Wednesday, July 01, 2020

Dr. Browne's 'readie way to read the characters of Morpheus'.

Thomas Browne's On Dreams is exemplary of the seventeenth century physician-philosopher's deep learning and dedication to his medical profession. Furthermore, Browne's short tract reveals him to be a pioneering psychologist, not least for anticipating concepts associated with the psychology of Carl Gustav Jung.

Its first worthwhile to remind ourselves of the nature of dreams and of the historical antecedents of their interpretation. Dreams can have a wide variety of moods and feelings, frightening or anxious, exciting and adventurous, sometimes with a magical content or empowering, sometimes with a sexual element and most often simply puzzling. Dreams can give a creative or inspiring thought, and in the past they've been viewed  as a conduit of God-given revelation and as prophetic.

The ancient Sumerians of Mesopotamia left evidence of dream interpretation dating back to at least 2100 BCE. In one of the world's oldest literary works The Epic of Gilgamesh the hero Gilgamesh escapes the vengeance of the gods by paying attention to dreams which warn and show him how to overcome his enemy.  The Greek physician Hippocrates (469–399 BCE) had a simple dream theory: during the day, the soul receives images; during the night, it produces images, similarly, the Greek historian Herodotus in his Histories, wrote, "The visions that occur to us in dreams are, more often than not, the things we have been concerned about during the day".

Thomas Browne (1605-82) demonstrates his familiarity with the ancient Greek physician Hippocrates' theory to the causes of dreams stating, 'the thoughts or actions or the day are acted over and echoed in the night'. Browne himself had an intimate relationship to the world of dreams. Living in an age of grim living conditions for many and with little entertainment, dreaming was a welcome diversion in seventeenth century England.  Browne confesses of his enjoyment of dreaming in  Religio Medici (1643) thus-

'There is surely a nearer apprehension of any thing that delights us in our dreams, than in our waked senses........I thank God for my happy dreams, as I do for my good rest, for there is a satisfaction in them unto reasonable desires, and such as can be content with a fit of happiness; and surely it is not a melancholy conceit to think we are all asleep in this world, and that the conceits of this life are as mere dreams to those of the next, as the Phantasms of the night, to the conceit of the day'. [1]

Dreams were rich nourishment for Browne's imagination, not least because he was able to lucid dream, that is, to be conscious of oneself actually dreaming, and thus able to take an active instead of passive role in the events occurring in a dream, effectively controlling the action of a dream. Browne describes this rare gift in Religio Medici thus -

'yet in one dream I can compose a whole Comedy, behold the action, apprehend the jests, and laugh myself awake at the conceits thereof; were my memory as faithful as my reason is then fruitful, I would never study but in my dreams, and this time also would I choose for my devotions, but our grosser memories have then so little hold of our abstracted understandings, that they forget the story, and can only relate to our awaked souls, a confused and broken tale of that that hath passed'. [2]

On Dreams opens with fleeting allusion to night and sleep, themes which, together with dreams inspired some of the greatest passages of Browne's literary art. Citing the Old Testament book of Genesis and its story of Jacob's dream, Joseph's interpretation of the Egyptian pharaoh's dreams and Nebuchadnezzar's demand not only for the interpretation of his dream but of his dream itself, Browne in common with other Renaissance thinkers viewed dreams as God-given communications and their interpretation sanctioned in the Bible. 

Even as late as the seventeenth century the little-understood psychic phenomena of the dream was believed to be of either divine or diabolical origin. Browne's remark that, 'We have little doubt there be demoniacal dreams' seems  to be an observation based upon personal, first-hand experience. If there are demonic dreams Browne argues -

'Why may there not be Angelical ? If there be Guardian spirits, they may not be unactively about us in sleep, but may sometimes order our dreams, and many strange hints, instigations, or discoveries which are so amazing unto us, may arise from such foundations'.

And in fact a belief in Guardian angels as well as witches was integral to Thomas Browne's spiritual hierarchy. Its unsurprising therefore that the Christian in Browne is concerned  in On Dreams about the possibility of sinning in one's dreams. In his short tract he also condemns those who have paid too close attention to their dreams at the expense of common sense, stating, 'Yet he that should order his affairs by dreams, or make the night a rule unto the day, might be ridiculously deluded'.

On Dreams includes examples of Browne's 'dimensional imagery' in which the very large and very small are juxtaposed, noting that in dreams -

'the phantastical objects seem greater than they are, and being beheld in the vaporous state of sleep, enlarge their dimensions unto us; whereby it may prove easier to dream of Giants than pygmies'.

The very same juxtaposition of giant and pygmies, Browne's 'dimensional imagery' is featured in his late work Christian morals, in moralizing highly relevant to our own day.

'without which, though Giants in Wealth and Dignity, we are but Dwarfs and Pygmies in Humanity, and may hold a pitiful rank in that triple division of mankind into Heroes, Men and Beasts'.  (C.M. 3:14)

In the painting The Gentleman's Dream or Disillusion with the World (1655) by the Spanish Baroque-era artist Antonio de Peruda (c.1611-1678) a courtier sleeps and dreams beside a table displaying various vanitas objects. A guardian angel unfurls a scroll with the words, "Eternally it stings, swiftly it flies and it kills", a waspish allusion to the sting of Time.

Browne references both ancient and modern philosophers in On Dreams including the Greek philosopher Pythagoras who was a big influence upon his philosophy, as declared in Religio Medici - 'I have often admired the mystical way of Pythagoras' and a creative influence of the discourse The Garden of Cyrus. [3]

In addition to Pythagoras, the Italian physician, mathematician and general polymath Jerome Cardan  is also mentioned twice in the tract. Jerome Cardan (1501-76) was highly influential in various disciplines, writing over 200 works on science. His interests included medicine, biology, engineering, chemistry, astrology and astronomy and he's credited with inventing several mechanical devices including the combination lock and the Cardan shaft with its universal joints which allow for the transmission of rotary motion at various angles and used in car-motors to the present day.  He was often short of money and kept himself solvent by being an accomplished gambler and chess player. Cardan had a reoccurring dream which ordered him to write De subtilitate rerum (1550) a book which Thomas Browne was critical of when assessing Cardan in his encyclopedic endeavour  Pseudodoxia Epidemica (1646-72) -

'We had almost forgot Jeronymus Cardanus that famous Physician of Milan, a great Enquirer of Truth, but too greedy a Receiver of it. He hath left many excellent Discourses, Medical, Natural, and Astrological; the most suspicious are those two he wrote by admonition in a dream, that is De Subtilitate & Varietate Rerum. Assuredly this learned man hath taken many things on trust, and although examined some, hath let slip many others. He is of singular use unto a prudent reader but to him that desireth hoties, or to replenish his head with varieties, like many others before related, either in the original or confirmation, he may become no small occasion of error'. [4]

Browne's judgement of Jerome Cardan didn't prevent him from acquiring sometime in 1663 or shortly after (he often purchased book upon notification of their publication by book-dealers) an edition of Jerome Cardan's complete works which included Somniorum Synesiorum, omnis generis insomnia explicantes, libri IIII (Synesian dreams, dreams of all kinds set forth, in four books). [5]

Jerome Cardan's work on the interpretation of dreams is partly inspired by Synesius of Cyrene (c.370-c.413 CE) a Greek bishop of ancient Libya and author of  De insomniis (On dreams). Cardan divided dreams into four categories based on their causes: digestive dreams, caused by food and drink; humoural, caused by imbalances in the four humours; anamnestic, caused by passions or changes in emotion; and finally prophetic dreams of a supernatural or divine origin. Jerome Cardan viewed the first three categories as natural and ordinary bodily processes. Most of this work however, is devoted to a discussion of prophetic dreams which he views from a philosophical perspective.

Jerome Cardan is one of several radical, independent-minded figures from Renaissance intellectual history whom Browne was highly critical of yet closely read. Other notable candidates of similar critical influence upon Browne include Cardan's countryman, the polymath Giambattista della Porta (1538-1615) the Belgian scientist Van Helmont (1577-1644) the Swiss physician Paracelsus (1494-1541) and the German scholar of comparative religion Athanasius Kircher (1602-1680). 

