Showing posts with label Drugs. Show all posts
Showing posts with label Drugs. Show all posts

Wednesday, November 12, 2025

'Above Atlas his Shoulders' -Thomas Browne's Worldview


The English doctor-philosopher and literary figure Thomas Browne (1605-1682) held a unique understanding and view of the world which is rewarding to explore through the perspective of geography.

Its in Religio Medici  or ‘The Religion of a Doctor’ (1643) that Thomas Browne describes himself as a  microcosm or little world, as well as informing his reader that he possessed a globe.

‘the world that I regard is myself. It is the microcosm of my own frame that I cast my eye upon. For the other I use it but like my globe and turn it round sometimes for my recreation. Men that look upon my outside, perusing only my condition and fortunes do err in my altitude. For I am above Atlas his shoulders’. [1]

By saying he is 'above Atlas' Browne implies that as a microcosm or little world he has transcended the burden of carrying the weight of the world on his shoulders.  

The large-scale sculpture known as the Farnese Atlas (header photo) dating from the second century of the Common Era depicts the fate of Atlas. In Greek myth, the giant is condemned by the gods to hold a globe—sometimes celestial, sometimes terrestrial—on his shoulders for eternity. 

During Browne’s era globes were sold in pairs: one showing the earth, the other of the heavens. The mapping of the night sky was far more detailed and accurate than the rough depictions of remote and little-known regions of Earth. 


The ancient Greek Strabo (64 or 63 BC – c. 24 AD) was the author of a vast work on geography. Written during the early Roman Empire, Strabo's encyclopaedic work consists of political, economic, social, cultural, and geographic descriptions. Its  the only surviving ancient text to describe the entire inhabited world known to the Roman world.  In Strabo's map of the  world the British Isles can be seen. (above) [2] 

Also listed as once in Browne’s library is Gerard Mercator’s epic world map of 1569. (below) [3]  Mercator's projection laid out the globe as a flattened version of a cylinder. His map, with its Mercator projection, was designed to help sailors navigate around the globe using its longitude meridian lines to plot a straight route. It was Dutch map-making and cartography which was crucial for Dutch explorers. 


Following their independence from Spanish rule in 1588 the newly formed Dutch Republic grew prosperous and expanded with overseas territory, notably in the East Indies. The Northern European port of Amsterdam became one of Europe’s busiest trading centres and superseded Venice as an importing and exporting  port in the 17th century. Just as during the Middle Ages the sea port of Venice was a major European trading centre with its network of canals used to convey and store imported goods to merchant’s storehouses from the Near East, so too Amsterdam with its man-made network of canals became the predominant sea and trading port in the 17th century. 

The 16th/ 17th centuries were an era of great exploration and discovery, notably through adventurers such as Olivier van Noort the first Dutchman to circumnavigate the world -  Willem Schouten the first to sail the Cape Horn route to the Pacific Ocean , Cornelis de Houtman, who explored the East Indies -  Willem Janszoon  the first European to  see the coast of Australia in 1606 and Cornelis Nay, explorer of the Arctic - The most notable Dutch explorer of the 17th century was Abel Tasman  the first European to discover New Zealand and Fiji. The Dutch also made important contributions to horticulture, land reclamation, and art throughout the 17th century. 

  

Dutch engraver Pieter van den Keere’s 12 sheet map of 1611 (above) was wall mounted. Its border shows 14 cities and the rulers of seven nations. Stylized pairs of figures in the national costume of national cultures are also depicted on it. 

Its often said that the 16th/17th centuries were advanced through three driving inventions- Printing , the Mariner’s Compass and Gunpowder, each of which transformed the lives of many in this era. 

Thomas Browne’s life spanned not only the Dutch 'Golden Age' but also England’s most traumatic century. He was born just weeks before the Gunpowder Plot of 1605 and lived through the events of the English Civil war, the execution of King Charles, the Commonwealth of Cromwell, the subsequent Restoration of Monarchy, the Great plague of 1665 and the Fire of London in 1666. 

From his residence for an academic year in Montpellier in France, Padua in Italy and Leyden in Holland Browne acquired a privileged education and an appreciation of other cultures. His celebrated tolerance adhered to the maxim of ‘when in Rome do as the Romans’ as regards cuisine and food, as he frankly tells his reader -

‘I wonder not at the French for their dishes of frogs and toadstools, nor at the Jew for locusts and grasshoppers but being amongst them make them my common viands. And I find they agree with my stomach as well as theirs.’ [4]

Of greater importance Browne also recognised a major cause of hatred, one which remains so to the present day, that of nationalism. Nationalism, if zealous, encourages those who, purely from an accident of birth to consider their own nation to be the World’s best, and to dislike or even hate other Nationalities, often without having ever visited or even met anyone from the country which they hate. Browne’s continental education inoculated him against this prejudice, as he informs us-

‘I find not in me those common antipathies I discover in others. Those national repugnances do not touch me, nor do I behold with prejudice, the French, Italian, Spaniard or Dutch. But where I find their actions in balance with my countrymen, I honour love and embrace them to the same degree. All places, all airs are unto me one country, I am in England everywhere under any meridian’. [5]

Browne was able to give full expression to his interest in world geography, culture and customs in his subsequent work, the groundbreaking Pseudodoxia Epidemica which was first published in 1646. Its Latin title might loosely be translated as 'Pandemic of fake news'. Pseudodoxia is a pioneering work  and firmly in the vanguard of the early Scientific Revolution. Consisting in total  of over 200,000 words,  its sixth book addresses queries historical and geographical.  He points out that the terms East and West are dependent on where exactly one is located in the world and informs his reader on the botany and zoology of America. He also reveals an uncommon knowledge of cartography in discourse on the number of mouths of the Egyptian river Nile -   

'Ptolomy an Egyptian, and born at the Pelusian mouth of Nile, in his Geography maketh nine: and in the third Map of Africa, hath unto their mouths prefixed their several names; ..... wherein notwithstanding there are no less then three different names from those delivered by Pliny. ....Lastly, Whatever was or is their number, the contrivers of Cards and Maps afford us no assurance or constant description therein. For whereas Ptolomy hath set forth nine, Hondius in his Map of Africa, makes but eight, and in that of Europe ten. Ortelius in the Map of the Turkish Empire, setteth down eight, in that of Egypt eleven; and Maginus in his Map of that Country hath observed the same number. And if we enquire farther, we shall find the same diversity and discord in divers others'. [6]

Other prejudices which persist to this day are also tackled in Pseudodoxia - why do some people differ in the colour of their skin, why does the skin-pigmentation of American natives differ from African natives, as well as the thorny question- why does the religious prejudice of antisemitism persist ? He also recognised that what is considered to be beautiful in facial appearance and body decoration differs enormously between world cultures, stating-  

