Science Mysteries Math & Numbers Kepler's Sacred Geometry - The Harmonies of the World

Kepler's Sacred Geometry - The Harmonies of the World

Kepler's Sacred Geometry - The Harmonies of the World
Catalog # SKU3893
Publisher TGS Publishing
Weight 1.00 lbs
Author Name Johannes Kepler, Charles Glenn Wallis
ISBN 10: 0000000000
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Kepler's Sacred Geometry
The Harmonies of the World

Johannes Kepler
Translator: Charles Glenn Wallis

As the generations of animals in this terrestrial globe have an image of the male in the dodecahedron, of the female in the icosahedron-whereof the dodecahedron rests on the terrestrial sphere from the outside and the icosahedron from the inside: what will we suppose the remaining globes to have, from the remaining figures?



For as life perfects the bodies of animate things, because they have been born for the exercise of life-as follows from the archetype of the world, which is the divine essence-so movement measures the regions assigned to the planets, each that of its own planet: because that region was assigned to the planet in order that it should move. But the five regular solids, by their very name, pertain to the intervals of the regions and to the number of them and the bodies; but the consonances to the movements.

Again, as matter is diffuse and indefinite of itself, the form definite, unified, and determinant of the material, so too there are an infinite number of geometric ratios, but few consonances. For although among the geometrical ratios there are definite degrees of determinations, formation, and restriction, and no more than three can exist from the ascription of spheres to the regular solids; but nevertheless an accident common to all the rest follows upon even these geometrical ratios: an infinite possible section of magnitudes is presupposed, which those ratios whose terms are mutually incommensurable somehow involve in actuality too. But the harmonic ratios are all rational, the terms of all are commensurable and are taken from a definite and finite species of plane figures.

But infinity of section represents the material, while commensurability or rationality of terms represents the form. Accordingly, as material desires the form, as the rough-hewn stone, of a just magnitude indeed, the form of a human body, so the geometric ratios of figures desire the consonances-not in order to fashion and form those consonances, but because this material squares better with this form, this quantity of stone with this statue, even this ratio of regular solids with this consonance-therefore in order so that they are fashioned and formed more fully, the material by its form, the stone by the chisel into the form of an animate being; but the ratio of the spheres of the figure by its own, i.e., the near and fitting, consonance.

The things which have been said up to now will become clearer from the history of my discoveries. Since I had fallen into this speculation twenty-four years ago, I first inquired whether the single planetary spheres are equal distances apart from one another (for the spheres are apart in Copernicus, and do not touch one another), that is to say, I recognized nothing more beautiful than the ratio of equality. But this ratio is without head or tail: for this material equality furnished no definite number of mobile bodies, no definite magnitude for the intervals.

Accordingly, I meditated upon the similarity of the intervals to the spheres, i.e., upon the proportionality. But the same complaint followed. For although to be sure, intervals which were altogether unequal were produced between the spheres, yet they were not unequally equal, as Copernicus wishes, and neither the magnitude of the ratio nor the number of the spheres was given. I passed on to the regular plane figures: intervals were formed from them by the ascription of circles. I came to the five regular solids: here both the number of the bodies and approximately the true magnitude of the intervals was disclosed, in such fashion that I summoned to the perfection of astronomy the discrepancies remaining over and above.

Astronomy was perfect these twenty years; and behold! there was still a discrepancy between the intervals and the regular solids, and the reasons for the distribution of unequal eccentricities among the planets were not disclosed. That is to say, in this house the world, I was asking not only why stones of a more elegant form but also what form would fit the stones, in my ignorance that the Sculptor had fashioned them in the very articulate image of an animated body. So, gradually, especially during these last three years, I came to the consonances and abandoned the regular solids in respect to minima, both because the consonances stood on the side of the form which the finishing touch would give, and the regular solids, on that of the material-which in the world is the number of bodies and the rough-hewn amplitude of the intervals-and also because the consonances gave the eccentricities, which the regular solids did not even promise-that is to say, the consonances made the nose, eyes, and remaining limbs a part of the statue, for which the regular solids had prescribed merely the outward magnitude of the rough-hewn mass.

Wherefore, just as neither the bodies of animate beings are made nor blocks of stone are usually made after the pure rule of some geometrical figure, but something is taken away from the outward spherical figure, however elegant it maybe (although the just magnitude of the bulk remains), so that the body may be able to get the organs necessary for life, and the stone the image of the animate being; so too as the ratio which the regular solids had been going to prescribe for the planetary spheres is inferior and looks only towards the body and material, it has to yield to the consonances, in so far as that was necessary in order for the consonances to be able to stand closely by and adorn the movement of the globes.

The other branch of the envoi, which concerns universal consonances, has a proof closely related to the first. (As a matter of fact, it was in part assumed above, in XVIII, among the Axioms.) For the finishing touch of perfection, as it were, is due rather to that which perfects the world more; and conversely that thing which occupies a second position is to be detracted from, if either is to be detracted from. But the universal harmony of all perfects the world more than the single twin consonances of different neighbouring twos. For harmony is a certain ratio of unity; accordingly the planets are more united, if they all are in concord together in one harmony, than if each two concord separately in two consonances. Wherefore, in the conflict of both, either one of the two single consonances of two planets was due to yield, so that the universal harmonies of all could stand. But the greater consonances, those of the diverging movements, were due to yield rather than the lesser, those of the converging movements.

For if the divergent movements diverge, then they look not towards the planets of the given pair but towards other neighbouring planets, and if the converging movements converge, then the movements of one planet are converging toward the movement of the other, conversely: for example, in the pair Jupiter and Mars the aphelial movement of Jupiter verges toward Saturn, the perihelial of Mars towards the Earth: but the perihelial movement of Jupiter verges toward Mars, the aphelial of Mars toward Jupiter. Accordingly the consonance of the converging movements is more proper to Jupiter and Mars; the consonance of the diverging movements is somehow more foreign to Jupiter and Mars. But the ratio of union which brings together neighbouring planets by twos and twos is less disturbed if the consonance which is more foreign and more removed from them should be adjusted than if the private ratio should be, viz., the one which exists between the more neighbouring movements of neighbouring planets.

None the less this adjustment was not very great. For the proportionality has been found in which may stand the universal consonances of all the planets may exist (and these in two distinct modes), and in which (with a certain latitude of tuning merely equal to a comma) may also be embraced the single consonances of two neighbouring planets; the consonances of the converging movements in four pairs, perfect, of the aphelial movements in one pair, of the perihelial movements in two pairs, likewise perfect; the consonances of the diverging movements in four pairs, these, however, within the difference of one diesis (the very small interval by which the human voice in figured song nearly always errs; the single consonance of Jupiter and Mars, this between the diesis and the semitone. Accordingly it is apparent that this mutual yielding is everywhere very good.

148 pages - 7 x 8½ softcover - Print size, 12 point font

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