Abstract
In Paradise Lost, allusions to alchemy are mostly evident in the third book, where Satan, on his way to ruining God’s wondrous creation of earth and man, passes through the region of the sun. Part of the orb’s “all-cheering” effect is to “shoot invisible virtue even to the deep,” reaching the inner nature of bodies in the surrounding universe. Remote as the “arch-chemic sun” is from earth, it functions as a first alchemist whose rays are naturally mixed with terrestrial moisture to produce “here in the dark so many precious things/of colour glorious and effect so rare.” This divinely ordained and natural alchemy stands in stark contrast to two other rival pursuits for rare metal in Paradise Lost. Firstly, there is the brigade of fallen angels in the first book, who are led by Mammon towards earthly riches, digging into a volcanic hill whose “glossy scurf” is a clear sign “that in his womb was hid metallic ore,/The work of sulphur.” Secondly, there is the future fallen race of man who, a few verses later in the same book, is likewise led by Mammon to rifle “the bowels of their mother earth/For treasures better hid.” In contrast to this sky-earth alchemy descending from a divine source, Martin Heidegger’s philosophy of art sees a phenomenological continuum extending in the opposite direction, from earth to Greek temple, godhead, sky, and sun. These last celestial entities are brought into being through the ramifying potential of the human work of art, the Greek temple that puts in relief the presence of the god within its sacred precinct as well as the natural elements surrounding it. In this process, earth endures as the unfathomable aspect of a constantly arising and unconcealed world. Can Heidegger’s work of art, which ultimately engenders even God’s firmament, be reconciled with Milton’s alchemical allegory, which depicts God’s heavenly rays engendering the earth’s lesser riches? Heidegger’s philosophy of art implies the sky and the godhead as products of mankind’s ceaseless creativity working upon an ultimately impenetrable earth, whereas Milton’s alchemical allegory condemns mankind’s futile attempt to emulate God’s supreme art of engendering life in earth. And yet, striking resemblances emerge between the two paradigms as they are brought together in a comprehensive gestalt of creation.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Citations from Paradise Lost are taken from John Carey and Alastair Fowler’s annotated collection, The Poems of John Milton. See References for full bibliographical details.
- 2.
Even if, in his later work “Building Dwelling Thinking,” Heidegger includes all worldly things (even equipment) as products of the creative impulse, it is nevertheless its world-extending force and its expansion into a sacred realm that prevail, overshadowing all other practical uses to which the work of art might be put and in which its being would promptly disappear.
References
Chambers, A.B. 1963. Milton’s Proteus and Satan’s visit to the sun. The Journal of English and Germanic Philology 62(2): 280–287.
Duncan, Edgar Hill. 1954. The natural history of metals and minerals in the universe of Milton’s Paradise Lost. Osiris 11: 386–421.
Ferguson, John. 2003. Some English alchemical books – Being an address delivered to the alchemical society on Friday, October 10th, 1913. In Essential alchemical readings, ed. Michael Maier and Franz Hartman, n. pag. Kila: Kessinger Publishing Co.
Hartman, Franz. 2003. Alchemy. In Essential alchemical readings, ed. Michael Maier and Franz Hartman, n. pag. Kila: Kessinger Publishing Co.
Heidegger, Martin. 2004a. Building dwelling thinking. In Basic writings – Martin Heidegger, ed. David Farrell Krell, 347–363. London/New York: Routledge.
Heidegger, Martin. 2004b. The origin of the work of art. In Basic writings – Martin Heidegger, ed. David Farrell Krell, 143–212. London/New York: Routledge.
Linden, Stanton J. 1996. Darke Hierogliphicks – Alchemy in English literature from Chaucer to the restoration. Lexington: The University Press of Kentucky.
Linden, Stanton J. 2003. The alchemy reader – From Hermes Trismegistus to Isaac Newton. Cambridge: Cambridge University Press.
Marlan, Stanton. 2005. The black sun – The alchemy and art of darkness. College Station: Texas A&M University Press.
Megill, Allan. 1985. Prophets of extremity – Nietzsche, Heidegger, Foucault, Derrida. Berkeley/Los Angeles: University of California Press.
Milton, John. 1968. The poems of John Milton. ed. John Carey and Alastair Fowler. London: Longmans.
Norberg-Schulz, Christian. 1983. Heidegger’s thinking on architecture. Perspecta 20: 61–68.
Paracelsus. 1979. Selected writings, ed. Jolande Jacobi. Princeton: Princeton University Press.
Read, John. 1995. From alchemy to chemistry. New York: Dover Publications Inc.
Ricoeur, Paul. 1974. The conflict of interpretations – Essays in hermeneutics, ed. Don Ihde. Evanston: Northwestern University Press.
Ricoeur, Paul. 1976. Interpretation theory: Discourse and the surplus of meaning. Forth Worth: Texas Christian University Press.
Schalow, Frank. 2001. Heidegger and the quest for the sacred – From thought to the sanctuary of faith. Dordrecht: Kluwer.
Stulberg, Robert B. 1973. Heidegger and the origin of the work of art – An explication. The Journal of Aesthetics and Art Criticism 32(2): 257–265.
Sucich, Glenn. 2008. ‘Not without dust or heat’: Alchemy and Areopagitica. In Uncircumscribed mind – Reading Milton deeply, ed. Charles W. Durham and Kristin A. Pruitt, 44–66. Cranbury: Susquehanna University Press.
Thomson, Iain D. 2011. Heidegger, art, and postmodernity. Cambridge: Cambridge University Press.
Young, Julian. 2001. Heidegger’s philosophy of art. Cambridge: Cambridge University Press.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2015 Springer Science+Business Media Dordrecht
About this chapter
Cite this chapter
Micallef, B. (2015). Milton’s Sky-Earth Alchemy and Heidegger’s Earth-Sky Continuum: A Comparative Analysis. In: Tymieniecka, AT. (eds) From Sky and Earth to Metaphysics. Analecta Husserliana, vol 115. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-9063-5_18
Download citation
DOI: https://doi.org/10.1007/978-94-017-9063-5_18
Published:
Publisher Name: Springer, Dordrecht
Print ISBN: 978-94-017-9062-8
Online ISBN: 978-94-017-9063-5
eBook Packages: Humanities, Social Sciences and LawPhilosophy and Religion (R0)