'Thus flat noses seem comely unto the Moore, an Aquiline or hawked one unto the Persian, a large and prominent nose unto the Romane; but none of all these are acceptable in our opinion. Thus some think it most ornamentall to wear their Bracelets on their Wrests, others say it is better to have them about their Ancles; some think it most comely to wear their Rings and Jewels in the Ear, others will have them about their Privities; a third will not think they are compleat except they hang them in their lips, cheeks or noses'.  [7]


One of the best gateways to understanding of a different culture is through learning its language. The Reverend Whitefoot, who was Browne’s lifelong friend, informs us that his friend was familiar with all the languages printed in Hutter’s polyglot New Testament of 1599. Hutter’s New Testament (above) includes the languages of Syrian, Hebrew, Greek, Latin, German, Bohemian, Italian, Spanish, French, English, Danish and Polish. These 12 languages are printed in side-by-side-columns of 3 languages per page. Hutter’s polyglot Bible encouraged Christians to read and study the Hebrew language. Browne’s own interest in Hebrew was instrumental in his study of the esoteric lore of the Kabbalah. [8] 

With his deep interest in languages Browne was well-equipped to introduce badly needed new words, often of a scientific nature into English language. Although its not quite a foreign language he also took an interest in the peculiarities of the Norfolk dialect and noted these words to be in common use in Norfolk such as Bunny,   Mawther, Kedge, Seele, Straft, Matchly, Dere, Nicked, Gadwhacking Stingy,  Sap, Cothish, Thokish, and Paxwax. Strong traces of the Dutch tongue can be heard in Norfolk dialect to the present day.


Perhaps the most accessible of Browne’s works is his shortest work, A Letter to a Friend which was written as a bereavement consolation following the premature death of the English poet Richard Lovelace (1617-57) (above). A Letter to a Friend features numerous medical case-histories and opens with the demographic calculation that in the whole world ‘there dieth one thousand an hour’. 

Browne was aware that geographic locations can affect people psychologically and he's credited as the first to identify the psychopathology of what is known today as Paris syndrome. 



Paris syndrome has been described as a severe form of culture shock and a sense of extreme disappointment experienced by only a handful per million when visiting Paris and is believed to be caused by factors such as language barrier, cultural differences, exhaustion and above all else, idealization. 

With his deep interest in unusual psychic phenomena and introduction of the words  'pathology' and 'hallucination' into the English language, Thomas Browne was well qualified to identify the phenomena of Paris syndrome. Within the following paragraph he names ten geographic locations, defines the ozone-rich air of East Anglia as 'Aerial Nitre', introduces the word 'migrant' into English and advises against 'infirm heads' that is, impressionable minds from visiting Venice or Paris. 

‘He was fruitlessly put in hope of advantage by change of Air, and imbibing the pure Aerial Nitre of these Parts; …..He is happily seated who lives in Places whose Air, Earth, and Water, promote not the Infirmities of his weaker Parts, …..He that is weak-legg'd must not be in Love with Rome, nor an infirm Head with Venice or Paris. Death hath not only particular Stars in Heaven, but malevolent Places on Earth,…..in which Concern, passager and migrant Birds have the great Advantages; who are naturally constituted for distant Habitations, whom no Seas nor Places limit, but in their appointed Seasons will visit us from Greenland and Mount Atlas, and as some think, even from the Antipodes. [9]

Browne’s speculation on the migration routes of birds is a reminder of his keen interest in feathered creatures. At one time of another he kept an owl, a cormorant, a kestrel and an eagle. He's also credited with introducing the word 'incubation' into English. It was in his lifetime that one of the first recorded extinctions of a species of bird occurred.


 

The first recorded mention of the flightless bird known as the dodo was in 1598 by Dutch sailors when they discovered Mauritius, a small island near Madagascar which was a useful stopping-off point for Dutch sailors en route to the East Indies. Because the Dodo is a flightless it was easily captured by hungry sailors. Browne’s contemporary the Royalist politician, Sir Hamon L’Estrange of Hunstanton in Norfolk wrote of a dodo he saw exhibited  in London in 1638. 

‘About 1638, as I walked London streets, I saw the picture of a strange fowl hung out upon a cloth canvas, and myself, with one or two more then in company, went in to see it. It was kept in a chamber, and was somewhat bigger than the largest turkey-cock, and so legged and footed, but stouter and thicker, and of a more erect shape, coloured before like the breast of a young cock-fesan, and on the back of a dunne or deare colour. The keeper called it a dodo; and in the end of a chimney in the chamber there lay a heap of large pebble-stones, whereof he gave it many in our sight, some as big as nutmegs; and the keeper told us she eats them (conducing to digestion); and though I  remember not how far the keeper was questioned therein, yet I am confident that afterwards she cast them all again.


The last recorded sighting of a dodo was in 1662. The bird was immortalized by Lewis Carroll in his ‘Alice in Wonderland.’ The character of the dodo is believed to be inspired by a specimen of a dodo exhibited in the Oxford University Museum which Carroll frequently visited.

Exploring world cultures can be enriched through collecting artifacts from near and far, whether it's treasures gathered during travels or acquired locally. In an era long before photography, those with means could hire artists to capture the essence of these treasured possessions, preserving memories of exotic journeys and far-off lands. 


Sir Robert Paston of Oxnead Hall, near Alysham commissioned an unknown Dutch artist to paint a selected fraction of his collection of art-objects, some of which were acquired when his father visited Jerusalem and Cairo. Dating from circa 1665 The Paston Treasure (above) has a Multi-layered narrative, its simultaneously, a record of the Robert Paston’s collection, a Vanitas painting and a microcosm of the world in the 17th century, as hinted by the prominent position of a globe. Browne would have seen this painting when visiting the Paston’s and given that in Religio Medici he confesses,  'I can look a whole day with delight upon a handsome picture, though it be but of an horse’ he would  without doubt delighted in viewing it. 

The world’s continents are represented in The Paston Treasure by - a packet of tobacco from America, a boy and parrot from Africa, and a porcelain dish from Asia. Sculptures and gems, gold, silver and enamel, as well as music instruments of a bass viol, sackbut, violin and lute can also be seen. The peaches, grapes and oranges, along with lobster, suggest a luxurious lifestyle. 

The Paston Treasure also expresses a moral warning -  life has sudden, unexpected disturbances - the servant is disrupted from his duties by a monkey which has jumped onto his shoulder, the young girl is interrupted from her singing by a parrot alighting on the music she’s reading.. In recent years The Paston Treasure has been restored, exhibited in America and studied in depth by the art-historian Spike Bucklow in his excellent, insightful book. Today, it can be seen in Norwich Castle Museum.


