“Naturally man tended to lose his sense of scale and relation. A straight line, or a combination of straight lines, may have still a sort of artistic unity, but what can be done in art with a series of negative symbols? Even if the negative were continuous, the artist might express at least a negation; but supposing that Omar's kinetic analogy of the ball and the players turned out to be a scientific formula! supposing that the highest scientific authority, in order to obtain any unity at all, had to resort to the middle-ages for an imaginary demon to sort his atoms! how could art deal with such problems, and what wonder that art lost unity with philosophy and science! Art had to be confused in order to express confusion; but perhaps it was truest, so.”

— Henry Adams

<p>Adams alludes to a well-known passage from the Rubaiyat of Omar Khayyam. In Edward FitzGerald's translation:</p><p>The Ball no Question makes of Ayes and Noes,
But Right and Left as strikes the Player goes;
And He that toss'd Thee down into the Field,
He knows about it all — HE knows — HE knows!</p>
Mont Saint Michel and Chartres (1904)

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Henry Adams 311

journalist, historian, academic, novelist 1838–1918

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We fashion our geometry on the properties of a straight line because that seems to us to be the simplest of all. But really all lines that are continuous and of a uniform nature are just as simple as one another. Another kind of mind which might form an equally clear mental perception of some property of any one of these curves, as we do of the congruence of a straight line, might believe these curves to be the simplest of all, and from that property of these curves build up the elements of a very different geometry, referring all other curves to that one, just as we compare them to a straight line. Indeed, these minds, if they noticed and formed an extremely clear perception of some property of, say, the parabola, would not seek, as our geometers do, to rectify the parabola, they would endeavor, if one may coin the expression, to parabolify the straight line.”

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A note on this statement is included by Stillman Drake in his Galileo at Work, His Scientific Biography (1981): Galileo adhered to this position in his Dialogue at least as to the "integral bodies of the universe." by which he meant stars and planets, here called "parts of the universe." But he did not attempt to explain the planetary motions on any mechanical basis, nor does this argument from "best arrangement" have any bearing on inertial motion, which to Galileo was indifference to motion and rest and not a tendency to move, either circularly or straight.
Letter to Francesco Ingoli (1624)

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