Browne sometimes wrote with his most recent reading in mind. From his mention of the Italian polymath and physician Jerome Cardan twice in On Dreams its possible for his short tract to be tentatively dated as written circa 1663, a date deduced from two facts. According to the 1711 Auction Sales Catalogue an edition of Jerome Cardan's Opera (Complete works) is listed as once in Browne's library, dated 1663 [5]. Coincidentally, almost half of Thomas Browne's eldest son Edward Browne's dissertation for his bachelor of medicine degree, on the use of dreams to the physician, was written in 1663.[6] Its therefore possible to speculate that Browne may have composed On Dreams for the assistance of his son. In any event the short tract On Dreams isn't dissimilar in either its literary style or subject-matter to Browne's  A Letter to a Friend  (circa 1656) in which dreams as experienced by the dying are commented upon. As such On Dreams may be read as an appendage to Browne's major medical writing, A Letter to a Friend.

There's a fascinating relationship between Thomas Browne to the Swiss psychologist  Carl Gustav Jung (1875-1961). For example, both men were physicians who took their psychiatric responsibilities seriously, both studied comparative religion and alchemical literature in depth and both had a big  interest in dreams. I've written at length about this relationship elsewhere here her  [7]

C.G.Jung's Memories, Dreams, Reflections (1963) like Browne's Religio Medici (1643) is an autobiographical account and spiritual testament which includes many philosophical digressions. The biggest difference between the two autobiographies being whilst Religio Medici was penned before its author embarked upon a medical career, C.G. Jung's Memories, Dreams, Reflections was written after a long medical career, shortly before the author's death. It includes recollections of some of the many dreams Jung had, of digging up the bones of prehistoric animals, of kneeling to hand a girl an umbrella, of a tree transformed by frost, of his father reading a fish-skin bound Bible and many equally bizarre others. According to Jung-

'The dream is a little hidden door in the innermost and most secret recesses of the psyche, opening into that cosmic night which was psyche long before there was any ego consciousness....All consciousness separates; but in dreams we put on the likeness of the more universal, truer, more eternal man dwelling in the darkness of primordial night. [8]

In On Dreams Browne declares- 'We owe unto dreams that Galen was a physician, Dion an historian, and that the world hath seen some notable pieces of Cardan' to which one might add we owe unto dreams that the Swiss psychologist C.G. Jung embarked upon a long study of alchemy.

Jung's dream which heralded his encounter with alchemy occurred in 1926 when he dreamt he was travelling through the Lombardy plain in Northern Italy. Upon viewing a large manor house located near Verona he entered its courtyard. Suddenly its gates slammed shut and he thought to himself, 'Now, we are caught in the seventeenth century'. Only much later did Jung come to realize that his dream alluded to his many years of studying alchemy, the golden age of alchemy being the seventeenth century.

Amazingly, Memories, Dreams, Reflections includes an enthusiastic endorsement of Browne as a psychologist. Jung's autobiography is prefaced by a verse chosen by his secretary Anelia Jaffe to describe the psychologist, but the author of the verse, the English romantic poet Samuel Coleridge is eulogizing upon Thomas Browne, not C.G. Jung. This verse is notable for its early usage of the word 'consciousness' which the Oxford English Dictionary attributes to the poet William Wordsworth, Coleridge's sometime mentor as the first to use and in all probability was 'borrowed' from him. Coleridge's enthusiastic response to Browne recognizes the self-analytical and mind-expanding qualities of the physician-philosopher.

He looked at his own Soul
With a Telescope. What seemed
all irregular he saw and
shewed to be beautiful
Constellations: and he added
to the Consciousness hidden
worlds within worlds.

Thomas Browne's anticipation of a Jungian interpretation of dreams is boldly declared in On Dreams -

Many dreams are made out by sagacious exposition from the signature of their subjects; carrying their interpretation in their fundamental sense & mysterie of similitude, whereby he that understands upon what natural fundamental every notional depends, may by symbolical adaptation hold a readie way to read the characters of Morpheus.

Browne's proposal of 'symbolical adaptation' as 'a readie way to read the characters of Morpheus' (the god of sleep is known as 'Fashioner' in Ancient Greek: μορφή meaning 'form, shape') requires elaboration.

Its worth remembering first that the word 'symbol'  derives from the Greek σύμβολον symbolon, meaning "token, watchword" from σύν syn "together" and βάλλω bállō " "I throw, put". The meaning of symbol as "something which stands for something else" was first recorded  in Edmund Spenser's epic poem The Faerie Queene (1596)

According to C.G Jung - 'Symbols are never simple - only signs and allegories are simple. The symbol always covers a complicated situation which is so far beyond the grasp of language that it cannot be expressed at all in any unambiguous manner. [ 9]

'If symbols mean anything at all, they are tendencies which pursue a definite but not yet recognisable goal and consequently can express themselves only in analogies.' [10]

The Renaissance study of nature included the study of human nature. It was the radical 'Luther of Medicine' the Swiss physician-alchemist Paracelsus who first encouraged and urged the physician to take dreams and seriously, declaring-

"The interpretation of dreams is a great art. Dreams are not without meaning wherever they may come from - from fantasy, from the elements, or from another inspiration". [11]

Orthodox Christian theology did not however always possess a clear-cut view or answer to the new spiritual and psychological concerns experienced by many during the Renaissance, an age of great change. The effects of urbanization for example increased interaction between widely differing social, cultural, moral and religious perspectives and increased awareness of sexuality. From their close understanding of the human condition and dissatisfied with Christian dogma alchemist-physicians  as diverse as Paracelsus, John Dee, Van Helmont, Jerome Cardan and Thomas Browne augmented concepts originating from the western esoteric traditions or coined home-grown neologisms and their own symbols in order to describe their understanding of the psyche.  Each of these aforenamed alchemist-physicians took their own dreams far more seriously than any in contemporary society today, recognizing their dream-lives to be of great importance to their self-development or the individuation process in Jungian terms. From alchemist-physicians immersion and analysis of their dreams there emerged the beginnings of the modern science of psychology. These rudimentary and tentative understanding of the self and the unconscious psyche by alchemist-physicians, several of whom C.G. Jung  studied and closely based his psychology upon, were, as the Swiss psychologist recognized, the fruits of the Renaissance spirit of enquiry into nature, which includes human nature. As C.G.Jung explains-

'the language of the alchemists is at first sight very different from our psychological terminology and way of thinking. But if we treat their symbols in the same way as we treat modern fantasies, they yield a meaning - even in the Middle Ages confessed alchemists interpreted their symbols in a moral and philosophical sense, their "philosophy" was, indeed, nothing but projected psychology'. [12]

Thomas Browne's fascination with symbols is writ large throughout his oeuvre. Allusion to symbolism involving the alphabets of various languages, numbers, Egyptian hieroglyphs, Mercurial characters, kabbalistic signs and geometric symbols as well as metaphors, allegories, anagrams and  riddles can be found in his writings, not least in his highly hermetic discourse  The Garden of  Cyrus (1658) a literary work densely packed with symbolism. Not only is the ubiquity of the number five in art and nature prominent in The Garden of Cyrus but also its many closely-associated extensions including the V shape and the Latin numeral for 5, which by mirror doubling becomes the figure X, significant  to Christians as the first letter of the name of Christ in Greek, the ten commandments as well as the Pythagorean tetraktys, which by multiplication (X) becomes the reticulated network, as seen illustrated on the discourse's frontispiece. (Below)

The literary critic Peter Green recognized- 'there is nothing vague or woolly about Browne's mysticism...Every symbol is interrelated with the over-all pattern'. [13]

Crucially, in relation to Jungian psychology, Browne not only employs one of the earliest usages of the very word 'archetype' in The Garden of Cyrus  but even attempts to delineate the archetype of the 'wise ruler' through utilizing highly-original proper name symbolism, alluding to Solomon, Moses, Alexander the Great, Augustus and of course the titular hero of the discourse, Cyrus. Browne's proper-name symbolism also alludes to the archetypal figure of the ‘Great Mother' as a symbol of fertility and fruitfulness with mention of Sarah, Isis, Juno, Cleopatra and Venus. But if ever there were a sly, Royalist supporter's opposition to Cromwell's rule of England (1650-1658), its surely in Browne's repeated citing of examples of the 'Wise ruler' from history in  The Garden of Cyrus.