Its only in recent decades that topics such as alchemy and the esoteric in general have been taken seriously by academics. Spike Bucklow is the first in over three and a half centuries to identify that The Paston Treasure displays a mounted shell cup (above) with a very clear image of Atalanta in the act of running. Bucklow notes, 'It is as if Sir Robert had put this shell in the painting to draw attention to a book that guided his alchemical journey', the book in question being Michael Maier's alchemical work Atalanta Fugiens (1617). [10]

One unique feature of Browne’s prose is his usage of geographical places and historical persons as symbols. For example he describes the difficulties in his compiling an encyclopaedia, as, 'oft-times fain to wander in the America and untravelled parts of truth'. Geographical place name symbols along with historical persons symbols can be found in Browne’s  philosophical work, the two-in-one diptych discourses of 1658, Urn-Burial and The Garden of Cyrus. 





These two 17th century images, the Nigredo stage of the alchemical operation (left)  and 'The Garden of Mathematical Delights'( right) both from books once in Browne's library, are I believe, excellent visual representations of the thematic concerns and mood music of each respective discourse. (Click on picture to enlarge). 

The melancholic, Grave and Saturnine meditations upon human suffering in Urn-Burial are ‘answered’ by the Mercurial Garden delights of Cyrus. A multiplicity of opposition or polarities occur in Browne’s literary diptych, in  their respective themes, imagery, truth and literary style. Urn-Burial opens 'in the deep discovery of the subterranean world' and concerns itself with the oblivion of Time, in complete contrast The Garden of Cyrus concerns itself with Space and opens with ‘shooting rays and diffused light’ of the Creation before continuing in speculation on the geographical location of the Garden of Eden.  [11]

In Browne’s geographical symbolism America invariably symbolizes the new, the unknown and exotic.  In contrast the proper place name of Persia is used as a symbol of magic and esoteric wisdom. These two geographical symbols are juxtaposed in a startling way at the conclusion of The Garden of Cyrus - in doing Browne highlights how Humankind’s collective consciousness ebbs and flows between those who are waking up and conscious while others fall asleep and are unconscious.

‘The huntsmen are up in America and they are already past their first sleep in Persia'.

But perhaps the most famous example of Browne’s geographical symbolism occurs in Religio Medici,  where he inspirationally declares – ‘We carry within us, the wonders we seek without us.There is all Africa and her prodigies in us’. [12]  

The psychologist Carl Jung when hearing this quote while visiting Kenya, East Africa,  was impressed and immediately made note of it. Actually there’s a fascinating relationship between the famous Swiss psychologist Jung to Browne, both were doctors interested in  the interpretation of dreams, both read esoteric authors and both were interested in the geography of the mind, and mapping of the psyche’s contents. [13]

Together, Urn-Burial and The Garden of Cyrus are Browne’s great work of psychology. Historical personages are employed by him as symbols in order to illustrate archetypes, that is, the first, original forms of the psyche as envisioned by Plato and Hermetic philosophers. Browne’s proto-psychology  attempts in Cyrus to delineate the archetype of the wise ruler through historical name symbolism, mentioning Moses, Solomon, Abraham, Alexandria the Great and the titular Cyrus as exemplars of the wise ruler. Women aren’t overlooked in his proto-psychology, the archetype of the 'Great Mother' is sketched through inclusion of the nurturing Old Testament matriarch Sarah, the Roman goddess Juno and the Egyptian goddess Isis.   

                                                                       *  *  *

With the colonization of South America by the Spanish and Portuguese in the seventeenth century, as well as European migration to North America, along with the opening of trading routes to the East Indies and China, an abundance of published reports upon exotic flora and fauna became available to the physician. Tobacco and the potato were early exports from America  to Europe throughout the 17th century.

It was the Swiss alchemist-physician Paracelsus (above) who encouraged his fellow physicians to experiment with substances from the vegetable, mineral and animal kingdoms in order to discover new medicines and new cures. We can be confident that Doctor Browne of Norwich was a committed follower of Paracelsus (1493-1541), not only are the 'Luther of Medicine''s bulky writings listed as once in his vast library but the very word used by Paracelsus to describe his distinctive kind of medical alchemy, known as spa-gyric ( meaning to separate and conjoin) can be seen inscribed upon Browne's coffin-plate, one half of which survives on display at Saint Peter Mancroft. The distinguished Canadian physician Sir William Osler (1849-1919) who was a great admirer of Browne commissioned a replica of this brass Coffin-plate. It can be seen at the Norfolk and Norwich Sir Thomas Browne Medical Library. [14]

 


A great example of Browne’s following Paracelsian medicine occurs in his assessment of so-called Peruvian Bark, the source of the drug known  today as Quinine.



A Jesuit priest is credited as among the first to observe that the Inca people use a diffusion of the bark from the cinchona tree to ease the symptoms of malaria. Indeed the original Inca word for the cinchona tree bark, 'quina' or 'quina-quina'  which roughly translates as 'bark of bark' or 'holy bark'. In 1638, the wife of a Peruvian viceroy used the bark to relieve her fever-induced symptoms during the onset of malaria. Her remedy was called a 'miracle cure'. By 1658 an English newspaper advertised -  'The excellent powder known by the name of 'Jesuits' powder' may be obtained from several London chemists'. 

Although Peruvian Bark was hailed as a successful medicine for malaria due to religious prejudice it was not officially recognised in England until 1677. Because it was known as 'Jesuits' Powder' it was tainted with associated with Catholicism. Even among the educated such as King Charles the Second, who took an active interest in the new scientific enquiry advanced by the Royal Society, was suspicious of 'Jesuit's Powder' because of its presumed association with Catholicism. However when the King suffered from a malarial fever he consulted a Mr Robert Talbor who was obliged to give the King the bitter bark decoction in great secrecy. The treatment completely relieved King Charles from malarial fever and he rewarded Talbor handsomely with a lifetimes membership of the newly-formed Royal Society. 

Several 17th century English physicians were interested in reports of the healing qualities of Peruvian Bark, especially those who lived in regions prone to the spread of malaria; East Anglia with its marshes, broads, large tracts of low-laying land and slow-flowing, stagnant stretches of water was an ideal habitat for the spread of the insect-borne virus. 

In correspondence to his youngest son nicknamed ‘Honest Tom’  Browne requested of him - 

'When you are at Cales, see if you can get a box of the Jesuits' powder at easier rate, and bring it in the bark, not in powder'. [15]

Browne’s request to obtain Jesuits' powder from a Continental source and not from London suggests he knew that the thriving trade in Peruvian Bark was vulnerable to dilution by apothecaries. His insistence on bark and not powder also suggests he was familiar with Peruvian Bark's composition. His assessment of Peruvian bark in an undated letter is considered one of the most detailed in British medical history-

Another new substance introduced to Europe, in this case through trade with China, was the root known as Ginseng.

