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The Thermodynamics of Infernal Justice in Book 1 of Paradise Lost

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The Thermodynamics of Infernal Justice in Book 1 of Paradise Lost explorations in renaissance culture 43 (2017) 232-247 brill.com/erc “Vaulted with fire”: The Thermodynamics of Infernal Justice in Book 1 of Paradise Lost J.P. Conlan University of Puerto Rico [email protected] Abstract Historians of science have noted that Milton’s figurative reference to the “spotty globe” of Satan’s massy shield identifies Milton as an adherent of the New Astronomy promot- ed by Galileo. Understood in light of the techniques of surveying employed by Galileo, the same shield also speaks to Galileo’s use of parallax, whereby the scientist made his drawings more precise by viewing alternately from the vantage of the heights of Fesole or the valley of the Arno. Milton mentions these places in his epic simile of Satan’s shield: the science behind Satan’s arms in Paradise Lost reveals that Milton’s deep com- mitment to liberty informs his imagination of how God structured the pains of hell. Keywords Milton – Paradise Lost – satan – shield – Galileo – physics – optics Describing the dimensions of the “ponderous shield,/Ethereal temper, massy, large and round,/[that Satan] behind him cast” Milton writes that The broad circumference Hung on his shoulders like the Moon, whose Orb Through Optic Glass the Tuscan Artist views At Ev’ning from the top of Fesole, Or in Valdarno, to descry new lands, Rivers or Mountains in her spotty Globe.1 1 Paradise Lost 1. 286–91. All quotations from Milton’s Paradise Lost, Paradise Regained, and Areopagitica are from Hughes’ edition and shall be cited parenthetically in the text. © koninklijke brill nv, leiden, 2017 | doi 10.1163/23526963-04302005Downloaded from Brill.com09/25/2021 01:18:42AM via free access <UN> “Vaulted with fire” 233 The tenor of the simile signals that the Shield’s dimensions—the breadth of its circumference, its ponderousness, mass, “temper” and greatness—are the sub- ject of the comparison. The vehicle defines both the gauge of measurement— “like the Moon” in nature—and the precision of this standard: how “the Tuscan Artist” viewed the lunar landscape with the most advanced optical in- struments of the day. Milton’s biographers have identified the “Tuscan Artist” as Galileo Galilei, whom Milton in Areopagitica claims to have visited in his Italian home.2 Galileo’s artistic skill, recognized by artists in his own time, was in the geometric art of perspective drawing.3 In 1588, at twenty-four years old, Galileo had applied to become the geometra, to teach perspective and tech- niques of chiaroscuro in the Accademia del Disegno in Florence.4 As his day job, Galileo was “the Mathematical Professor at Padua.” Astronomers found Galileo’s examinations of the moon’s topography particularly notable because Galileo used triangulation to calculate the heights of the mountains on the lunar landscape. As diagrams in Siderius Nuncius indicate, the circumference of the moon served as Galileo’s gauge: deviation from the circumference was measured by way of the tangent with which it intersected.5 Historians of sci- ence have noted that the passage’s reference to the “spotty globe” identifies 2 Milton declares in Areopagitica that he “visited the famous Galileo, grown old a prisoner to the Inquisition” (quoted in Nicolson, “Milton and the Telescope” 8). “There is no independent record of this visit,” writes Gordon Campbell, “but it is not improbable: Galileo’s illegitimate son was among those whom Milton met at the Svogliati, and Milton could have met the old man either in his house in Arcetro or in Vincezo’s house on the Costa San Giorgio, where Galileo was staying for medical treatment” (490). Lieb’s “Illuminati” casts doubt on Milton’s meeting of Galileo, as Milton did not mention the astronomer’s blindness (Passim 54–95). If the autobiographical passage itself is insufficient to definitively establish Milton’s acquain- tance with Galileo himself, this simile comparing Satan’s shield to the spotty Globe of the moon and other passages written after Milton’s Italian journey ought, nonetheless, serve to establish Milton’s familiarity with Galileo’s work. On the difference between Milton’s knowl- edge of Galileian astronomy before and after his Italian trip, see Cook, esp. 204–05; and Nicol- son, “Milton and the Telescope” 3–11. Those asserting that Galileo is the only contemporary figure whom Milton referenced directly in the poem include Gilbert at 152 and Partner at 130. Galileo’s Tuscan identity is allowed also because, by naming the moons of Jupiter after famous members of the Medici clan, Galileo sought and achieved the patronage of Cosimo, Grand Duke of Tuscany (Ostrow 235 n. 95. Cf. in general, Biagioli, Galileo, Courtier 30. For a more developed and nuanced view of his patronage relations, see Biagioli, “Galileo’s Self- Fashioning, Galileo, Courtier, esp. 20–59). 