There is another point in which the organic philosophy only repeats Plato. In the Timaeus the origin of the present cosmic epoch is traced back to an aboriginal disorder, chaotic according to our ideals. This is the evolutionary doctrine of the philosophy of organism. Plato's notion has puzzled critics who are obsessed with the Semitic theory of a wholly transcendent God creating out of nothing an accidental universe. Newton held the Semitic theory. The Scholium made no provision for the evolution of matter—very naturally, since the topic lay outside its scope. The result has been that the non-evolution of matter has been a tacit presupposition throughout modern thought. Until the last few years the sole alternatives were: either the material universe, with its present type of order, is eternal; or else it came into being, and will pass out of being, according to the fiat of Jehovah. Thus, on all sides, Plato's allegory of the evolution of a new type of order based on new types of dominant societies became a daydream, puzzling to commentators.
Milton, curiously enough, in his Paradise Lost wavers between the Timaeus and the Semitic doctrine. This is only another instance of the intermixture of classical and Hebrew notions on which his charm of thought depends. In the description of Satan's journey across Chaos, Satan discovers
The secrets of the hoary deep, a dark Illimitable ocean, without bound, Without dimension, where length, breadth and highth, And time and place are lost; where eldest Night And Chaos, ancestors of Nature, hold Eternal anarchy amidst the noise Of endless wars, and by confusion stand.
Milton is here performing for Plato the same poetic service that Lucretius performed for Democritus—with less justification, since Plato was quite capable of being his own poet. Also the fact of Satan's journey helped to evolve order; for he left a permanent track, useful for the devils and the damned.
The appeal to Plato in this section has been an appeal to the facts against the modes of expression prevalent in the last few centuries. These recent modes of expression are partly the outcome of a mixture of theology and philosophy, and are partly due to the Newtonian physics, no longer accepted as a fundamental statement. But language and thought have been framed according to that mould; and it is necessary to remind ourselves that this is not the way in which the world has been described by some of the greatest intellects. Both for Plato and for Aristotle the process of the actual world has been conceived as a real incoming of forms into real potentiality, issuing into that real togetherness which is an actual thing. Also, for the Timaeus, the creation of the world is the incoming of a type of order establishing a cosmic epoch. It is not the beginning of matter of fact, but the incoming of a certain type of social order.
Whitehead, Alfred North. Process and Reality (Gifford Lectures Delivered in the University of Edinburgh During the Session 1927-28) (p. 96). Free Press. Kindle Edition.
Interpretation
In the passage above Whitehead does not say whether God wills disorder in order to make way for new forms of order, new cosmic epochs; but he does say that chaos can have instrumental value, making way for new forms of order. "Aboriginal disorder, chaotic according to our ideals," has its place in life. Satan, understood in literary terms, symbolizes this value. A classically conservative Christian might put it this way: Had it not been for a fall precipitated by Satan, a descent into chaos, there would never have been the need, and indeed the beauty, of a post-idyllic state called "life in Christ." Christ needs Satan - a certain kind of disorder - in order to be Christ. A more secular mind might simply note that there is a kind of creative disorder that is needed for any kind of constructive novelty to emerge in life. Fortunately, we can have it both ways.
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Whitehead was well-versed in classical Greek and Roman literature, as well as the history of English literature, and often expected his readers to share this familiarity. Among the many thinkers he referenced was Lucretius (c. 99–55 BCE), a Roman poet and philosopher who expanded on the ideas of Democritus (c. 460–370 BCE), an ancient Greek thinker credited with developing atomic theory.
Democritus proposed that all things in the universe are composed of tiny, indivisible particles called atoms. Lucretius embraced and elaborated on these ideas in his epic poem De Rerum Natura (On the Nature of Things), integrating them with the teachings of Epicurus (341–270 BCE). Epicurus refined atomic theory, focusing on how understanding the natural world could free individuals from fear and foster happiness.
Through poetic expression, Lucretius made abstract philosophical ideas accessible, ensuring their influence beyond his era. His work bridged the gap between theory and experience, keeping atomic theory relevant in intellectual history.
Whitehead draws an intriguing parallel between Lucretius’s engagement with Democritus and John Milton’s (1608–1674) engagement with Plato (c. 428–348 BCE). Milton was deeply influenced by Plato’s Timaeus, a text that describes the evolution of the cosmos through successive "cosmic epochs." Whitehead highlights how Timaeus traces the current cosmic order back to “aboriginal disorder,” which appears chaotic by human standards.