  



Because the shape of the fleshy Ginseng root resembles the torso and limbs of a human, all kinds of medical and healing properties have been attributed to it. Widely cultivated in China for centuries Ginseng is used in Chinese medicine as a muscle relaxant.  In correspondence to his eldest son Edward, Dr. Browne wrote-

Deare Sonne, - You did well to observe Ginseng. All exotick rarities, especially of the east, the East India trade having encreased, are brought in England, and the profitt made therof. Of this plant Kircherus writeth in his China illustrata. [16] 

Today ginseng is scientifically recognised for its anti-carcinogenic and antioxidant properties


Throughout the 1650s and 1660s England found itself embroiled in conflict with the newly-emerging economic power and global trade of the Dutch Republic. British resentment towards the newly emerging European power is perceptively articulated by the art-historian Simon Schama, who noted of Johan De Witt, the chief negotiator for the peace treaty of the Second Anglo-Dutch War -


‘British enmity, on the other hand, he knew to be chronic and rooted in the very nature of the Republic’s existence, or at least  its prosperity. The problem, he supposed in common with many of his compatriots, was that, in matters of trade, the British were poor losers. Unable to match the Dutch in resourcefulness, industry, or technical ingenuity, they were prepared to bludgeon their way to wealth by the assertion of deliberately bellicose principles and by interfering with the freedom of trade. Peevish envy had turned them into a gang of unscrupulous ruffians who would stop at nothing to burglarize the Dutch warehouse, pretending all the time that some cherished issue of sovereignty had been infringed. [17] 

One of Browne’s greatest personal tragedies was hearing from the British Admiralty that his son Midshipman Thomas, ‘Honest Tom’ had been lost in action and presumed dead aged 21. 

A solitary piece by Browne, written for the entertainment of young Midshipman Tom survives. 'The Sea-battle’ is a vivid narration of an ancient world Sea-battle. Written in Latin its conclusion is a valuable insight on a primary cause of war. 

'The cause of this war was that of all wars, excess of prosperity. As wealth arises spirits rise, and lust and greed of power appear; thence men lose theiir sense of moderation, look with distaste on the prosperity of others, revolve disquiet in their mind, and throw overall settlement, for fear lest their enemies’ wealth be firmly established, they put their own to risk; and finally (as happens in human affairs) fall into slavery when they seek to impose it, and earnestly courting good fortune, experience disaster.' [18]

In his old age Browne seems to have taken an even greater interest in traveller’s accounts of exotic locations and newly discovered lands. Its testimony to his eldest daughter Elizabeth’s education, patience and devotion that her father recorded the following in his Commonplace notebooks –

‘Books which my daughter Elizabeth hath read unto me at nights till she read them all out -All the Turkish historie - All the history of China - All the travels  of Olerarius and Mandelslo -All the travels of Taverniere - All the Travels of Petrus della valle - All the travels of Vincent Le Blanc -All Sandys his travels  - All the travels of Pinto - All the travels of Gage - -All the history of Naples -All the history of Venice - Some hundreds of sermons. Many other Books, Treatises, discourses of several kinds. [19]



But perhaps the traveller Dr. Browne took the greatest interest in was his eldest son, Edward Browne (1644-1708). In 1668 Edward made a tour of Holland and Germany visiting museums, libraries, and churches. When later based in Vienna he made three long journeys, one to the mines of Hungary, one to Thessaly, another into Styria and Carinthia. Wherever Edward Browne travelled he acted as the dutiful eyes and ears of his father, who instructed him with advice such as- 

'Take notice of the various Animals, of places, beasts, fowles, & fishes; what the Danube affordeth, what depth, if conveniency offers, of mines, minerall works, Beside naturall things you may enquire into politicall & the government & state & subsistence of citties, townes & countries… observe how the Dutch make defences agaynst sea inundations…' [20] 


Also included among the travel books in Browne’s vast library is Thomas Fuller’s guide to the sights and places of the holy land of Palestine.  Fuller's book A Pis-pah Sight was important in its day and includes a detailed account of the geography and history of Palestine. Incidentally, it was Thomas Fuller in his Worthies of England who described the Norwich of Browne's day to be, 'either a city in an orchard, or an orchard in a city, so equal are houses and trees blended in it'. [21]

Another noteworthy geography book  once in Browne’s library is Athanasius Kircher’s China Illustrata. Dating from 1665 China illustrata was printed in Amsterdam. A work of encyclopaedic breadth, it included accurate maps as well as mythical creatures. It drew heavily on reports by Jesuit missionaries who worked in China. Kircher’s book remained the most informative source on China for over two centuries. [22]


In the above illustration Chinese botany and horticulture, costume and customs, along with architecture, are all faithfully recorded from an eyewitness account of a social gathering, a feast upon giant jackfruit.

It may well have been while turning his globe round sometime for his recreation that Browne was inspi to pen his ‘Prophecy concerning the future State of Several Nations’ . It was written after the Pandemic of Bubonic plague and the Great Fire of London in 1666 in which an estimated one hundred thousand people perished, some twenty percent of London’s entire population perished. In all probability it was inspired after he was shown a copy of the French doctor Nostradamus’s prophecies, the first translation  English into English in 1672. 



In his doggerel verse and parody of Nostradamus’s barely intelligible prophecies Browne makes some astounding predictions, which are based upon nothing more than the solid combination of rational conjecture and a deep knowledge of geography and history. In one of its seven rhyming couplets Browne questions the morality of the growing Slave-trade, long before its eventual abolition –

'When Africa shall no longer sell out its Blacks/to be Slaves and drudges to the American Tracts'. 

At a time when it was only a fledgling colony, Browne predicted that one day America would become Europe’s economic equal -

'When the New World shall the old invade/ nor count them their Lords but their Fellows in Trade'.

Remarkably, he also 'predicted’ that America would one day become a Nation which pursued happiness and engage in economic protectionism. 

'When America shall cease to send out its treasure/but employ it instead in American Pleasure’.  [23]

Browne's miscellaneous tract known as Museum Clausum his solitary work of fiction, an inventory of lost, rumoured and imaginary books, pictures and objects, also includes geographical speculations.  In the 16th century, the voyage of Hanno saw increased scholarly interest in an age when European exploration and navigation were flourishing. Already then, the extent of Hanno's voyage was debated. Browne makes mention of the explorer Hanno in Museum Clausum thus -

'A learned Comment upon the Periplus of Hanno the Carthaginian, or his Navigation upon the Western Coast of Africa, with the several places he landed at; what Colonies he settled, what Ships were scattered from his Fleet near the Equinoctial Line, which were not afterward heard of, and which probably fell into the Trade Winds, and were carried over into the Coast of America'. [24]

In all probability its through his friendship with the Icelandic Lutheran minister Theodor Johannsson that Browne also includes in Museum Clausum  - 

'A Snow Piece, of Land and Trees covered with Snow and Ice, and Mountains of Ice floating in the Sea, with Bears, Seals, Foxes, and variety of rare Fowls upon them'. [25]



Browne’s view of the world's future  was one which was, ‘not like to envy those that shall live in the next, much less three or four hundred Years hence, when no Man can comfortably imagine what Face this World will carry: [26]