The religious mystic and symbol go together hand in glove. For most Christian mystics the inexhaustible symbolism of the Cross was sufficient for expression of their spiritual thought. The Elizabethan mathematician and hermetic philosopher John Dee (1527-1608) however devised his very own mystical symbol, the Monas Hieroglyphica a complex, metaphysical 'explanation' of the cosmos. Dee's Monas symbol became a printer's colophon which was avidly reproduced by various alchemystical philosophers in their publications. John Dee's eldest son Arthur Dee became a friend of Browne's upon his return from Russia and retirement to what was at the time, England's second city in terms of prosperity and population, Norwich.

Peter French  speculates- 'Little is known of this son of Dee's; one cannot help but wonder however, how much he may have influenced Browne, who was one of the seventeenth century's greatest literary exponents of the type of occult philosophy in which both the Dee's were immersed'.[14]

On Dreams is not Browne's only literary work in which the psychological is prominent. His two closely-related discourses of 1658 Urn-Burial and The Garden of Cyrus are a portrait of the human condition and psyche, depicting humanity as simultaneously irrational and rational, fearful of death, yet forever with the future in mind, serious and merry, enduring pain and illness as well as enjoying health and pleasure. Imagery involving Light and Darkness permeates the diptych discourses, as does the dominant themes of Time (Urn-Burial) and Space (The Garden of Cyrus) the basic framework of  the Mandala. Most often a circular visual image, but conceivable as a literary structure, in Jungian psychology the meditative image of the mandala symbolically represents the dreamer's search for completeness and self-unity; its function is to assist with healing and to help transform ordinary minds into enlightened ones. Plexiformed in their polarity, themes and imagery, Browne's diptych discourses are capable of achieving such a transformation to the receptive mind.  By focusing his reader's attention to the discourses primary symbols of Urn and Quincunx, Thomas  Browne  -

'by concentrating, almost like a hypnotist, on this pair of unfamiliar symbols, paradoxically releases the reader's mind into an infinite number of associative levels of awareness, without preconception to give shape and substance to quite literally cosmic generalizations...............Mystical symbolism is woven throughout the texture of Browne's work and adds, often subconsciously, to its associative power of impact. [15]

C.G.Jung, recognizing the enduring continuity of symbolism in the collective unconscious psyche throughout long stretches of time perceptively observes-

'The symbolic statements of the old alchemists issue from the same unconscious as modern dreams and are just as much the voice of nature'. [16] 

Browne concludes his short tract On Dreams refuting that children don't dream under six months old, that men don't dream in some countries by supplying a footnote upon the difference between false and true dreams in the form of the Ivory gate and the polished horn gate as mentioned in Homer's Odyssey, in which Penelope the hero's wife says of dreams-

"Ah my friend," seasoned Penelope dissented
"dreams are hard to unravel, wayward, drifting things-
not all we glimpse in them will come to pass...
Two gates there are for our evanescent dreams,
one is made of ivory, the other made of horn.
Those that pass through the ivory cleanly carved
are will-o'-the-wisps, their message bears no fruit.
The dreams that pass through the gates of polished horn
are fraught with truth, for the dreamer who can see them. [17]


In addition to being a superb introduction to his literary style, Browne's proposal in On Dreams of 'symbolical adaptation' when interpreting dreams, easily qualifies him to be identified as an early, pioneering psychologist. The short tract On Dreams like a large percentage of Thomas Browne's writings are permeated by spiritual-psychological insights which continue to be of relevance to those receptive to the perennial tasks of the human condition, namely, consciousness of one's relationship to the world and self-understanding, 'the Theatre of ourselves', as the seventeenth century physician and alchemystical philosopher defined the psyche.

Link to full text of  On Dreams

Books consulted

* Patrides C. A. ed. and with an introduction The Major Works of Sir Thomas Browne pub. Penguin  1977 includes On Dreams
* Finch J. S - A Catalogue of the Libraries of Sir Thomas Browne and Dr Edward Browne, his son. A Facsimile Reproduction with an Introduction, Notes and Index.  E. J .Brill    1986
* Jung C. G.  Memories, Dreams, Reflections trans. R & C Winston London 1979
* Jung C.G. Psychology and Religion Vol. 11 Collected works pub. RKP 1958
* Green, P. Sir Thomas Browne  pub. 1959 Longmans, Green & Co (Writers and Work, No.108).
* The Odyssey Homer translated by Robert Fagles 1996 Viking Penguin


[1] Religio Medici Part 2  Section 11
[2] Ibid.
[3] R.M. Part 1:12
[4] Pseudodoxia Epidemica Bk 1:18 no.13
[5] Sales Catalogue p.19 no 96  Opera Omnia 10 vol. Lyon 1663
[6] I am indebted to Ms. A. Wyatt for information about Edward Browne's bachelor of medicine dissertation and indeed on all matters relating to Thomas Browne's eldest son, Edward Browne (1644-1708).
[7]  Carl Jung and Sir Thomas Browne
[8]  Glossary  of  Memories, Dreams, Reflections.
[9] Carl Jung Complete Works  Vol:11 paragraph 385
[10] CW 14: paragraph 667
[11] Paracelsus: Selected Writings edited by Jolande Jacobi pub. Princeton University Press 1951
[12] CW 14: paragraph 737
[13] Green, P. Sir Thomas Browne pub. 1959 Longmans, Green & Co (Writers and Work, No.108)
[14] John Dee: The World of an Elizabethan Magus, by Peter J. French Pub. Routledge and Kegan Paul, London 1972
[15] Green, P. Sir Thomas Browne  pub. 1959 Longmans, Green & Co (Writers and Work, No.108)
[16] Collected Works vol. 11: paragraph 105
[17] Book 19 lines 560-565 The Odyssey Homer by Robert Fagles pub. 1996 Viking Penguin


'Before Waking'  40 x 50 cm. (2015) by Peter Rodulfo.

The Knight's Dream by Antonio de Peruda. (1655)

Henri Rousseau Le Rêve (The Dream) 1909. Rousseau's last painting.

'Dreaming Fisherman' by Peter Rodulfo

Sunday, May 17, 2020

Helmont might dream himself a bubble extending unto the eighth sphere.

Its only in recent times that a clearer assessment of the Belgian chemist and scientist, physician and alchemystical philosopher Jan Baptist van Helmont (1579-1644) in science and medicine has been made. Likewise, its only recently that the influence of J.B.van Helmont on the English physician-philosopher Sir Thomas Browne (1605-82) has been recognised. 

Just as historians only slowly acknowledged the seminal influence which the Swiss alchemist-physician Paracelsus (1493-1541) exerted upon the development of medicine during the Renaissance, so too, J. B. van Helmont has long occupied an ambiguous place in intellectual history.

J.B. van Helmont's writings are couched in the language of Renaissance mysticism and his belief in alchemy and magic is in tandem to his rational, scientific enquiries. This has resulted in an unsympathetic attitude towards him by historians of science and his writings labelled as an 'un-scientific' miscellany of medicine, philosophy and alchemy. One leading historian of medicine somewhat resignedly calling him an enigmatic figure.[1]

Quite simply the enigma of J.B. van Helmont rests in the paradox to modern sensibilities of his being defined in near equal measure as much a scientist and physician as a religious mystic and 'alchemystical' philosopher. All these compartmentalized definitions did not of course exist in J.B.Helmont's time; himself possessing an entirely holistic and unified view of science, religion, medicine and philosophy.

