The Garden of Cyrus
The Garden of Cyrus, or The Quincuncial Lozenge, or Network Plantations of the Ancients, naturally, artificially, mystically considered, is a discourse written by Sir Thomas Browne. It was first published in 1658, in conjunction with its diptych companion, Urn-Burial. In modern times it has been recognised as Browne's major literary contribution to Hermetic wisdom. 
The Garden of Cyrus is Browne's Neo-Platonic and Neo-Pythagorean vision of the interconnection of art, nature and the Universe via numerous symbols, primarily the number five, and the quincunx pattern, along with their variants, the figure X and lattice design. The Discourse's slender, but compressed pages of imagery, symbolism and associative thought, are exemplary of Sir Thomas Browne's understanding of a fundamental quest of Hermetic philosophy, namely proof of the wisdom of God through advocation of intelligent design. The Discourse also includes one of the earliest usages of the words 'prototype' and 'archetype' in the English language.
With its near vertiginous procession of visual imagery, objects, botanical observations and mystical analogies, along with its constant reinforcement of how God geometrizes (via the symbols of the number five and quincunx pattern), all developed from hastily jotted notes in a fractured, breathless, style, The Garden of Cyrus is an exceptional and highly idiosyncratic literary work. A critical examination of draught manuscripts of the Discourse reveals that the extraordinary variety of examples taken from art and nature were written with uncharacteristic haste; as if the physician-philosopher were sometimes recollecting evidence of the quincunx pattern as fast as his pen could possibly write, a good example occurring in the passage -
In Chess-boards and Tables we yet find Pyramids and Squares, I wish we had their true and ancient description, farre different from ours, or the Chet mat of the Persians, and might continue some elegant remarkables, as being an invention as High as Hermes the Secretary of Osyris, figuring the whole world, the motion of the Planets, with Eclipses of Sun and Moon.
Paragraphs of The Garden of Cyrus may be considered as early examples of stream of consciousness writing, which, speculated as the product of altered consciousness, are not dissimilar to Lewis Carroll's Alice in Wonderland, the science fiction of H. G. Wells or the Russian esotericist P. D. Ouspensky, in expression of a highly unusual perspective upon life and reality.
There are however, two major reasons why The Garden of Cyrus is not as well known as its diptych companion, Urn-Burial. Firstly, the sheer difficulty of the text itself, which has baffled all but the most determined readers, for stylistically, the discourse abruptly alternates between notebook jottings to passages of sublime purple prose. It also alludes to what is now considered to be obscure learning, namely Hermeticism and the esoteric in general.
The second reason for The Garden of Cyrus being little-known is due to an editorial and publishing trend, totally against Browne's artistic intentions, of it being omitted from many nineteenth and twentieth century editions, reproducing Urn-Burial alone. Even modern editions from highly reputable publishers, such as Penguin New Directions in 2006 and New York Review Books in May 2012 continue to perpetuate this error.
Though difficult to read, The Garden of Cyrus remains an important work of English literature, primarily because it is incontrovertible evidence that as late as the mid-seventeenth century, isolated individuals throughout Europe continued to subscribe to the tenets of Hermetic philosophy.
The Latin text accompanying the frontispiece to 'the Garden of Cyrus' quotes Quintilian's Institutio Oratoria Book VIII.3.ix: Quid quincunce speciosius, qui, in quamcumque partem spectaveris, rectus est? which translated reads as, What is more beautiful than the quincunx which however you view it, presents straight lines?
- Peter Green, Writers and their Work no. 108, Longmans and co. 1958
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