From Iconoclasm to the Disenchantment of the World - Readings in Milton, Hobbes, and Newton
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Since Schiller and Chateaubriand, the Romantics have long mourned over the ‘disenchantment of the world’ – the process of secularization of the West interpreted in sociological terms by Max Weber. While the positivist account of the Enlightenment equates the rise of modernity with the advance of science and the subsequent rejection of religious worldviews, a comparative reading of prominent English authors of the seventeenth century reveals a more contrasted picture. Milton, Hobbes, and Newton all rejected medieval animism in the name of iconoclasm – this passionate desire to ‘break images’, whether they be liturgical, monarchical, or celestial. There emerges from the anti-idolatry rhetoric of Puritan literature a resolutely modern view of man and the cosmos based on the will to desacralize all elements of the created order. The counter-reaction of nineteenth century literary and art critics and the subsequent rise of folklore studies reveal the scope of the demystification thus accomplished. It may be premature, however, to claim that modernity is actually ‘disenchanted’ as the propensity to deify real or imaginary beings remains an enduring aspect of the culture.
Abstract
Since Schiller and Chateaubriand, the Romantics have long mourned over the ‘disenchantment of the world’ – the process of secularization of the West interpreted in sociological terms by Max Weber. While the positivist account of the Enlightenment equates the rise of modernity with the advance of science and the subsequent rejection of religious worldviews, a comparative reading of prominent English authors of the seventeenth century reveals a more contrasted picture. Milton, Hobbes, and Newton all rejected medieval animism in the name of iconoclasm – this passionate desire to ‘break images’, whether they be liturgical, monarchical, or celestial. There emerges from the anti-idolatry rhetoric of Puritan literature a resolutely modern view of man and the cosmos based on the will to desacralize all elements of the created order. The counter-reaction of nineteenth century literary and art critics and the subsequent rise of folklore studies reveal the scope of the demystification thus accomplished. It may be premature, however, to claim that modernity is actually ‘disenchanted’ as the propensity to deify real or imaginary beings remains an enduring aspect of the culture.
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