Throughout his life J.B. van Helmont endured much misfortune. In his youth he courteously picked up a glove a lady had dropped only to be infected by scabies from it. He consulted the writings of the famous physician Galen for a remedy but found it ineffective and a sulphur ointment prescription by Paracelsus  successful. He subsequently vowed to reject Galenic medicine and follow Paracelsus instead. J.B.van Helmont toured Europe, including London and worked in Antwerp during a plague epidemic in 1605. He graduated as Doctor of Medicine of the University of Louvain in 1599 but he was later denounced by his Alma Mater in 1623 as a heretic through the Spanish authorities occupying Flanders. His unorthodox views resulted in his arrest, trial and imprisonment in 1634 followed by house-arrest for the rest of his life. He almost died from Carbon monoxide poisoning in 1643 and contracted pleurisy in 1644. His good fortune however was to marry an heiress whose wealth enabled him to abandon his onerous medical duties and engage in scientific research for several years.

In essence, J.B. van Helmont is a transitional figure in the history of science. Like many other early scientists he regarded all science and wisdom to be a gift from God.  J.B. Helmont was also highly influenced by the so-called 'Luther of Medicine' in his scientific thought and experiments. It was the Swiss alchemist-physician Paracelsus who proposed that the true purpose of alchemy was to investigate the properties of nature, advocating the 'art of fire' to distil 'quintessences' of mineral and vegetable-life in order to discover new medicines. J.B. Helmont has been defined as the foremost follower of Paracelsus, who, whilst highly critical of Paracelsian mysticism nevertheless subscribed to what the Swiss physician termed his 'Spagyric' medicine, the rudimentary beginnings of  iatrochemistry or medical chemistry no less, and as such J.B. van Helmont is credited, alongside the English scientist Robert Boyle (1627-91) as a 'Father of modern chemistry'.

Upon J.B. van Helmont's death in 1644 his son Franciscus Mercurius van Helmont (1614-98/99) randomly collated and edited his father's writings for the publication of Ortus Medicinae, or the 'Dawn of Medicine' in Amsterdam in 1648. An English translation by John Chandler entitled Oriatrike was published in London in 1662. 

In his brilliant and scholarly biographical study of Thomas Browne, the American academic Reid Barbour notes Browne is especially keen to include J.B.van Helmont's research on magnetism in the forthcoming second edition of his Pseudodoxia Epidemica in 1650. [2]  Other recent publications on Browne singularly fail to even mention J.B. van Helmont yet alone elaborate on his influence on Browne. However, scattered throughout his writings are several references to J.B. van Helmont which strongly suggest that the Norwich-based scientist and physician Thomas Browne held the Belgian scientist and physician  in high regard. It shouldn't be too surprising to discover that Browne took the medical ideas of J.B. van Helmont seriously. Circa 1629 he had completed his continental studies at Leiden University in Holland, an educational institute whose reputation for chemical medicine was centred upon J.B. van Helmont's Paracelsian science.

Although none of J.B. van Helmont's writings are listed in the 1711 Sales Auction Catalogue of Browne's library (there's a lapse of almost 30 years from Browne's death until his library contents are auctioned. Not a single one of the books advertised on the Auction Catalogue title-page as 'Books of Sculpture and Painting' ever arrived at the auction-house) Thomas Browne surely had access to Van Helmont's writings. For example, when speculating on the formation of kidney-stones, a disease long prevalent in East Anglia due to its many chalky water-courses, Browne  praises Van Helmont, albeit in parenthesis - '(as Helmont excellently declareth)'.[3] However, like J.B. van Helmont, Browne was also prone to read the 'Book of Nature' through the prism of esoteric schemata, the most elaborate being the microcosm-macrocosm correspondence, or from long-held folk-lore, as here-

'and Helmont affirmeth he could never find the spider and the fly upon the same trees, that is the signs of war and pestilence which often go together' [4]

Because early scientists such as Paracelsus, J.B. van Helmont and Thomas Browne encountered undefinable properties and phenomena in their scientific investigations they each had a propensity for coining and introducing new words, some of which remain in modern language. The word 'alcohol' is credited as originating from Paracelsus and that of 'electricity', amongst hundreds of others, to Browne. J.B.van Helmont's most famous neologism is undoubtedly the word 'gas' derived from the ancient Greek word for chaos. In fact, Van Helmont investigated and categorized a number of gases, including gas from belching, poisonous red gas (NO2) which is formed when aqua fortis (HNO3) acts on silver and sulfurous gas that “flies off” burning sulfur, amongst others. J.B. van Helmont proposed that gas is composed of invisible atoms which can come together by intense cold and condense to minute liquid drops; and that gases can be contained in bodies in fixed form, and set free again by heat, fermentation, or chemical reaction. In relation to combustion, he concluded there were two classes of gas which he named as Gas sylvestre – one that would not burn or support combustion (Carbon Monoxide) and Gas pingue – one that would burn (a combustible gas).

The most well-known of J.B. van Helmont's experiments involved his demonstration that water is the foremost element sustaining life.  He wrote of his famous experiment with a willow tree circa 1620, thus-

"That all plants immediately and substantially stem from the element water alone I have learned from the following experiment. I took an earthen vessel in which I placed two hundred pounds of earth dried in an oven, and watered with rain water. I planted in it a willow tree weighing five pounds. Five years later it had developed a tree weighing one hundred and sixty-nine pounds and about three ounces. Nothing but rain (or distilled water) had been added. The large vessel was placed in earth and covered by an iron lid with a tin-surface that was pierced with many holes. I have not weighed the leaves that came off in the four autumn seasons. Finally I dried the earth in the vessel again and found the same two hundred pounds of it diminished by about two ounces. Hence one hundred and sixty-four pounds of wood, bark and roots had come up from water alone".

Helmont's famous experiment was known to Thomas Browne. He alludes to it when speculating on water's ability to generate growth in The Garden of Cyrus-

'How water it self is able to maintain the growth of Vegetables, and without extinction of their generative or medical vertues; Beside the experiment of Helmont's tree, we have found in some which have lived six years in glasses'.

J.B van Helmont is only one of three 'moderns' who make the cut as worthy of mention in The Garden of Cyrus, the other two 'moderns' who held in equal measure a rational and mystical view of science named in the discourse are the Swiss alchemist-physician Paracelsus (1493-1541) and the Italian esoteric scholar and polymath Giambattista Della Porta (1535-1615).

It was from Paracelsus that J.B. van Helmont evolved his own idea of an 'Archeus' or 'Master Workman' responsible for giving life and form to the human body. In Ortus Medicinae he situated the “archeus” in the upper opening of the stomach. All diseases according to J.B. van Helmont have their seat in the Archeus and every disease, he believed, had a vital principle of it own (archeus) which could be treated by a specific medical-spiritual response. Disease, J.B. van Helmont believed, could be overcome by  pacifying the disturbed Archeus. Medicines, in particular, minerals, targeted the disease and helped the host overcome its archeus. According to J.B. van Helmont-

'A Disease therefore is a certain Being, bred, after that a certain hurtful strange power hath violated the vital Beginning...and by piercing hath stirred up the Archeus unto Indignation, Fury and Fear'.[5]

'Fever is the effort of the chief Archeus to get rid of some irritant, just as local inflammation is the reaction of the local Archeus to some injury'.[6]

J.B.Helmont's contemporary, the Paracelsian physician and alchemist Martin Ruland the Younger (1569-1611) attempts to define the nebulous  term 'Archeus' in his Lexicon alchemiae (1612) thus-

ARCHEUS - is a most high, exalted, and invisible spirit, which is separated from bodies, is exalted, and ascends; it is the occult virtue of Nature, universal in all things, the artificer, the healer. Also Archiatros - supreme physician of Nature, who to every substance and member dispenses in an occult manner, by means of the air, its own individual Archeus. Also the primal Archeus in Nature is a most secret virtue producing all things out of Master, doubtless certainly supported by divine virtue. Or, Archeos is an errant, invisible species, the power and virtue of Nature's healing, the artist and healer of Nature, separating itself from bodies, and ascending from them. Archeus signifies, in addition, the power which reduces the One Substance from Iliaster, and is the dispenser and composer of all things. It individualizes in all things, including human nature.[7]

