Phillip Pullman’s The Golden Compass, the first in the His Dark Materials trilogy, derives its title from this section of Milton’s Paradise Lost
On heav’nly ground they stood, and from the shore
They view’d the vast immeasurable Abyss
Outrageous as a Sea, dark, wasteful, wilde,
Up from the bottom turn’d by furious windes
And surging waves, as Mountains to assault
Heav’ns highth, and with the Center mix the Pole.
Silence, ye troubl’d waves, and thou Deep, peace,
Said then th’ Omnific Word, your discord end:
Nor staid, but on the Wings of Cherubim
Uplifted, in Paternal Glorie rode
Farr into Chaos, and the World unborn;
For Chaos heard his voice: him all his Traine
Follow’d in bright procession to behold
Creation, and the wonders of his might.
Then staid the fervid Wheeles, and in his hand
He took the golden Compasses, prepar’d
In Gods Eternal store, to circumscribe
This Universe, and all created things:
One foot he center’d, and the other turn’d
Round through the vast profunditie obscure,
And said, thus farr extend, thus farr thy bounds,
This be thy just Circumference, O World.
—Paradise Lost bk vii, lns 210-31 (1667)
The literal golden compass of this tale holds the secrets of creation. The device is both an artifact of religious veneration, and a piece of technology. Lyra, the protagonist, is obviously some vital piece of a cosmic drama which holds the secrets of “the vast profunditie obsure,” although the first book only alludes to this. In book one it appears that the world and creation are more complex than the official church doctrine. And of course, this can only lead to a bewildering drama.