed by Newton (What If the Sun Be Centre 233).However, Martin argues that classifying Milton as scientifically backward is a mistake resulting from our modern beau monde we too easily forget that during this formative p eriod, no advancement of learning, scientific or otherwise, could yet be conceived as succeeding apart from the indispensable disclaimers about the folly of seeking superhuman knowledge and the proper assurances of unimportance before heights of Divine Wisdom (Martin 231-2).Modern readers tend to breed scientific knowledge as inevitably progressive and therefore have a bun in the oven in Milton an appreciation of our modern scientific values and knowledge. As a rationalist, Milton must have admired the new sciences but, as a classicist and a Christian theologian, he had not yet placed scientific knowledge ahead of piety or biblical knowledge. William Poole notes the danger of comprehend in Milton an advanced scientific philosopher and warns we should be extremely wary forcing Milton into tog he does not fit (Milton and Science A Caveat 18).However, within the middle ground, scholars agree with Martin that Milton appreciated the value of scientific thought and development, alth ough he may have doubted the reach of this branch of human knowledge. Cosmology appears in Paradise Lost through direct scientific references, incorporation of new scientific theories into various characters worldviews, and warnings against seeking beyond the limits of human knowledge. Martin observes Galileo or his telescope is approvingly cited on five separate occasions in Miltons epic (the only contemporary reference to appear at all) (Martin 238).