He was aware of several disastrous scenarios which threaten life on Earth and knew that an increase in global traffic has medical implications, stating in A Letter to  a Friend- ‘New Discoveries of the Earth discover new Diseases'. He knew of  the threat of asteroids from outer Space impacting Earth, and wrote of ‘a mighty stone falling from the clouds which antiquity could believe Anaxagoras was able to foretell half a year before’. [27] And also made the sombre cosmological observation that - 'The created world is but a small parenthesis in Eternity.’ [28]

Before revealing what is arguably one of Browne’s greatest linguistic contributions to our modern age, its worthwhile remembering that while today he’s often promoted for his scientific profile, Browne’s worldview in essence was a synthesis of a deeply held Christian faith, adherence to hermetic philosophy and scientific empirical enquiry. There’s far greater value in reading Browne today for his moral, psychological, and spiritual insights than his 'occular observation' of the natural world.  As a doctor, it’s the geography of the mind which interests him most. He would with little doubt whole-heartedly agreed with Carl Jung’s assertion that- ‘Science and technology have indeed conquered the world, but whether the psyche has gained anything is another matter'. [29]


The Garden of Cyrus (1658) has a frontispiece ‘borrowed’ from a book by one of Browne's favourite authors, the Italian polymath Giambattista Della Porta (1535-1615). Its Latin quotation reads, ‘What is more beautiful than the Quincunx, which, no matter how you view it, present straight lines’. 

The full running title of The Garden of Cyrus includes what is one of Browne’s greatest neologisms, one which is highly relevant to our modern age, that of ‘Network.’ He probably encountered the word ‘network’ from reading of the Bible where its used to describe the decorative and structural design of Solomon’s temple. What is certain is that Browne was the first to write about net-like or reticulated structures in subjects as diverse as art, architecture, metalwork, botany, marine life and anatomy, in order to illustrate his concept. It’s a word which underscores his hermetic belief in the interconnectivity of  all life-forms in the world.  In the 19th century usage of the word ‘network’ gathered steam  after the new railway routes of England were described as a network. Today in our increasingly inter-connected world the word ‘Network’, with its strong geographical associations, has expanded to include social, transport, communication and technological meanings. 

Here in Norwich today we can take pride in the fact that it was once the home of a polymath mind who observed and wrote of Networks, introducing it, among many others into English language. The word Network is exemplary, not only of Sir Thomas Browne’s contribution to scientific vocabulary but also his mystical ‘Above Atlas’  worldview.


Notes

This is a revised version of a talk centred upon Thomas Browne's view of the world through the perspective of geography  which was delivered on October 21st 2025 on behalf of the Norfolk Heritage Centre.

[1]  Religio Medici Part 1 Section 11 
(The academic C.A. Patrides also used the the phrase 'Above Atlas his shoulders' as the title for his excellent introduction to Browne's major works for  Penguin publications in 1977). 
[2] Strabo 17 books of Geography ed. Isaac Casaubon Paris 1620. 1711 Sales Catalogue page 7 no.55
[3] Sales Catalogue 5 no. 1, 2 
[4] Religio Medici Part 2 Section 1
[5] Ibid.
[6] Pseudodoxia Epidemica Book 6 On the River Nile
[7] Pseudodoxia Epidemica  Book  6 chapter 11
[9] A Letter to a Friend
[10] The Paston Treasure - Spike Bucklow
[11] Nigredo (left) from Theatrum Chemicum Sales Catalogue  Page 25 no. 124 and  (right) Bettini Fucaria & Auctaria ad Apiria Philosophiae Mathematicae  S.c. page 28. no. 16
[12] Religio Medici Part 1 : 15
[14] Paracelsus Opera S. C. page 22 no. 118
[15] Domestic Correspondence edited Keynes
[16] Ibid.
[17] Simon Schama  -The Embarrassment of Riches
[18] Miscellaneous Writings ed. Keynes
[19] Ibid.
[20] Edward Browne's travels are the subject of recent academic study by Anna Wyatt (See the excellent monograph 'wide excusions' by Anna Wyatt) which also stresses that Browne's daughters made no small contributions in assisting their father. 
[21]  Thomas Fuller's A Pisgah-sight, with maps  1650. 1711 Sales Catalogue p. 45  no. 73  
[22] China Illustrata  Amsterdam 1667 S. C . page 8 no. 93
[23]  Quotes from 'A Prophecy' Miscellaneous Tract 12
[24] Miscellaneous Tract 13
[25] Ibid
[26] A Letter to a Friend
[27] Museum Clausum
[28] Christian Morals Part 3 Section 29
[29] C.G. Jung - Collected Works vol. 10 'Civilization in Transition'.

See also 




 



Monday, October 19, 2020

Lost in the uncomfortable night of nothing.


Although long recognized as a work of World literature, for many Urn-Burial (1658) is neither easy or comfortable to read. With its melancholic meditations on the uncertainty of life, the unknowingness of the human condition, the fragility of  our mortality and  the certainty of death, all couched in splendid flourishes of Baroque oratory, Thomas Browne's philosophical discourse will never be everyone's favourite bedtime reading. 

In addition to its ornate literary style and to modern sensibilities near taboo subject-matter, another stumbling block hindering appreciation of Urn-Burial is that it frequently shifts focus, giving expression to quite different facets of its author. This results in surprising changes of perspective, alternating from the viewpoint of pioneering scholar of comparative religion to that of local historian, to scientist and archaeologist, to antiquarian and Christian moralist, often without any warning to the reader, other than beginning a new paragraph.

In modern times Urn-Burial  has been recognized as closely corresponding to the Nigredo of alchemy. The black despair and melancholy experienced by the adept beginning their quest is encapsulated in  Browne's succinct phrase lost in the uncomfortable night of nothing an expression apt for the suffering of millions world-wide today, anxious about income and future, grieving, ill or depressed in the wake of the current pandemic.

Thomas Browne began his medical career in Norwich in 1637, just a few years before English society was sufficiently polarized to engage in Civil war (1642-49) resulting in an estimated 100,000 deaths. Never one for political controversy, Browne occupied himself with establishing his medical practice in Norwich and in 'snatches of time, medical vacations' with compiling and revising his encyclopedia Pseudodoxia Epidemica (1646),  first published during the English Civil war. 

The very title of Browne's colossal endeavour depicts superstition and erroneous beliefs as if a disease.(Lt. Pseudo false, Doxia Truth, Epidemica widespread occurrence of an infectious disease). The prescription for curing such epidemics of 'vulgar errors' for Browne is the combined medicine of -consultation of the Classical authors of antiquity, empirical experiment, inductive reasoning and collaborative debate with contemporaries. Often engaging in all of these methods in order to ascertain truth, Browne is credited as one of the first to introduce up-to-date scientific journalism to the English reading public as well as examples of scientific hypothesis in the pages of Pseudodoxia Epidemica.

