Science and the Infinite by Sydney T. Klein (black male authors .txt) 📕
Let us now go back to the contention that it is not we who are looking out upon Nature but that our senses are being bombarded from without; we are living in a world
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Mysticism is not, as the man in the street generally thinks, the study of the "Mysterious," but is the attempt to gain a knowledge of the Reality, the ultimate Truth in everything, especially the perception of that wonderful Transcendental Power which is growing up within, or in close connection with, each one of us. The study of the Physical Sciences, as also of the various forms of Religion around us, is useful and fascinating in the domain of "Intellectualism," but does not take us far towards the goal of our aspirations. I shall, however, attempt to show, in my next View, that by examining the phenomena of Nature and realising that they are symbols only of the Noumenon, the Reality, which is behind them, it is possible to reach a point where we may even feel that we are thinking, or having divulged to us, what may be called the very thoughts of the Absolute. We shall see that this can only be accomplished by first recognising that the Invisible is the Real, that the visible is only its shadow, that all our surroundings are but the images, or outlines, of the Reality cast on the Physical plane of our Senses; to accomplish this, we have to understand the use of Symbolic Thought for sustaining and carrying conceptions to a higher level; because, as already explained, we can only express and, indeed, think of the Invisible or Infinite under terms of the Visible or Finite. Let me give you a glimpse at what may be called the "Glamour of Symbolism"; it is difficult to explain to those who have not yet thought of or felt it, but the following may be helpful:
Think of the loveliest story or poem you have ever read, the most entrancing music you have ever heard, or the most beautiful paintings you have ever seen, and think how, at the end, you experienced a wonderful glow of enchantment with the concept as a whole, apart from specialising any particular character or event in the story, phrase in the music, or subject in the pictures; then do the same with one of those wonderful cathedrals of the twelfth to fourteenth centuries, the epoch of that beautiful Gothic style which I shall show was founded upon the highest mystical form of Symbolism possible to those who lived at the then zenith of Mystical Thought in the history of the world. The number of cathedrals built during those three centuries was so prodigious that, without the documentary evidence which we have, it would be absolutely incredible. Every part of those buildings, even to the smallest decorations, was, as shown by any of the old writers on Religious Symbolism, such as Durandus, planned to symbolise some beautiful thought, aspiration, tradition, or religious belief. The highest Thinkers, Artists, Poets, Philosophers, and Mystics in those centuries became Architects, and, in pure contemplation of and love for the Divine, helped to beautify design by giving up their lives and energies to the work without reward. It was, in fact, at that period the surest means by which they could record their ideals and aspirations. Before the advent of the printing press, with its facilities for spreading knowledge broadcast, they appreciated that Tectonic Art and Iconography were the means by which they could best permanently record and teach their aspirations to the masses. Every beautiful thought found its expression in some symbol of artistic design. Each Cathedral was, in fact, a beautiful complete story, and, when this has been fully grasped, the enchantment of the whole, the thread of gold running through the whole of that wonderful pile, is what may be called the Glamour of Symbolism.
For the last 400 years, Archæologists, Architects, and others interested in the history of Tectonic art, have been trying without avail to discover what is called "the lost secret of Gothic Architecture"; even Sir Christopher Wren had a try and expressed his opinion that it was lost for ever. They were all looking in the wrong direction, confining themselves to the mists of physical intellectual perception, and could not get beyond that limited range of thought. I propose now, in illustration of this View, to show what this secret was. It has the making of a fascinating Romance; it is the most wonderful example of what I will call "the Evolution of Thought as depicted by Human strivings after the Transcendental in Mediæval Mysticism." I shall give it in a brief form, touching only on those essential points which require a very slight knowledge of Geometry, but those interested in the subject may refer to Ars Quatuor Coronatorum (vol. xxiii., 1910), where I have given the whole subject, in extenso, under the title "Magister Mathesios."
