Table of contents |
2 Preface to Patron 3 Text 4 Summary |
The Garden of Cyrus is Browne's mystical vision of the interconnection of art, nature and the Universe via the symbols of the number five, quincunx pattern , lozenge shape , figure X and reticulated Network. Its slender but compressed pages of imagery, symbolism and associative thought are evidence of Sir Thomas Browne's complete understanding of a fundamental quest of Hermetic philosophy, namely proof of the wisdom of God .
With its near vertiginous procession of examples of how God geometrizes; via art-objects, botanical observations , ancient history, optics, biblical scripture and the cabbala, Cyrus may, with a modern understanding of the influence of hermetic philosophy upon the arts and intellectual history, be termed a work of hermetic phantasmagoria.
The dedicatory preface to his patron Nicolas Bacon includes several examples of Browne's subtle humour
Introduction
Preface to Patron
The introductory preface also hints at the essence of Browne's 'nature philosophy'. From the detection of nature's arcana the alchemist-physician penetrated Nature's secrets to apprehend a fundamental tenet of alchemy - the Universal Spirit of Nature, the anima mundi or World-Soul responsible for all phenomena and which binds all life together. Browne first wrote upon the existence of the anima mundi in Religio Medici (The Religion of a Doctor) of 1643 thus-Text
The opening lines of The Garden of Cyrus depicts the creation of the cosmos. Like many alchemist-physicians Browne was fascinated with life's beginnings, thus cosmic imagery opens his joyous Discourse upon life, light and beauty. The act of the Creation itself is likened to the alchemical opus - God is viewed as a cosmic alchemist.
The opening paragraph of Cyrus alludes to Vulcan of the alchemists. The Roman god of fire and furnace was commonplace during the resurgence of interest in the esoteric in Protectorate Britain and well-known as symbolic of Paracelsan alchemy during the 1650's.
The dense symbolism of Cyrus is supplemented by hundreds of foot-notes, the very first informs the reader that the divine philosopher alluded to in the opening paragraph is Plato, author of the Bible of alchemy, namely the Timaeus. As throughout the Discourse highly original optical imagery is employed:
If ever there were a literary example of a physician 'seeking truth in the light of nature' as exhorted by Paracelsus this central chapter with its many sharp-eyed observations on plant-life Cyrus is it. The Swiss alchemist-physician Paracelsus's encouraging of fellow physicians to 'seek truth in the Light of Nature' is in fact a dualistic concept in which both the apprehending of Nature's esoteric arcana and the beginnings of modern biological research are inextricably linked. In Browne's day these two pursuits were quite indistinct from each other.
After exploring Art and Nature for evidence of the Quincunx pattern chapters four and five delve into esoteric topics such as the healing properties of music, astrology and physiognomy, Sir Thomas revealing himself to be well-versed in the Cabbala.
The apotheosis of The Garden of Cyrus contains Browne's testimony of his scientific credentials for obtaining truth, these are - 'rational conjecture', 'occular observation' and 'discursive enquiry'; there follows the much-celebrated penultimate paragraph of purple prose in which the orbit of the doctor's 'soul-journey' splashes down to earth and hard reality.
With its near vertiginous procession of visual imagery and objects, its constant reinforcement of how God geometrizes, via the symbols of the number five and Quincunx pattern, jotted in a hasty, fractured and breathless style Cyrus may be considered a stylistic forerunner of stream of consciousness writing and even an early example of altered consciousness writing, for as a study of draught manuscripts reveal, Browne's excited scribbling of ideas are uncharacteristically scribbled and race across the page often quicker than his pen can write.
Cyrus is also exemplary of hermetic phantasmagoria literature and not unlike Lewis Carroll's Alice in Wonderland, or the science-fiction of H. G. Wells, it invites the reader to share with its author in a fantastic perspective upon life and reality.
There are however two major factors why The Garden of Cyrus is not as familiar to readers of English literature as much as it's diptych companion Urn-Burial. Firstly because of an editoral and publishing trend, totally against Browne's artistic intentions, it was omitted from many Victorian editions, such inexcusable Pythagorisme was little humoured by Victorian critics and thus it has been omitted from many modern editions .
The second reason is the sheer difficulty of text itself which has baffled all but the most determined reader. Stylistically the Discourse veers abruptly from passages of sublime purple prose to crabbed note-book jotting. It also alludes to what is now considered to be obscure learning, namely hermeticism and the esoteric in general.
The complex relationship between Cyrus to Urn-Burial in terms of polarity, densely-packed symbolism, imagery and style, make Browne's diptych discourses not only a highly-crafted example of the baroque extravagances of the hermetic imagination, but also a unique, 'binary' or dyptych, literary creation.
Difficult as it is to read The Garden of Cyrus remains an important work of English literature for the following reasons, firstly, it is a literary example of hermetic philosophy and secondly as evidence that as late as the mid-seventeenth century great intellects continued to endorse the tenets and teachings of hermetic philosophy.