The medical ideas of J.B.van Helmont are linked to those of Thomas Browne in an astounding observation by the psychologist C.G. Jung (1875-1961).  Writing on the Belgian alchemist Gerard Dorn, Jung unites the Paracelsian/ Helmontian concept of the Archeus with Thomas Browne's medical image of an 'invisible sun'  which blazes at the apotheosis of  Urn-Burial  ('Life is a pure flame and we live by an invisible sun within us'.) C.G.Jung links Gerard Dorn, the foremost promoter of Paracelsian/Helmontian medicine to Thomas Browne's 'invisible sun' (an image Browne 'borrowed from his reading of Dorn) when stating-

In Dorn's view there is in man an 'invisible sun', which he identifies with the Archeus. This sun is identical with the 'sun in the earth'. The invisible sun enkindles an elemental fire which consumes man's substance and reduces his body to the prima materia.  [8]

As a child J.B. Helmont experienced apocalyptic visions in the cloisters of the Capuchins at Louvain. Devout and pious throughout his life, he was deeply  inspired by Thomas a Kempis (1380-1471) and his Imitation of Christ which urges the penitent to self-knowledge and a denial of the self for Christ.

The psychological element is ever-present in spiritual affairs, and in conjunction with his physiological studies J.B. van Helmont took the workings of the human psyche seriously. Indeed, J.B. Helmont may be credited as an Ur-psychologist, that is, any one of a number of well-educated and isolated individuals, often from the professions of physician or priest, scattered throughout Europe circa 1500-1700 who recognised a correct understanding and interpretation of one's personal dreams to be no small contributing factor towards self-awareness and individuation. To the present-day this spiritual-psychological dimension  remains of paramount importance, in particular,  not only for individual understanding of the self but equally, for the very future of humanity's existence. 'Alchemystical' physician-philosophers such as Paracelsus, J.B. van Helmont and Thomas Browne each engaged in the arduous yet rewarding task of self-realization, J.B. van Helmont declaring-

'Our soul's understanding  of itself, does after a sort, understand all other things, because all other things are in an intellectual manner in the Soul, as in the image of God. Wherefore indeed, the understanding of ourselves, is most exceedingly difficult, ultimate or remote, excellent, profitable, beyond all other things'.[9]

J.B. Helmont was aware of the numinous nature of dreams. In the Judaic Pentateuch, the Old Testament of the Christian Bible, dreams are sanctioned as conduits of revelation from God. The story in the book of Genesis of Joseph and his ability to interpret Pharaoh's dreams was seen as endorsement of divine dreams and the art of interpretation. Using theological symbolism J.B. van Helmont seems to anticipate, along with other Renaissance-era alchemystical philosophers and Ur-psychologists, the existence of the unconscious psyche and its relationship to God when stating-

'In sleep, the whole knowledge of the Apple (i.e. that which obscures the magical powers of pristine man ) doth sometimes sleep: Hence also it is, that our dreams are sometimes Prophetical, and God himself is therefore the nearer unto Man in Dreams, through that effect'. [10]

In his writings J.B.van Helmont recollects a dream which determined his choice to become a physician.  In this dream he saw himself as an empty bubble whose diameter reached from the earth to the heavens. Above the bubble hung a tomb, while below it was the dark abyss, a vision that horrified the young van Helmont. Upon waking he interpreted his dream and of being transformed into a giant bubble as representing his own boastful, vacuous self and a god-given sign that he must pursue the vocation of physician.

Thomas Browne was fascinated by the dreams and was able to lucid dream, that is, able to orchestrate the events and action of a dream whilst in a state of dreaming, as he confesses in Religio Medici-

Yet in one dream I can compose a whole comedy, behold the action, apprehend the jests and laugh myself awake at the conceits thereof. Were my memory as faithful as my reason is fruitful I would chose never to study but in my dreams. [11]

Browne even wrote a short tract On Dreams in which he speculates upon 'symbolical adaptation' in dream interpretation thus-

'Many dreams are made out by sagacious exposition and from the signature of their subjects; carrying their interpretation in their fundamental sense and mystery of  similitude, whereby he that understands upon what natural fundamental every notional dependeth, may by symbolical adaption hold a ready way to read the characters of Morpheus'.

In his tract On Dreams Browne supplies his reader with examples of how dimensions can be greatly exaggerated in dreams,  humorously exclaiming-

'Helmont might dream himself a bubble extending unto the eighth sphere'.

A statement which indicates Browne was familiar with J.B. Helmont's accounts of his mystical experiences as well as his medical and scientific thoughts. Browne himself took an interest in bubbles as seen in his short writing On Bubbles  in which he proposes-

'Even man is a bubble if we take his consideration in his rudiments, and consider the vesicular or bulla pulsans wherein begins the rudiment of life.

Ever the subtle thinker, perhaps the strongest evidence of Thomas Browne's interest in J.B. Helmont's science occurs in correspondence to his travel-loving eldest son Edward Browne (1644-1708). Discreetly fishing for an answer Thomas Browne enquires-

'What esteem they have of Van Helmont, in Brabant, his home country ? [12]

In the same letter Thomas Browne also remarks-

'When you were at Amsterdam, I wished you had enquired after Dr.Helvetius who writ Vitulus aureus, and saw projection made, and had pieces of gold to show of it.' [13]

J.B. van Helmont himself believed in the existence of  Philosopher's Stone and  claimed he was once given it by a stranger writing- 'It was of a colour such as is saffron in it powder yet weighty and shining like unto powdered glass. ....He who first gave the the gold-making powder had likewise also at least as much of it as might be sufficient to change two hundred thousand pounds of gold. For he gave me perhaps half a grain of that powder, and nine ounces and three quarters of quicksilver were thereby transchanged. [14]

Late in his life Browne articulated his critical opinion and estimate of J.B. van Helmont and Paracelsus in his advisory and moralistic Christian Morals  -

'many would be content that some would write like Helmont or Paracelsus; and be willing to endure the monstrosity of some opinions, for divers singular notions requiting such aberrations'. [15]

In other words, in Thomas Browne's view, the many original ideas which authors such as Helmont and Paracelsus express excuse them from 'monstrous opinions'  which can be found elsewhere in their writings.

There remains one last remarkable connection between J.B. van Helmont and Thomas Browne, seldom, if ever noted before now. It exists in the form of the German translator, scholar of Hebrew and the kabbalah, Christian Knorr von Rosenroth (1636-1689). At the request of the kabbalist and wandering hermit Franciscus Mercurius van Helmont (1614-98/99) who had, together with Henry More of the Cambridge Platonists annotated Knorr von Rosenroth's translations of kabbalistic texts, Knorr von Rosenroth, in return for Franciscus van Helmont's favour, helped him translate, edit and publish into Latin his father J.B. van Helmont's writings.

Christian Knorr von Rosenroth (1636-89)
In his relatively short life Christian Knorr von Rosenroth somehow found time to also translate Thomas Browne's vast-ranging work of scientific journalism, Pseudodoxia Epidemica  totalling over 200,000 words into German, completing this task in 1680 for publication in Frankfurt and Leipzig. Its therefore quite possible that discussion of Thomas Browne's scientific writings could have occurred between Knorr von Rosenroth and J.B. Helmont's eldest son, Franciscus Mercurius van Helmont. A large field is yet to be explored in this matter.

In any event Christian Knorr von Rosenroth surely recognised  J.B. van Helmont and Thomas Browne  as sharing values in Paracelsian medicine and scientific thought. Indeed, the Belgian scientist, physician and Christian mystic J.B. Helmont may even lay claim to being  one of the foremost scientific influences upon the physician-philosopher Thomas Browne. 