It's in a chapter of Pseudodoxia Epidemica which discusses whether the mythic creature known as  the Basilisk is capable of emitting deadly rays from its eyes that Browne engages in a medical speculation of great importance to our times-

'if Plagues or pestilential Atoms have been conveyed in the Air from distant Regions, if men at a distance have infected each other,........there may proceed from subtler seeds, more agile emanations, which contemn those Laws, and invade at distance unexpected'. [2] 

As a doctor Thomas Browne (1605-82) naturally took an interest in disease. Along with his interest in ancient Greek medicine, primarily the writings of Hippocrates. He also took an interest in ancient Greek mythology. In his medical essay A Letter to a Friend (circa 1656) Browne alludes to the Greek myth of the origin of disease, Pandora and her Box. The Greek myth recounts how Pandora was given the gift of a sealed jar which held within it all the misfortunes for humanity. Her great curiosity overcame her fear of what the jar contained and breaking its seal she released disease, sorrow, conflict and war with only hope remaining inside the jar. The name Pandora means 'All Gifts' both good and bad gifts being bestowed upon Humanity. 

Its whilst alluding to the Greek myth of Pandora and theorizing upon the origin of disease in his A Letter to a Friend that Browne introduces the word 'Pathology' into the English language.

'New Discoveries of the Earth discover new Diseases: for besides the common swarm, there are endemial and local Infirmities proper unto certain Regions, which in the whole Earth make no small number: and if Asia, Africa, and America should bring in their List, Pandora's Box would swell, and there must be a strange Pathology'.

Whether Browne, during his travels in Continental Europe from 1629-32 attending the Universities of Padua in Italy, Montpelier in France and Leiden in Holland, upon hearing of an outbreak of the plague in Milan, steered well clear of visiting the Italian city, or, alternatively, viewed the column erected in Milan informing of the crime and punishment of those believed to have started the outbreak, is not known. However, the Milan plague was still in Browne's memory in his old age, its mentioned in his bizarre inventory of lost, rumoured and imaginary books, paintings and objects known as Museum Clausum (c. 1675) in the sinister fantasy item of -

* Pyxis Pandoræ, or a Box which held the Unguentum Pestiferum, which by anointing the Garments of several persons begat the great and horrible Plague of Milan. [3]

As a Royalist Browne must have been under intense psychological distress during the years of the Protectorate of Cromwell (1650-59) and his Urn-Burial has been described as a threnody to the waste of human life during the English civil war. Prompted by the accidental unearthing of several burial urns in a Norfolk field just as its secondary title A Discourse upon the supulchrall urnes lately found in Norfolk, informs, Urn-Burial opens with dazzling literary showmanship  naming the main themes of the discourse, notably Time and Memory, Death and the after-life. 

In his scientific, spiritual and mystical analysis of death and the after-life, Browne first surveys the burial rites and customs of various nations throughout history. His early comparative religion skills references the Chinese, Persian, Roman, Greek and Egyptian civilizations, the Moslem, Hindi and Judaic religions, as well as making one of the very earliest references to the Zoroastrian religion in Western literature. 

Like his near contemporary, Athanasius Kircher (1602-80), Browne recognized the syncretic nature of religious symbols, but just like Kircher, he was often misguided in his comparative religion studies.

The unknowingness of the human condition is illustrated in striking medical imagery thus- 

'A Dialogue between two Infants in the womb concerning the state of this world, might handsomely illustrate our ignorance of the next, whereof methinks we yet discourse in Plato's den, and are but Embryon Philosophers'.

Closely related to Browne's medical imagery, there is also what might be termed opiate imagery in Urn-Burial. Widely in use since the sixteenth century, the Swiss alchemist-physician Paracelsus (1493-1541) was among the earliest advocates of opium. Such was its widespread usage in the seventeenth century that the so-called 'Father of English medicine' Dr. Thomas Sydenham (1624-89) whose books are well-represented in Browne’s library,  once declared- 

'Among the remedies which has pleased the Almighty God to give to man to relieve his sufferings, none is so universal and so efficacious as opium.'

Observations upon dosage and effects of opium can be found in Browne's commonplace notebooks whilst  knowledge of its recreational usage with sex can be found in Pseudodoxia Epidemica 

'since Opium it self is conceived to extimulate unto venery, and the intent and effect of eating Opium, is not so much to invigorate themselves in coition, as to prolong the Act, and spin out the motions of carnality'. [4]

In Urn-Burial the poppy flower, Opium and Oblivion are invariably interconnected. 'But the iniquity of Oblivion blindly shaketh her poppy' for example. In a heady fusion of philosophical stoicism, medical imagery and empirical observation, Browne declares of the human condition and also perhaps of the psychological effects of opium -

'There is no antidote against the Opium of Time, which temporally considereth all things.'

Its  been proposed that one reason why the prose of Urn-Burial  and its twin The Garden of Cyrus, in particular the transcendent prose of the fifth and last chapter of each Discourse is unlike any other seventeenth century English literature, may have been from Browne writing under the influence of opium. As a physician Browne was licenced to obtain Opium, the only available painkiller available in his day. During the decade of the Protectorate of Cromwell (1650-59) and the highly uncertain days which it engendered, it may have been very tempting for Royalist supporters, particularly those of an empirical nature such as Browne, to reach into the medicine cabinet.

Urn-Burial also features a short, but detailed description of Browne's single, credited scientific discovery, the formation of the waxy substance which coagulates upon the body fat of a corpse, named as adipocere. 

'In a Hydropicall body ten years buried in a Church-yard, we met with a fat concretion, where the nitre of the Earth, and the salt and lixivious liquor of the body, had coagulated large lumps of fat, into the consistence of the hardest castile-soap: whereof part remaineth with us'.

Burial, putrefaction and interment are all synonymous with the Nigredo stage of alchemy defined by C.G. Jung thus - 

'the original half animal state of unconsciousness was known to the adept as the Nigredo, chaos, confused mass, as inextricable interweaving of the soul with the body'. [5] 

 According to Jung-

'the nigredo not only brought decay, suffering, death, and the torments of hell visibly before the eyes of the alchemist, it also cast the shadow of melancholy over his solitary soul. In the blackness of his despair he experienced.. grotesque images which reflect the conflict of opposites into which the researcher's curiosity had led him. His work began with a katabasis, a journey to the underworld as Dante also experienced it'. [6] 

Urn-Burial alludes to several Soul journeys of classical literature including Homer's Odyssey in which the wily hero Ulysses descends into the Underworld, Macrobius's commentary on the planetary Soul journey Scipio's Dream and the Greek philosopher Plato's myth of Er, as well as Dante's Inferno. The religious mystic in Browne knew that each one of us from birth, conscious or not of the fact, embarks upon a soul-journey with Death as a final port of call.

The Swiss psychologist C.G.Jung (1875-1961) freed modern-day scholarship from many of the prejudices and misunderstandings which have hindered study of western esoteric traditions. Today, the thematic concerns of Urn-Burial can confidently be identified as matching the nigredo of alchemy and may even be the template upon which Browne modeled his discourse upon. Urn-Burial's counterpart, The Garden of Cyrus reinforces this interpretation for its opening pages muse upon paradise, a frequent symbol of the albedo or whitening in the alchemical opus succeeding the Nigredo.