To understand the subject it is necessary to recognise fully the place Geometry held, not only among Mediæval Builders, but also in Classical times; it was recognised in those early times as the head of all the Sciences, and was the A, B, C of Hellenic Philosophy. Come back with me 2300 years, to the time when the "Greek Age of Reason" was at its zenith, and Plato, the greatest of the philosophers, was teaching at Athens, working thus, let it be known to his honour, solely for the love he bore to science, for he always taught gratuitously. What qualification was required of those who attended his Academy? Look up over the porch, and you will see written in large capitals these words:
ΜΗΔΕΙΣ ΑΓΕΩΜΕΤΡΗΤΟΣ ΕΙΣΙΤΩ ΜΟΥ ΤΗΝ ΣΤΕΓΗΝ.
"Let no one who is ignorant of Geometry enter my doors."
At the root of Socratic teaching was the idea that wisdom is the attribute of the Godhead, and Plato, for twenty years the companion and most favoured pupil of Socrates, was imbued with that doctrine, and, having arrived at the conclusion that the impulse to find out truth was the necessity of intellectual man, he saw in Geometry the keystone of all Knowledge, because, among all other channels of thought, it alone was the exponent of absolute and undeniable truth. He tells us that "Geometry rightly treated is the Knowledge of the Eternal"; and Plutarch gives us yet another instance of Plato's teaching concerning this subject, in which he looks upon God as the Great Architect, when he says, "Plato says that God is always geometrising." Holding, therefore, as Plato did, that God was a great Geometer, and that the aim of philosophy was the acquisition of a knowledge of the Eternal, it is natural that he should make a knowledge of Geometry imperative on those wishing to study philosophy. This was continued also by those philosophers who succeeded Plato in the management of the Academy, as we are told that Zenocrates turned away an applicant for admission, who knew no geometry, with the words:
πορευου, λαβας γαρ ουκ εχεις της φιλοσοφιας.
"Depart, for thou hast not the grip of philosophy."
In connection with the idea that God was a Geometer, must be taken the contention held by the Egyptians, and after them the Greeks and Arabs, that the Right-Angled Triangle symbolised the nature of the Universe; it was called the law of the three squares, because in every Right-Angled Triangle, as expounded by the Pythagorean Theorem, the squares, formed on the two sides containing the Right Angle, must together be exactly equal to the square on the third side, whatever the shape of the triangle may be. The Right Angle at an early date gave its name to the odd numbers, which were called, by the Greeks, gnomonic numbers, as personifying the male sex, and the Right-Angled Triangle was also called the Nuptial Figure, or Marriage, the Pythagorean Theorem receiving the name, το θεωρημα της νυμφης (the Theorem of the Bride). Plutarch, in his Osiris and Isis, tells us in explanation of this, "The Egyptians imagined the nature of the Universe like this most beautiful triangle, as Plato also seems to have done in his work on the State, when he sketches the picture of Matrimony under the form of a Right-Angled Triangle. That triangle contains one of the perpendiculars of three, the base of four, and the hypotenuse of five parts, the square of which is equal to the squares of those sides containing the right angle. The perpendicular (three) is the Male, Osiris, the originating principle (αρχἡ); the base (four) is the Female, Isis, the receptive principle (ὑποδοχη); and the Hypotenuse (five) is the offspring of both, Horus, the product (αποτἑλεσμα)." The central feature of this triangle, upon which its property is based, is the Right Angle. The Greeks gave to this Right Angle the name of Gnomon (meaning Knowledge), and it has ever since been, under the form of a carpenter's "square," the emblem or symbol of an Architect, the Master Mason, as personifying the Great Architect of the Universe—namely, He who has the knowledge of Geometry; and, as the Right-Angled Triangle represented the Universe, it was upon the perfection of this Gnomon, or knowledge, that the very existence of the Universe depended, because the law of the three squares only holds good when that angle is perfect.
The Secret handed down in the Craft, from Architect to Architect, was how to form a perfect right angle, or, as it was called, the "Square," without possibility of Error, and this I have called "the Knowledge of the Square." Vitruvius, who, at the beginning of our Era, wrote his thesis on Tectonic art, which is still the text-book of Architecture for Ancient buildings, says Pythagoras taught his followers to form a gnomon, or square, as follows: "Take three rods, of three lengths, four lengths, and five lengths long; with these form a triangle, and, if each rod be squared, you have
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