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diff --git a/old/12010.txt b/old/12010.txt new file mode 100644 index 0000000..dd404e8 --- /dev/null +++ b/old/12010.txt @@ -0,0 +1,966 @@ +The Project Gutenberg EBook of The Fourth Dimensional Reaches of the +Panama-Pacific International Exposition, by Cora Lenore Williams + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Fourth Dimensional Reaches of the Panama-Pacific International Exposition + +Author: Cora Lenore Williams + +Release Date: April 13, 2004 [EBook #12010] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK FOURTH DIMENSIONAL REACHES *** + + + + +Produced by David A. Schwan + + + + + +The Fourth-Dimensional Reaches of the Exposition + +San Francisco, 1915 + +By Cora Lenore Williams, M. S. +Author of "As If" and Essays on "Involution" + + + +Paul Elder and Company +Publisher - San Francisco + + + +Copyright, 1915 +By Paul Elder and Company +San Francisco + + + +To My Father and Mother + + + +Contents + +Lines on "Fourth-Dimensional Insight" by Ormeida Curtis Harrison. + (Tissue Facing Frontispiece.) +A Fourteenth Century Legend +Essay on the Fourth-Dimensional Reaches of the Exposition. By Cora + Lenore Williams: +General Status of the Fourth-Dimensional Theory +Fourth-Dimensional Aspects of the Panama-Pacific International + Exposition +Bibliography: Books and Poems having Fourth-Dimensional Insight + +Illustrations + +An Unborn Space. The Court of Four Seasons. From an etching by Gertrude + Partington (Frontispiece) +A Structure Brave. Palace of Fine Arts. From an etching by Gertrude + Partington +A Building Inside Out. The Court of Ages. From an etching by Gertrude + Partington +A Four-Dimensional Cover Design. By Julia Manchester Mackie. (Cover.) + + + +Time is, and all the detail of the world confounds +The plastic mind. With multitude of shapes and sounds + Do the swift elements of thought contend + To form a whole which life may comprehend. + Only to those of high intent + Is life revealed, and quick dreams sent - + Half glimpsed truths omnipotent. + Out of the silence of an unborn space + A spirit moves, and thought comes face to face + With the immutable, and time is past, + And the spent soul, done, meets truth at last. + Chance, fate, occasion, circumstance, + In interfused radiance + Are lost. Past, present, future, all combined + In one sure instantaneous grasp of mind, +And all infinity unrolls at our command, +And beast and man and God unite, as worlds expand. + - Ormeida Curtis Harrison. + + + +A Fourteenth Century Legend + +Friar Bacon, reading one day of the many conquests of England, bethought +himself how he might keep it hereafter from the like conquests and so +make himself famous to all posterity. This (after great study) he found +could be no way so well done as one; which was to make a head of brass, +and if he could make this head to speak (and hear it when it spoke) then +might he be able to wall all England about with brass. To this purpose +he got one Friar Bungey to assist him, who was a great scholar and +magician (but not to be compared to Friar Bacon); these two with great +study and pains so formed a head of brass that in the inward parts +thereof there was all things like as in a natural man's head. This being +done they were as far from perfection of the work as they were before, +for they knew not how to give those parts that they had made motion, +without which it was impossible that it should speak. Many books they +read, but yet could not find out any hope of what they sought, that at +the last they concluded to raise a spirit and to know of him that which +they could not attain by their own studies. + +The spirit straight obeyed, and appeared unto them, asking what they +would. He told them that with a continual fume of the six hottest +simples it should have motion, and in one month space speak: the time of +the month: or the day he knew not. Also he told them that if they heard +it not before it had done speaking, all their labor should be lost. + +Then went these two learned Friars home again and prepared the simples +ready and made the fume, and with continual watching attended when this +Brazen Head should speak. Thus watched they for three weeks without any +rest, so that they were so weary and sleepy that they could not any +longer refrain from rest. Then called Friar Bacon his man Miles, and +told him that it was not unknown to him what pains Friar Bungey and +himself had taken for three weeks space only to make and to hear the +Brazen Head speak, which if they did not, then had they lost all their +labor, and all England had a great loss thereby. Therefore he entreated +Miles that he would watch whilst that they slept and call them if the +head spake. 'Fear not (good master), I will harken and attend, upon the +head and if it do chance to speak, I will call you; therefore, I pray +take you both your rest and let me alone for watching this head.' + +* * * * + +At last, after some noise, the Head spake these two words: 'Time is.' +Miles, hearing it to speak no more, thought his master would be angry if +he waked him for that, and therefore he let them both sleep and began to +mock the Head in this manner: 'Thou Brazen-faced Head, hath my master +took all this pains about thee and now dost thou requite him with two +words, "Time is"?' + +* * * * + +After half an hour had past, the Head did speak again two words which +were these: 'Time was.' Miles respected these words as little as he did +the former and would not wake his master, but still scoffed at the +Brazen Head, that it had learned no better words, and have had such a +tutor as his master; * * * * '"Time was!" I knew that, Brazen-face, +without your telling. I knew Time was and I know what things there was +when Time was, and if you speak no wiser, no master shall be waked for +me.' + +* * * * + +* * * * The Brazen Head spake again these words: 'Time is past'; and +therewith fell down and presently followed a terrible noise, with +strange flashes of fire, so that Miles was half dead with fear. At this +noise