[1] Roy Porter 'The Greatest benefit to Mankind': A medical history of humanity from antiquity to the present. pub. Harper Collins 1999 describes Helmont as enigmatic.
[2] Reid Barbour - Sir Thomas Browne A Life
pub. Oxford University Press 2013
[3] Pseudodoxia Epidemica Book 2 chapter 4
[4] P.E. Bk. 2 chapter 7
[5] Johannes Baptista van Helmont- Alchemist, physician and philosopher by H. Stanley Redgrove  pub. William Rider and son London 1922
[6] Ibid.
[7] Martin Ruland's Dictionary of alchemy is listed in the 1711 sales auction catalogue as once in Browne's library page 22. no 119
[8] Collected Works of C.G.Jung Volume 14:49
[9] Redgrove 1922
[10] Ibid.
[11] Religio Medici Part 2 Section 11
[12] Correspondence dated September 22nd 1668 to Edward Browne
[13] Ibid.
[14] The Devil's Doctor: Paracelsus and the World of Renaissance Magic and Science pub. Heinemann 2006 by Philip Ball
[15]Christian Morals Part 2 Section 5

Not consulted

The standard, comprehensive of J.B.Helmont, prohibitively priced is-
* Joan Baptista Van Helmont: Reformer of Science and Medicine (Cambridge Studies in the History of Medicine) Walter Pagel pib.Cambridge University Press 1982

But possibly the most modern interpretation of  J.B. van Helmont yet is-
* An Alchemical Quest for Universal Knowledge: The 'Christian Philosophy' of Jan Baptist Van Helmont  (Studies in Intellectual History, 1550-1700)  Routledge 2016 by Georgiana D. Hedesan
See also -

*    Paracelsus and Sir Thomas Browne
*   Paracelsus and the interpretation of dreams
*   Thomas Browne and the Kabbalah

Sunday, February 23, 2020

Matthew Bourne's 'The Red Shoes'

Its always exciting when New Adventures Dance Company are booked to perform at the Theatre Royal, Norwich; the return of leading British choreographer Matthew Bourne's ballet The Red Shoes was no exception.

First performed at Sadler's Wells Theatre, London on December 6th, 2016 with a set and costume designs by Bourne's long-time collaborator, Lez Brotherston, Matthew Bourne's ballet The Red Shoes is based broadly on the 1948 film The Red Shoes directed by Michael Powell and Emeric Pressburger, itself being loosely based upon Hans Christian Andersen's fairy-tale 

The generous programme notes for the New Adventures production includes background information to the cult-status British ballet film The Red  Shoes and  the film-score music of Bernard Hermann (1911-75) composer of highly atmospheric music for Alfred Hitchcock's cinematic masterpieces Vertigo (1958) North by Northwest (1959) and Psycho (1960). Bourne has carefully selected several pieces of Hermann's music notably from Fahrenheit 451 which, accompanying innovative dance, gesture and mime, greatly enhance the 'story-telling without words'  narrative of  his ballet.

In interview Matthew Bourne stated, - "the image of the red shoes that, once put on, will not allow the wearer to stop dancing has long been a potent one for creative minds, from Powell and Pressburger to Kate Bush to Emma Rice. I have loved the film since I was a teenager with its depiction of a group of people all passionate abut creating something magical and beautiful. The film's genius was to take a highly theatrical world and turn it into a highly cinematic and at times, surreal piece of film-making. My challenge has been to capture some of that surreal, sensuous quality within the more natural theatre setting" [1].

According to Bourne - "The main message of The Red Shoes is that nothing matters but art. As Michael Powell said: "The Red Shoes  told us to go and die for art." Whilst acknowledging the exaggeration here, I believe it was a piece that asked us to take art seriously as a life-changing force; something that gives intense joy but also asks for and requires sacrifices. It is the love story of two young artists: one a dancer, Victoria Page; and one, a composer, Julian Craster, and the fight between that love and the lure of the highest artistic achievement. [2]

"I'm also exploring how the fairy-tale world of ballet and the stories it tells can actually blend into the real-life tale of love, ambition, artistic and personal fulfillment, until the two are barely distinguishable". [3]

Its as a tight-working ensemble more than featuring any particular star that the New Adventures dance company operate best, though on the evening principal dancer Ashley Shaw in the role of rising star Victoria Page was confident as a star in her own right.  As ever the lighting and special effects were spectacular too, especially the sudden arrival of the  locomotion train.  

The extraordinary choreographic talents of Matthew Bourne (b. 1960) and his latest ballet The Red Shoes (2016) expands the New Adventures repertoire to no less than 12 full-length productions. In  2016 Bourne was awarded an OBE and in 2017 he won the award of Best Theatre Choreographer and the show itself won Best Entertainment at the 2017 Olivier Awards.  The New Adventures  dance company  collectively have garnered over 50 International and National awards.

I've now had the pleasure of seeing several Matthew Bourne's ballets performed at Theatre Royal, Norwich, including- Edward Scissorhands (1995), Highland Fling (2005) and Sleeping Beauty: A Gothic Romance (2012). I could not help but notice that according to the evening's programme notes there has been some kind of major reshuffle in the company; of the 24 dancers, almost half (11) are listed as joining the company as recently as 2017. However, judging by the ecstatic response and standing ovation on the night from the discerning Norwich audience that The Red Shoes seems guaranteed to be a popular, long-lasting addition to New Adventures already highly original repertoire.

[1-3] Programme notes Theatre Royal Norwich Tuesday 18 -Saturday 22 February 2020
See also -
Sleeping Beauty: A Gothic Romance

Monday, January 27, 2020

The Pythagorical Music of the Spheres, the sevenfold Pipe of Pan, and the strange Cryptography of Gaffarell.

The influence of western esoteric concepts upon the science and creative imagination of Thomas Browne is evident throughout his 1658 discourse The Garden of Cyrus, not least in the preamble of its central, third chapter.

Its while adjusting the focus of his quincuncial quest from the artificial world of art and design to nature and botanical 'ocular observation' that the physician-philosopher  names three sources of western esotericism of special interest to him, namely, Pythagoras, comparative religion and the kabbalah.  It would however, be misleading to claim that this third chapter is preoccupied exclusively with esoteric topics. The 'Natural' chapter of the discourse predominately features Browne's sharp-eyed botanical observations, naming over 140 species of plant in total. Nevertheless its also in the opening paragraphs of this third and central chapter that Browne asserts his belief in esoteric concepts involving, 'the Pythagorical music of the spheres', 'the seven-fold Pipe of Pan', and 'the strange Cryptography of Gaffarell', declaring-

Could we satisfy ourselves in the position of the lights above, or discover the wisdom of that order so invariably maintained in the fixed Stars of heaven; Could we have any light, why the stellary part of the first mass, separated into this order, that the Girdle of Orion should ever maintain its line, and the two Stars in Charles’s Wain never leave pointing at the Pole-Star, we might abate the Pythagoricall Music of the Spheres, the sevenfold Pipe of Pan; and the strange Cryptography of Gaffarell in his Starrie Booke of Heaven.

Immediately following this light-hearted challenge, there is a fine example of the Hermetic doctrine of correspondences. Descending in subject-mater from astronomy to 'bodies in the earth', Browne draws his reader's attention to similarities between patterns formed by star-constellations to those seen in mineral stones.

The belief that all in the heavens above, the macrocosm is mirrored in life on earth below, including man as microcosm, is encapsulated in the maxim 'As above, so below' which is expounded in the so-called Emerald Tablet. Also known as the Smaragdine Tablet, or Tabula Smaragdina, the Emerald Tablet is a text  which was held by Hermetic philosophers and alchemists alike as the corner-stone of their art. Attributed to the mythic sage Hermes Trismegistus, the Emerald Tablet was thought to originate from the antediluvian cradle of civilization, ancient Egypt and to predate the Christian era; but in fact was written in the 2/3rd CE. The opening verse of the Emerald Tablet announces -

Tis true without lying, certain and most true.
That which is below is like that which is above
and that which is above is like that which is below......
It ascends from the earth to the heaven
and again it descends to the earth 

As ever Browne couches a simple proposition, in this case the maxim 'As above so below' in ornate, processional and labyrinthine prose.

