2
" In the immortal parable of the Cave, where men stand in their chains backs to the light , perceiving only the play of shadows on the wall, unaware that these are but shadows, unaware of the luminous reality outside the Cave-in this allegory of the human condition, Plato hit an archetypal chord as pregnant with echoes as Pythagoras' Harmony of the Spheres. But when we think of Neoplatonism and scholasticism as concrete philosophies and precepts of life, we may be tempted to reverse the game, and to paint a picture of the founders of the Academy and the Lyceum as two frightened men standing in the self-same Cave, facing the wall, chained to their places in a catastrophic age, turning their back on the flame of Greece's heroic era, and throwing grotesque shadows which are to haunt mankind for a thousand years and more. "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
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" In the first place, a new synthesis never results from a mere adding together of two fully developed branches in biological or mental evolution. Each new departure, each reintegration of what has become separated, involves the breaking down of the rigid, ossified patterns of behaviour and thought. Copernicus failed to do so; he tried to mate the heliocentric tradition with orthodox Aristotelian doctrine, and failed. Newton succeeded because orthodox astronomy had already been broken up by Kepler and orthodox physics by Galileo; reading a new pattern into the shambles, he united them in a new conceptual frame. Similarly, chemistry and physics could only become united after physics had renounced the dogma of the indivisibility and impermeability of the atom, thus destroying its own classic concept of matter, and chemistry had renounced its doctrine of ultimate immutable elements. A new evolutionary departure is only possible after a certain amount of de-differentiation, a cracking and thawing of the frozen structures resulting from isolated, over-specialized development. "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
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" These waves, then, on which I sit, coming out of nothing, travelling through a non-medium in multi-dimensional non-space, are the ultimate answer modern physics has to offer to man's question after the nature of reality. The waves that seem to constitute matter are interpreted by some physicists as completely immaterial 'waves of probability' marking out 'disturbed areas' where an electron is likely to 'occur'. They are as immaterial as the waves of depression, loyalty, suicide, and so on, that sweep over a country ' From here there is only one step to calling them abstract, mental, or brain waves in the Universal Mind - without irony. "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
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" It is not difficult to imagine the Catholic Church adopting, after a Tychonic transition, the Copernican cosmology some 200 years earlier than she eventually did. The Galileo affair was an isolated episode in the history of relations between science and theology. But its dramatic circumstances, magnified out of all proportion, created a popular belief that science stood for freedom, the Church for oppression of thought. Some historians wish to make us believe that the decline of science in Italy was due to the "terror" caused by the trial of Galileo. But the next generation saw the rise of Toricelli, Cavallieri, Borelli, whose contributions to science were more substantial than those of any generation before or during Galileo's lifetime.
The contemporary divorce between faith and reason is not the result of a contest for power or intellectual monopoly, but of a progressive estrangement. This becomes evident if we shift our attention from Italy to the Protestant countries of Europe, and to France. Kepler, Descartes, Barrow, Leibniz, Gilbert, Boyle and Newton himself, the generation of pioneers contemporary with and succeeding Galileo, were all deeply and genuinely religious thinkers. The pioneers of the new cosmology, from Kepler to Newton and beyond, based their search into nature on the mystic conviction that there must exist laws behind the confusing phenomena; that the world was a completely rational, ordered, harmonic creation. "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
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" Lastly, he hit on the idea of transferring the observer's position into the centre of the world, and to examine the variations in angular velocity, regardless of distance, as seen from the sun. And lo! it worked.
The results were even more gratifying than he had expected. Saturn, for instance, when farthest away from the sun, in its aphelion, moves at the rate of 106 seconds arc per day; when closest to the sun, and its speed is at maximum, at 135 seconds arc per day. The ratio between the two extreme velocities is 106 to 135, which only differs by two seconds from 4:5. - the major third. With similar, very small deviations (which were all perfectly explained away at the end), the ratio of Jupiter's slowest to its fastest motion is a minor third, Mars' the quint, and so forth. So much for each planet considered by itself. But when he compared the extreme angular velocities of pairs of different planets, the results were even marvellous:
"At the first glance the Sun of Harmony broke in all its clarity through the clouds."
The extreme values yield in fact the intervals of the complete scale. But not enough: if we start with the outermost planet, Saturn, in the aphelion, the scale will be in the major key; if we start with Saturn in the perihelion, it will be in the minor key. Lastly, if several planets are simultaneously at the extreme points of their respective orbits, the result is a motet where Saturn and Jupiter represent the bass, Mars the tenor, Earth and Venus the contralto, Mercury the soprano. On some occasions all six can be heard together: "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
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" Thus only the pattern is cosmically determined, not any particular event; within that pattern, man is free. In his later years, this Gestalt concept of cosmic destiny became more abstract and purified from dross. The individual soul, which bears the potential imprint of the entire sky, reacts to the light coming from the planets according to the angles they form with each other, and the geometrical harmonies or disharmonies that result - just as the ear reacts to the mathematical harmonies of music, and the eye to the harmonies of colour. This capacity of the soul to act as a cosmic resonator has a mystic and a causal aspect: on the one hand it affirms the soul's affinity with the anima mundi, on the other, it makes it subject to strictly mathematical laws. At this point, Kepler's particular brand of astrology merges into his all-embracing and unifying Pythagorean vision of the Harmony of the Spheres. "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
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" The Harmony of the World is the continuation of tye Cosmic Mystery, and the climax of his lifelong obsession. What Kepler attempted here is, simply, to bare the ultimate secret of the universe in an all-embracing synthesis of geometry, music, astrology, astronomy, and epistemology. It was the firat attempt of this kind since Plato, and it is the last to our day. After Kepler, fragmentation of experience sets in again, science is divorced from religion, religion from art, substance from form, matter from mind.
The work is divided into five books. The first two deal with the concept of harmony in mathematics; the following three with the applications of this concept to music, astrology, and astronomy, in that order. "
― Arthur Koestler , The Sleepwalkers: A History of Man's Changing Vision of the Universe