Whitehead suggests that what we call chaos may contain its own kind of order—an order foreign to our ideals. In both Plato’s and Whitehead’s thought, new forms of order arise through the ingression of unrealized potentialities. This ingression is accompanied by divine creativity, introducing new possibilities, but it requires nature's own creativity—often experienced as chaotic—to actualize these possibilities. In this way, creativity operates not as divine command but as a partnership between divine lure and natural spontaneity.
Although Whitehead did not regard Satan as a literal being, his poetic mind was likely sensitive, in a literary way, to Milton's portrayal of Satan in Paradise Lost. Far from being a simple villain, Satan is a tragic figure whose struggles with pride, ambition, and despair make him a symbol of human complexity. In Paradise Lost, Satan’s journey to Chaos in Book 2 is pivotal. It recounts his daring escape from Hell and descent through the tumultuous realms of Chaos to reach Earth. This journey is rich with symbolism, reflecting Satan’s role as an agent of disorder and a challenge to divine harmony.
Satan's encounter with the personified Chaos is especially significant. Rather than conquering Chaos by force, Satan negotiates with him. Chaos, seeing Satan’s rebellion as a disruption of divine order, offers him safe passage to Earth. Satan’s ambition to corrupt creation aligns with Chaos’s desire to disrupt God’s harmony, forming a dark alliance between rebellion and disorder.
Whitehead was certainly sensitive to rebellion, understanding its place in human life. Elsewhere in Process and Reality he writes:
"There is a greatness in the lives of those who build up religious systems, a greatness in action, in idea and in self-subordination, embodied in instance after instance through centuries of growth. There is a greatness in the rebels who destroy such systems: they are the Titans who storm heaven, armed with passionate sincerity. It may be that the revolt is the mere assertion by youth of its right to its proper brilliance, to that final good of immediate joy. Philosophy may not neglect the multifariousness of the world—the fairies dance, and Christ is nailed to the cross."
Satan was one such rebel, whose aim was to destroy systems. But he did not succeed. Ultimately, Satan embodies the paradox of absolute freedom: when freedom is pursued without moral responsibility, it results in alienation and self-destruction.
Whitehead, who appreciated the beauty of the tragic, may have found resonance with Satan’s tragic character. For Whitehead, tragedy is an essential aspect of life, where profound experiences often arise through struggle, loss, and imperfection. Tragic figures like Satan exemplify the intertwined nature of creativity and destruction, where rebellion can lead both to greatness and downfall.
In any case, in the passage with which this note starts, Whitehead emphasizes another dimension of Satan: creativity in disorder. In Paradise Lost, Satan symbolizes the primordial chaos necessary for evolution and transformation. Whitehead interprets this chaos not as opposition to divine creativity but as a complementary force—a disruptive energy essential for new possibilities to emerge. This chaotic creativity operates independently of divine will, reflecting the dynamic and unpredictable forces that shape the unfolding of the universe. For Whitehead, the interplay between chaos and order reveals a truth: both are necessary companions in the ongoing process of creation. Just as Milton’s Satan disrupts cosmic order to make way for new struggles and transformations, Whitehead’s philosophy suggests that evolution requires both divine guidance and the unpredictable movements of primordial chaos.
Together, these forces—order and disorder, divine lure and creative rebellion—drive the unfolding of the universe in all its richness, complexity, and tragic beauty. - Jay McDaniel
John Milton (1608–1674) was a renowned English poet, intellectual, and civil servant, best known for his epic poem Paradise Lost. Born in London to a prosperous family, Milton was well-educated, attending St. Paul’s School and later Christ’s College, Cambridge. From a young age, he demonstrated a talent for languages and literature. His early works, including L'Allegro and Il Penseroso, reflect his fascination with contrasting aspects of human experience—joy and contemplation. Milton was deeply influenced by the classical authors, as well as by Christian theology and Renaissance humanism.
Milton’s political and theological interests led him to become a prominent figure during the English Civil War and Commonwealth period. He actively supported the Puritan cause and served as the Latin Secretary to Oliver Cromwell’s government, crafting eloquent prose defending civil liberties, including Areopagitica, a famous plea for free speech and against censorship. Milton’s writings during this time also reveal his controversial beliefs, advocating for divorce on grounds of incompatibility and questioning established church authority. He endured personal hardship as well, including political persecution after the monarchy was restored, and total blindness by 1652, which profoundly shaped his later work. Despite his declining health and loss of political influence, Milton’s poetic output culminated in his masterpiece Paradise Lost (1667), a grand epic exploring the fall of humanity and the struggle between divine justice and human freedom. He followed this with Paradise Regained and Samson Agonistes, meditative works that reflect on redemption and personal struggle. Milton’s legacy lies not only in his literary brilliance but also in his commitment to freedom of thought and expression, making him one of the most significant figures in English literature and intellectual history.