But not to look so high as Heaven or the single Quincunx of the Hyades upon the head of Taurus, the Triangle, and remarkable Crusero about the foot of the Centaur; observable rudiments there are hereof in subterraneous concretions, and bodies in the Earth; in the Gypsum or Talcum Rhomboides, in the Favaginites or honey-comb-stone, in the Asteria and Astroites, and in the crucigerous stone of S. Iago of Gallicia.

In what is a highly-compressed text, replete with proper-name symbolism and  'astral imagery', various astronomical constellations are named, including the Southern Triangle and Cross, the Centaur, Orion the hunter, Ursa Major or the Great Bear and the star-cluster of the Hyades in Taurus. The discourse as a whole is framed by cosmic imagery, opening with the Creation and concluding with the Apocalypse.

The three esoteric concepts named in the opening of the third chapter of the Discourse, 'the Pythagoricall Music of the Spheres, the sevenfold Pipe of Pan and the strange Cryptography of Gaffarell' are each rewarding to elaborate upon, not least for identifying Browne's considerable understanding and appreciation of  such esoteric concepts.

The Music of the Spheres

Revered as a god for almost one thousand years until the suppression of his School and teachings, the Greek philosopher Pythagoras (c. 580 - c. 500 BCE) is credited with origin of  the concept known as 'the Music of the Spheres'.

In his half-mystical, half mathematical and numerological concept of the proportional movement of the sun, moon and planets Pythagoras proposed the planetary spheres were related to each other by  whole-number ratios of pure musical intervals, creating musical harmony. Legend records the ancient Greek guru  could even hear 'the music of the spheres' whilst in a self-induced trance. An early commentator on Pythagoras, Iamblichus of Chalcis (c. 250 CE - c.325 CE) informs in his Life of Pythagoras that-

'Pythagoras....extending his ears, fixed his intellect in the sublime symphonies of the world, he alone hearing and understanding, as it appears, the universal harmony and consonance of the spheres, and the stars that are moved through them, and which produce a fuller and more intense melody than anything effected by mortal sounds'. [1]

The Music of the Spheres is alluded to in Plato's Myth of Er and by the Roman author Cicero in The ‭ Dream of Scipio an account elaborated upon later in the highly influential cosmology of Macrobius who lived circa 400 CE. The grandson of Scipio whilst travelling through the cosmos with his military grandfather remarks-

And, as I gazed on these things with amazement, when I recovered myself: "What," I asked, "what is this sound that fills my ears, so loud and sweet?" "This," he replied, "is that sound, which divided in intervals, unequal, indeed, yet still exactly measured in their fixed proportion, is produced by the impetus and movement of the spheres themselves, and blending sharp tones with grave, therewith makes changing symphonies in unvarying harmony.....Now the revolutions of those eight spheres, of which two have the same power, produce seven sounds with well-marked intervals; and this number, generally speaking, is the mystic bond of all things in the universe. And learned men by imitating this with stringed instruments and melodies have opened for themselves the way back to this place, even as other men of noble nature, who have followed god-like aims in their life as men. [2]

A belief in the music of the spheres features in Browne's psychological self-portrait Religio Medici (1643) in which he poetically declares-

'For there is a music where-ever there is a harmony,‭ ‬order or proportion‭; ‬and thus far we may maintain the music of the spheres‭; ‬for those well ordered motions,‭ ‬and regular paces,‭ ‬though they give no sound unto the ear,‭ ‬yet to the understanding they strike a note most full of harmony. [3]

The music of the spheres is sometimes heard whilst the adept or alchemystical philosopher is engaged upon a 'soul-journey' and several ancient world soul-journeys are mentioned in Urn-Burial, the diptych companion to The Garden of Cyrus including The Dream of Scipio. That Browne was familiar with the relationship between cosmic soul-journeying and harmonical music is evident from a passage from Urn-Burial

They made use of Musick to excite or quiet the affections of their friends,‭ ‬according to different harmonies.‭ ‬But the secret and symbolical hint was the harmonical nature of the soul‭; ‬which delivered from the body,‭ ‬went again to enjoy the primitive harmony of heaven,‭ ‬from whence it first descended‭; ‬which according to its progresse traced by antiquity,‭ ‬came down by Cancer,‭ ‬and ascended by Capricornus.‭ [4]

Thomas Browne did not need to rely exclusively on ancient world sources for accounts of a 'Soul-journey'. Edited by Kircher's devoted pupil and secretary, Gaspar Schott's‭ Iter Ecstaticum Kirceranium‭ (‬1660‭) ‬is one of the strangest of books in Browne's library.‭ ‭Schott's ‬Iter Ecstaticum  describes how,‭ ‬Kircher, after listening to three lute-players is led by the spirit Cosmiel through a cosmic ascent and is transported in an ecstatic journey through the planetary spheres. [5]

Browne's diptych discourses are themselves thematically structured upon a soul-journey. Together they progress from the dark, earthbound Grave meditations of Urn-Burial to the heavenly delights and discernment of eternal design in The Garden of Cyrus, a discourse which is saturated with imagery of Light and Stars.   

Confident in his Christian belief in the Resurrection Browne hints of the Discourses relationship to each other in its Dedicatory Epistle  thus-

'Since the delightful World comes after death, and Paradise succeeds the Grave'.

The seven-fold pipe of Pan

It's quite possible when mentioning 'the seven-fold Pipe of Pan', that Browne had a specific illustration in mind. Throughout his life he kept abreast of the Jesuit priest Athanasius Kircher's latest publications, including, as previously mentioned, an account of his 'Soul-journey' Iter Ecstaticum Kirceranium‭  (1660)‭. Kircher's greatest publication, the vast three volume work known as Oedipus Egypticus (Rome 1652-54) is also listed as once in Browne's library. Kircher's often erroneous, yet ground-breaking work of comparative religion, includes a copper-plate engraving of the Bembine Tablet of Isis. The Rosetta stone of its age, and believed to be a source of Egyptian wisdom, its mentioned twice in The Garden of Cyrus.

Kircher's Oedipus Egypticus also includes a folio-sized illustration of Pan which itemizes the attributes of the god of Universal Nature. The  Pythagorean relationship between music and the cosmos is highlighted in Pan's 'seven-fold Pipe' which is equated with the seven planetary spheres (Above). [6]

In the artist Rinat Baibekov's painting Pan (top of post) the Nature god is seen about to play upon his Pipes in order to evoke Universal and Cosmic Harmony. A multitude of creatures playfully gnaw at the invulnerable god's protective armour. Baibekov supplies poetry penned by himself to accompany his painting -

Shepherds, hunters, peasants,
who live far from vain cities
are the hidden talismans of magic
whose name is All, is PAN god of nature,
Inventor of spell-working Pipes
whose sound enchants nymphs.

Nature's powers are infinite.
For millennia she dreams,
With Panpipe sounds awakens,
Ten times more powerful
returns the Spring.

In a painting of meticulous detail and rich tonality, Baibekov's Pan features a theme which is encountered in several of his paintings, that of polyoptics or many eyes. With a number of eyes peering through shadows in Baibekov's Pan the viewer becomes conscious of being viewed. According to the psychologist C.G. Jung multiple or 'all-seeing eyes'  is associated with ‘multiple consciousness’ that is, the various quasi-conscious states which exist within the unconscious psyche. [7]

The mystery and awe often associated with an encounter with Pan is vividly expressed by the Greek panpipe player Gheorghe Zamfir in his evocative soundtrack for film director Peter Weir's Picnic at Hanging Rock (1975).  Weir's film is an atmospheric and fictitious narration of the unexplained disappearance of several schoolgirls whilst picnicking at Hanging Rock at Victoria, Australia. 

The Danish composer Carl Nielsen's large-scale symphonic poem Pan and Syrinx (1917) has exciting rhythms and orchestral colourations which narrate the Greek myth of the nymph Syrinx and her tragic encounter with Pan. 