C.G. Jung  states- 'As we all know, science began with the stars, and mankind discovered in them the dominants of the unconscious, the "gods," as well as the curious psychological qualities of the zodiac: a complete projected theory of human character'.  [7]   

As the most remote planet known to the ancients, Saturn was believed to be a cold, heavy planet, qualities which were confirmed millennia later by modern science. In the western esoteric traditions of alchemy and astrology, Saturn is associated with restriction, contraction, limitation and melancholy. As the ruler of isolation and quarantine, Saturn is the god of lock-down par excellence.  'Old Father Time' depicted with his scythe as the Grim Reaper is a variant upon symbolism associated with Saturn.


Originally an Italian agricultural god, other implements associated with Saturn include the pruning-hook,  spade and the hour-glass, as well as the oar for its slow, regular strokes which, like the ticking of a clock,  propel a boat through time.

Positive aspects of Saturn's symbolic attributes include the highest insight of the scholar, spiritual revelation and the crystallization of ideas. 
 
Interest and knowledge of astrology and alchemy along with planetary symbolism advanced considerably during the Renaissance. Browne's era, the seventeenth century is considered to be the Golden Age of alchemy, its long decline beginning at the century's close. 

In his spiritual testament Religio Medici (1643) Thomas Browne candidly confesses-

‘If there be any truth in Astrology, I may outlive a Jubilee, as yet I have not seen one revolution of Saturn, nor hath my pulse beat thirty years’. [8]

Like many thinkers and artists during the Renaissance, Thomas Browne was able to identify with the psychological aspects of planetary symbolism, stating in Religio Medici - 

'I was born in the planetary hour of Saturn and I think I have a piece of that leaden planet in me'. [9] 

Although often associated with melancholy, Saturn like Mercury, was also associated with transformation, and the two alchemical 'gods' are frequently linked together in western esoteric tradition literature and iconography. Because of its powers of transformation Saturn was also considered by alchemist and hermetic philosopher alike, to be a touchstone of the alchemical art as much as Mercury or Hermes, the more commonly associated 'deity' of alchemy. Hermetic themes preoccupy much of Urn-Burial's counterpart, The Garden of Cyrus, a literary work which is replete with planetary symbolism. 

Its interesting to note in passing that Browne's Saturnine characteristics seem to have appealed to the German author, translator and UEA academic, W. G Sebald (1944-2001). Meditations about Browne and his prose weave throughout W.G. Sebald's much admired hybrid work The Rings of Saturn (1995 English translation 1998).


The woodcut reproduced in the Theatrum Chemicum (above) is a symbolic illustration of the Nigredo of alchemy. The adept, seen encased within a bubble has the two great luminaries, the Sun and Moon, along with the five planets above him. He is depicted as under the influence of the black star, Saturn. A raven, of the Corvid family of birds, alights upon his stomach while two angels keep watch over him. 

Consisting of five folio volumes the Theatrum Chemicum (1613) was the most comprehensive anthology of alchemical writings in the seventeenth century and the handbook of many a would-be hermetic philosopher. Both C.G. Jung and Thomas Browne owned an edition of the Theatrum Chemicum. Isaac Newton filled the margins of his copy with annotations. [10]

The woodcut illustration of the Nigredo was copied and reproduced in countless editions of alchemy until the 18th century. It must have fascinated C.G.Jung for he reproduced it in his collected works twice. Highly apt as lost in the uncomfortable night of nothing, it wouldn't have been totally out of place as a frontispiece for Urn-Burial.  

The first volume of the Theatrum Chemicum  (Theatre of Chemistry) features over 400 pages of writings by the Belgian physician Gerhard Dorn (c. 1530 - c. 1584). The foremost promoter of Paracelsian alchemy, Dorn devised his own planetary symbolism in order to express his psychological insights, including that of an  'invisible sun'. We can be confident that Browne read the Theatrum Chemicum closely, he appropriated Dorn's planetary symbolism of an 'invisible Sun' for his own purposes, featuring it at the apotheosis of Urn-Burial as the mysterious life-force we each possess. In a high flourish of Baroque oratory Browne declaims- 

'But man is a Noble Animal, splendid in ashes, and pompous in the grave, solemnizing Nativities and Deaths with equal lustre, nor omitting Ceremonies of bravery, in the infamy of his nature. Life is a pure flame, and we live by an invisible Sun within us'....

A major theme of Urn-Burial is the futility of the endeavour to be remembered after death, especially through funerary monuments, including the earliest and most spectacular, the pyramids of ancient Egypt. Thomas Browne did not need to look far from his doorstep for ostentatious displays of vain-glory or 'pompous in the grave' monuments. 

Though little known, the city of Norwich is home to one of the world's largest and finest collections of funerary monuments. Erected by various civic dignitaries, Norwich's surviving monuments are evidence of the great wealth which it once generated as an important European trading City. Browne would have had opportunity to see these extravagant and costly monuments, mostly sculpted from marble stone, some of which are adorned to saturation point with obscure and learned religious symbols which the City's merchant mayors loaded onto them, seemingly in competition with each other. But it is just as Browne repeatedly stresses in Urn-Burial, the dignitaries who wanted their names to be remembered and their monuments admired, are now long forgotten and their monuments are housed behind locked or restricted access doors of  mainly disused or redundant churches. It was only as recently as 2012 that the source of the Layer monument's (below) iconography was identified. A wealth of religious symbolism, some of which is esoteric, remains to be studied on the funerary monuments of the medieval churches of Norwich. Photographs and details of Norwich funerary monuments are featured throughout this essay.

 

As great a religious mystic as Julian of Norwich or Meister Eckhart, Thomas Browne was well-aware of altered states of spiritual consciousness, naming several at the conclusion of  Urn-Burial thus-

'And if any have been so happy as truly to understand Christian annihilation, extasis, exolution, liquefaction, transformation, the kiss of the Spouse, gustation of God, and ingression into the divine shadow, they have already had an handsome anticipation of heaven; the glory of the world is surely over, and the earth in ashes unto them'.

Much of Browne's mysticism rests in his highly original proper name symbolism along with the plexiformed construction and relationship of his two 1658 discourses. Although appearing identical, each being prefaced with a dedicatory epistle and consisting of five chapters, Browne's twin Discourses, not unlike two side-by-side white, crystalline substances, once tasted are found to differ sharply; Urn-Burial is discovered to be the bitter salt of  Stoicism, a sprinkling of which is essential for spiritual well-being in the face of illness or disease, death and the grave.  In complete contrast, the sweetness of The Garden of Cyrus with its playful delight in nature, is written in a literary style not unlike a hyperactive sugar rush.  