3 The Florentine artist, Lodovico Cardi, called Cigoli, praised Galileo’s skill in perspective drawing; Galileo’s interest and talent resulted in him being admitted to the Accademia del Disegno in 1613 (Edgerton 225). 4 Núñez Centella & Sánchez 18. 5 Galilei, Siderius Nuncius, D1v. explorations in renaissance culture 43 (2017) 232-247Downloaded from Brill.com09/25/2021 01:18:42AM via free access <UN> 234 Conlan Milton as an adherent of the New Astronomy, for Galileo’s drawings of the moon’s uneven topographical features refuted the Aristotelian presumption that the moon’s surface was smooth.6 Philologists building on this detail have corrected an earlier, less rigorous philology that did little more than recognize that the literary tradition of comparing a shield to the Moon dates back to the Iliad: while the shape and brightness of the shields borne by Achilles and Radimund make them moonlike, it is the “Ethereal temper, massy, large and round”7—that is, the quality of enormous size—that in Milton’s simile makes the circumference of Satan’s “ponderous shield”8 and the moon alike.9 According to the simile’s vehicle, the circumference of Satan’s shield is ex- actly as large as the Moon as it exists in nature, measured as Galileo drew its features through the telescope. Understood in light of the techniques of sur- veying employed by Galileo, the paired mention of Fesole and Valdorno speaks not so much as to the clarity of the Italian sky10 but to Galileo’s use of parallax, 6 Analyzing Galileo’s scientific allegiances, Allan H. Gilbert references these lines to point out that “Milton follows the new astronomy in describing the moon,” in that “[t]he rough and irregular character of its surface was one of the matters on which Galileo insisted against the followers of Aristotle”(159). 7 Paradise Lost 1.285. 8 Paradise Lost 1.284. 9 Awareness of the literary tradition leads James Whaler slightly astray as he defines the tenor as the shield and the vehicle as the “Moon seen through the telescope” with em- phasis on its “ethereal brightness and size” (Whaler 1053). Also presuming merely a comparison within the literary tradition, Broadbent wrote in 1960 that “With the shield, Satan outdoes Goliath and Achilles as an epic hero” (72). Closer attention to philology has corrected this understanding. As Fowler pointed out in 1968, while Homer compared Achilles’s shield in Iliad 19.373 to the moon, and Spenser compared Radigund’s shield to the moon in Faerie Queene, 5.5.3, these comparisons referenced the moon as an index of shape and brightness, while Milton’s comparison references size (60–1, n. 1. 286–91). Likely building off Fowler’s earlier observation, Bloom has written that: Homer and Spenser emphasize the moonlike brightness and shining of the shields of Achilles and Radigund; Milton emphasizes size, shape, weight as the common feature of Satan’s shield and the Moon, for Milton’s post-Galilean moon is more of a world and less of a light. (Bloom 133; also quoted in Wittenberg 27.) More recently, focusing on the “ethereal temper,” Freeman has underscored that the moon as drawn by Galileo using the telescope was spotted and dented instead of mirror- smooth, and has plausibly argued that, by way of reference to the “spotty globe,” Milton was highlighting the shield’s imperfections, a fact confirmed in the War in Heaven when it revealed itself to be ineffective protection, as it failed to protect Satan from Abdiel’s blow (6.192–93) (Freeman 129–30). 10 Focusing on the geographical detail in the simile, Whaler claims that Milton “would have us see the moon not merely through the eyes of the most quick-sighted and intelligent explorations in renaissance Downloadedculture from 43 Brill.com09/25/2021 (2017) 232-247 01:18:42AM via free access <UN> “Vaulted with fire” 235 whereby viewing alternately from the vantage of the heights of Fesole or the valley of the Arno, he made his drawings all that more precise.11 Parallax is the means whereby a viewer uses a known span on the horizon seen from two points of perspective to calculate by way of triangulation his or her distance from an object. Milton references both the telescope and paral- lax in Paradise Regained: when describing the means whereby Satan provides Christ a vision of all of the kingdoms of the world all at once, Milton as narra- tor raises the question: By what strange Parallax or Optic skill Of vision multiplied through air, or glass Of Telescope, were curious to inquire.12 Galileo understood parallax: the Dialogue of Cecco di Ronchitti (1605), often attributed to Galileo, rehearses a dialogue in Paduan dialect between a shep- herd and his brother that mocks doctors of philosophy on a number of sub- jects, including “this awful mess about parallax.”13 As Crystal Hall points out, the shepherds in this dialogue demonstrate by climbing trees and changing astronomer of the age, but under ideal atmospheric conditions, under the clear dry sky of Italy… and then you are prepared to imagine the brightness of that shield of Satan’s” (1058).
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