Yet another example of the hermetic maxim 'As above, so below'  occurs in the third chapter of The Garden of Cyrus. Browne had a great interest in books by the polymath Giambattista Della Porta (1535-1615) including Villa (1592) in which Della Porta endows the quincunx pattern with archetypal potency. In a quite literal example of 'As above, so below' Browne mentions the fact that the Roman Emperor Augustus is recorded as having moles on this body which corresponded to those in the constellation Ursa Major, also known as The Plough or Charles' wayne.  Citing this correspondence as an example of Della Porta's 'Celestial physiognomy' Browne informs his reader -

That Augustus had native notes on his body and belly, after the order and number in the Starre of Charles wayne, will not seem strange unto astral Physiognomy, which accordingly considereth moles in the body of man, or Physicall Observators, who from the position of moles in the face, reduce them to rule and correspondency in other parts. [8]

The strange cryptography of Gaffarell in his Starrie booke of Heaven.

Given Browne's lifelong fascination with  the symbolism of numbers, letters, hieroglyphs, along with anagrams, acrostics, riddles and all manner of unusual, hidden or 'occult' knowledge, its fairly unsurprising that a copy of Jacque Gafferell's Unheard-of Curiosities and its  'strange cryptography' is listed as once in his library. It was from his reading of Gaffarell's book that Browne is credited with introducing the word 'cryptography' into the English language.

In his phenomenally popular Unheard-of Curiosities Jacques Gafferell (1601-1681) a French scholar of Hebrew, the kabbalah and astrology, proposed an alternative to the Babylonian-Greek Zodiac. Gaffarell proposed that the letters of the Hebrew alphabet can be traced in the night-sky stars.

First published in Paris in 1629, Unheard-of Curiosities when translated into English in 1650 was in the vanguard of a flood of esoteric literature which poured forth from the printing-presses of England throughout the 1650's decade. The demand for esoteric literature during this decade, a demand which has never since been paralleled, was due to several factors including a relaxation of licensing of printing-presses and censorship regulations under the Protectorate of Cromwell. Many major esoteric works were either translated or first published during the 1650's decade including Agrippa's 3 books of Occult Philosophy, Elias Ashmole's vast compendium of British alchemical authors, Theatrum Brittanicum (1652) and Della Porta's Natural Magic (1658). These books catered for the general Endzeitpsychosis and mood of Millenarian expectation engendered by the execution of King Charles I and widespread social apprehension towards the Cromwellian Proto-Republic. The very conclusion of Browne's discourse The Garden of Cyrus however, reassures the English reader experiencing social and political instability that -

'All things began in order, so shall they end, and so shall they begin again',

Browne's Garden of Cyrus (1658) is neither immune nor isolated from the enthusiastic trend of interest, printing and publication of esoteric literature which thrived  during the 1650's in England.  'Though overlooked by all', that is, until modern-day understanding of the vital influence which Hermetic philosophy wielded upon science and art throughout the Renaissance, Browne's 1658 discourse The Garden of Cyrus is the supreme example of Hermetic philosophy in seventeenth century English literature.

Jacques Gaffarell's 'kabbalah of the stars' is one of a number of Renaissance era esoteric schemata which imaginatively blends ancient world wisdom with a personal, mystical vision. Not unlike Gafferell's 'strange cryptography' or Della Porta's celestial physiognomy or even John Dee's Monas Hieroglyphica Thomas Browne's Quincunx is also an amalgam of ancient world and home-grown esoteric schemata.

Originating from the teachings of Pythagoras (the Quincunx pattern can be seen at the heart of the Pythagorean symbol of the Tetractys a triangle of ten dots) and from Della Porta's advocation in Villa, the Quincunx becomes in Browne's mystical vision, an all-embracing, metaphysical Weltanschauung which unites the physician-philosopher's spiritual and scientific beliefs. Its repeatedly delineated throughout a literary work which has perplexing all but the most determined reader.

With words utterly applicable to the hermetic content of The Garden of  psychologist C.G. Jung noted -

Intellectual responsibility seems always to have been the alchemists weak spot... The less respect they showed for the bowed shoulders of the sweating reader, the greater was their debt to the unconscious...The alchemists were so steeped in their inner experiences, that their whole concern was to devise fitting images and expressions regardless whether they were intelligible or not. They performed the inestimable service of having constructed a phenomenology of the unconscious long before the advent of psychology..The alchemists did not really know what they were writing about. Whether we know today seems to me not altogether sure. [9]
The American poet and literary critic John Irwin (b. 1940 - died December 20th 2019) noted -  'the idea that there is a necessary (because original) correspondence among numbers, letters and geometric shapes, is a belief  found in esoteric  alchemy and the cabala'. Irwin perceptively states of the symbolic importance of Browne's Quincunx that-

The quincunx represents God's infallible intelligence while it also embodies the main 'tools' man uses to decipher the universe: mathematics, geometry and language. The implication is that if the God-given design of man's original plantation was a quincuncial network, then this design must express the basic relationship between man and the world, known and unknown, which is to say that this formal pattern imposed on physical nature schematizes the interface of mind and world in that it contains within itself the various modes of intelligible representation of the world, i.e. mathematics, language, geometry joined together in the homogeneousness of their physical inscription as numbers, letters and geometric shapes. [10]

The word 'elegant'  is encountered several times in The Garden of Cyrus. Its an apt definition of  the discourse as a whole. In its third, central chapter the reader is informed that -

Studious Observators may discover more analogies in the orderly book of nature, and cannot escape the Elegancy of her hand in other correspondencies.

A similar encouragement occurs in the apotheosis of the 'highly hermetic' discourse [11] in its fifth and final chapter where Browne declares -

A large field is yet left unto sharper discerners to enlarge upon this Order'.


[1] from 'Music, Mysticism and Magic: A Sourcebook' edited by Joscelyn Godwin pub. Arkana 1987
[2] Ibid.
[3] R.M. Part 2 Section 9
[4] Urn-Burial chapter 4 The polarized zodiac signs Cancer‬ and Capricorn respectively as the exit and entrance to heaven occurs in Macrobius,‭ ‬‘‬The Dream of Scipio,‭ ‬I:12 where its stated, ‘the soul came down by Cancer to enter the body at conception and ascended by Capricornus at death‭’‬.
[5] Gaspar Schott‭ Iter Ecstaticum Kirceranium‭ is listed in 1711 Sales auction Catalogue of Browne's library page 30 no. 52
[6] Oedipus Egypticus 1711 Sales Catalogue page 8 no. 91
[7] Rinat Baibekhov's Pan Dimensions 62 cm. x 82 cm. Medium acrylic on paper, mounted on board and framed. 2010. Available for Sale.
[8]  The Garden of Cyrus chapter 3. The historian Suetonius in his Lives of the Caesars wrote of  the  Roman Emperor Augustus (63 BCE- 13 CE) -  'It is said that his body was covered with spots and that he had birthmarks scattered over his breast and belly, corresponding in form, order and number with the stars of the Bear in the heavens'. Paragraph 80.
Della Porta's Coelestis Physiogranonia is listed in the 1711 Sales Auction Catalogue of Browne's library page 41 no. 41
[9] Collected Works of C.G. Jung Volume 16 para 497
[10] The Mystery to a Solution: Poe, Borges, and the Analytic Detective Story. John T. Irwin  pub. The Johns Hopkins University Press 1996
[11]  Writing in 2014 Prof. Peter Forshaw of the University of Amsterdam  stated 'we find Sir Thomas Browne (1605-1682) commenting on the, 'strange Cryptography of Gaffarel in his Starry-Book of Heaven', in his highly Hermetic 'The Garden of Cyrus'. (1658)'

Books consulted

*  Thomas Browne: Selected Writings edited and with an introduction by Kevin Killeen pub.Oxford University Press 2014

* Music, Mysticism and Magic: A Sourcebook edited by Joscelyn Godwin pub. Arkana 1987

* Music, Science and Natural Magic in Seventeenth-Century England Penelope Gouk  pub. Yale University Press 1999

* The Mystery to a Solution: Poe, Borges, and the Analytic Detective Story John T. Irwin  pub. The Johns Hopkins University Press 1996

This post dedicated to the Brownean scholar Ms. Anna Wyatt.