A large part of esoteric schemata involves correspondences and polarities or opposites. Together the diptych discourses display polarity in theme, imagery and style. (Browne is credited as introducing the very word 'Polarity' into the English language). It was Frank Huntley who first advanced the interpretation that Browne's Discourses simultaneously progress in sequence from the Grave to the Garden, mirror each other in imagery, such as darkness and light, and are circular with Cyrus concluding Oroboros-like returning to night, sleep and darkness. [11]

A plethora of opposites exist between the two Discourses including and this list is far from exhaustive - Earth and Heaven, Grave and Garden, Accident and Design, Darkness and Light, Doubt and Certainty, Death and Life, Ephemeral and Eternal, Time and Space, Microcosm and Macrocosm.  

Contemplation of the body and soul in Urn-Burial gives way to a preoccupation with ideas associated with the mind and Spirit in The Garden of Cyrus. In terms of planetary symbolism Urn-Burial is strongly Saturnine with its theme of Time while The Garden of Cyrus has Space as its template and is utterly Mercurial in its communication of esoteric revelations. Even stylistically the two Discourse differ, the slow-paced, Baroque oratory of Urn-Burial's primary appeal is to ear its sonorous prose is best appreciated read aloud. In complete contrast the sensory organ of the eye and the visual in design, pattern and shape is prominent throughout the hasty, excited prose of Cyrus. 

Given Browne's deep interest in the esoteric we cannot overlook C.G.Jung's observation that the opposites and their union was the chief preoccupation of alchemists. Jung's study of alchemy led him to believe that the opposites are one of the most fruitful sources of psychic energy and for him their union played a decisive role in the alchemical process stating -'the "alchemystical" philosophers made the opposites and their union one of the chiefest objects of their work'. [12] The resultant synergy and unconscious associations for the reader between the two Discourses may well be Browne's literary concept of the Philosopher's Stone.


The psychological element in Browne's writings was admired by the poet Coleridge who declared of him that he, 'added to the consciousness hidden worlds within worlds' The Swiss psychologist C.G. Jung when introduced to Browne's declaration in his Religio Medici that- There is all Africa and her prodigies in us was deeply moved and immediately wrote it down. Understanding of the relationship between the two doctors Browne and Jung, is a rich, yet little explored field. Both naturally held a deep understanding of the human condition acquired from their profession, and both knew that with suffering comes spiritual growth.  Browne's Urn-Burial and The Garden of Cyrus as well as his A Letter to a Friend were all written as condolences for bereaved patrons. 

Browne describes the blessings of not knowing the future and the relationship between memory, suffering and self-preservation  in Urn-Burial thus -

'Afflictions induce callosities, miseries are slippery, or fall like snow upon us, which notwithstanding is no unhappy stupidity. To be ignorant of evils to come, and forgetful of evils past, is a merciful provision in nature, whereby we digest the mixture of our few and evil days, and our delivered senses not relapsing into cutting remembrances, our sorrows are not kept raw by the edge of repetitions'.

Writing currently at a time of great sorrow and potentially in the near future of great anger, strife and conflict if the consequences of the Pandemic and the socio-economic inequalities it has highlighted throughout the world are not resolved, C.G. Jung reminds us that -

'Tears, sorrow, and disappointment are bitter, but wisdom is the comforter in all psychic suffering. Indeed, bitterness and wisdom form a pair of alternatives: where there is bitterness wisdom is lacking, and where wisdom is there can be no bitterness'. [13] 

The dark, sombre and gloomy half of Browne's literary diptych speaks for our times and for all times. The worthy doctor gently draws to our attention to the fact that - 'the certainty of death is attended with uncertainties, in time, manner, places', and of how little we know of ourselves, and how unlikely it is we will be remembered beyond a generation or two at most. Our days are finite and numbered and the inescapable port of call on our soul-journey is death he reminds us, in ornate, baroque prose. 

Browne's Urn-Burial is a high watermark in English prose. Acknowledged as a work of World Literature, its pages, as countless readers throughout generations have discovered, are a valuable source of wisdom.  Reading Urn-Burial today is a timely reminder of how vulnerable we are to the invisible and unseen, and of how temporal our lives are; something which the devout Norwich physician seldom, if ever, needed reminding of.



Notes

[1 ] The great plague of Milan in 1630 was alleged to have been started by a Milanese barber and the Commissioner of Public Health. They were executed and a column was erected in Milan in August 1630 informing of their crime.  

[2] Pseudodoxia Epidemica Book 3 chapter 7 of  'On the Basilisk'.

[3] Miscellaneous tract 13  item 24 of Antiquities and Rarities of several sorts in Museum Clausum (circa 1675)

[4] Pseudodoxia Epidemica Book 8 chapter 7

[5] Collected Works  Vol. 14:696

[6] C. W.  Vol.14: 93

[7] C.W. Vol. 12:346. 

[8] Religio Medici Part 2 :11

[9] Religio Medici Part 2 :6 

[10] The Theatrum Chemicum is listed in the 1711 Sales Catalogue of Browne Library on page 25 no. 124  as 5 vols. Strasbourg 1613

[11] Frank Huntley Sir Thomas Browne: A Biographical and Critical Study, pub. Ann Arbour 1962 

[12] CW 8:414 and CW 12: 557 and CW.  vol. 14 Foreword 

[13] C.W 14: 330

Books consulted 

* Reid Barbour - Sir Thomas Browne A Life pub. Oxford University Press 2013

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

Images

*Top - Woodcut, the Nigredo Vol. 4 Theatrum Chemicum (1613) 

* Death wearing a Crown (Corona) Joseph Paine Monument (1673), St. Gregory's, Norwich 

* Detail of allegorical figure of Time from the Sotherton Monument (1611), Saint Andrew's, Norwich.

*  Woodcut, the Nigredo Vol. 4 Theatrum Chemicum (1613)

* The Layer Monument (1608) St.John the Baptist, Maddermarket, Norwich

* SCIOLTA  (Freed) Allegorical image of the soul released from the cage of the body.  Suckling Monument  (1616) St. Andrew's Norwich 

* 4th edition of Pseudodoxia Epidemica with first publication of Urn-Burial and The Garden of Cyrus appended.

Recommended Listening

Icelandic composer Johann Johannson (1968-2018) is still missed in the music world. 

His song 'The Sky's gone dim and the Sun is Black' could not be more nigredo in mood.


The English composer William Alwyn (1905-85) was a prolific film-score composer who had a life-long love of the writings of Sir Thomas Browne. His 5th Symphony entitled Hydriotaphia is based upon his reading of Browne  and was first performed in Norwich in 1973.


Stevie Wonder's  Saturn (1976) with lyrics  -  
We can't trust you when you take a stand/
With a gun and bible in your hand/ 
Saying, Give us all we want or we'll destroy.

Links to Wikipedia entries on  Nigredo -  Theatrum Chemicum - Gerhard Dorn

This essay with thanks to Dr. E. Player.

 In Memoriam  Richard Paul Faulkner (1958-2020)