the two Friars waked and wondered to see the whole room so full of +smoke, but that being vanished, they might perceive the Brazen Head +broken and lying on the ground. At this sight they grieved, and called +Miles to know how this came. Miles, half dead with fear, said that it +fell down of itself and that with the noise and fire that followed he +was almost frightened out of his wits. Friar Bacon asked him if it did +not speak. + +'Yes,' quoth Miles, 'it spake, but to no purpose.' + + + +General Status of the Fourth-Dimensional Theory + +The human mind has so long followed its early cow-paths through the +wilderness of sense that great hardihood is required even to suggest +that there may be other and better ways of traversing the empirical +common. So it is that the fear of being proclaimed a Brazenhead has +restrained me until this eleventh hour from telling of my discoveries +concerning the fourth-dimensional reaches of our Exposition. That I have +the courage now is due to my desire to help in its preservation; not to +the end of enclosing it in a brass wall, but to lift it out of the realm +of things temporal and give it permanent meaning for our thought and +aspiration. Would we save our Exposition from the ravages of Time we +have to exorcise that monster with the enigmatical utterances of the +aforesaid Brazen Head. The philosophers are telling us that Time is the +fourth dimension in the process of evolving for our consciousness. I +take it that there are three stages in this evolution; the first, that +of immediate experience, is subsumed by the phrase 'Time is'; the second +is a passing from the concrete to the abstract through the fact that +'Time was'; and the glory of the last is visioned only when we can say +'Time is past.' + +While many books have been written descriptive of the Exposition, none +has succeeded in accounting completely for the joy we have in yonder +miracle of beauty. And this through no fault of the writers. When all +has been said concerning plan and execution there is still a subtle +something not spatialized for consciousness. Length, breadth, and height +do not suffice to set forth the ways of our delight in it. What of this +perceptual residue? Obviously to give it extension we shall have to +ascribe to reality other dimensions than those of our present sense +realm. Some disciple of Bergson interrupts: 'Ah, this whereof you speak +is a spiritual thing and as such is given by the intuition. Why, then, +do you seek to spatialize it?' And the layman out of his mental +repugnance to things mathematical echoes, 'Why?' We have to answer that +the process of creative evolution makes imperative the transfixion by +the intellect of these so-called spiritual perceptions. Although the +intuition transcends the intelligence in its grasp of beauty and truth, +we may attain to the higher insight it has to offer only if the things +of the spirit become known to the intellect - a point in Bergson's +philosophy which the majority of his readers overlook. 'We have,' he +says, 'to engender the categories of our thought; it is not enough that +we determine what these are.' Bergson is preeminently the prophet of the +higher space concept. We had done better to have held to Kant, for now +we are not only confronted with the fourth dimension as a thought-form, +but with the duty as well of furthering its creation. And in that light +we have to regard what of worth and meaning the Exposition has for us. + +Although the scientist has found it useful on occasion to postulate the +fourth dimension, he has not thought necessary as yet to put it in the +category of reality; much less has the layman. Consequently the +mathematician holds the sole title to its knowledge unless we recognize +the claims of the medium to a fourth-dimensional insight. + +There is much, however, today which points to our coming to such +perception as the natural result of our evolution and quite apart from +geometrical abstractions or occultism. It is as though some great tidal +wave had swept over space and we have, quite unbeknown to ourselves, +been lifted by it to new heights. And when we have once obtained our +spiritual balance we shall doubtless find that our space world has taken +to itself another direction, inconceivable as that now seems. + +Space is more than room wherein to move about; it is, first of all, the +room in which we think, and upon how we do so depends the number of its +dimensions. If the attention has become 'riveted to the object of its +practical interest' to the extent that this is the only good the +creature knows, then is its thought-form one-dimensional even though its +bodily movements are three-spaced. The great Peacock Moth wings a sure +course mateward to the mystification of the scientist; the dog finds the +direct road home - his master cannot tell how; Mary Antin climbs to an +education over difficulties apparently insurmountable; Rockefeller knows +his goal and attains it, regardless of other moral worths. For these the +way is certain. They can suffer no deflection since there are no +relative values, no possible choices. Their purpose makes the road +one-dimensional. That the majority of persons are still feeling their +way over the surface of things is attested by the general mental +ineptitude for the study of solid geometry. Depth and height play little +part in our physical perception. For most of us the third dimension is +practically unknown beyond the reach of a few feet. A Beachey soaring +aloft - why all the bravado of curve and loop? Sooner or later he will +fall to his death. Ay, verily! but his is a joyous martyrdom making for +the evolution of consciousness. Not always shall we crawl like flies the +surface of our globe! + +While a man's space-world is limited by his thought, it is, on the +other hand, as boundless as his thought. That the world evolves with our +consciousness, is at once the philosophy of 'Creative Evolution' and of +the higher space theory. Our present spatial milieu has settled down to +a seemingly three dimensional finality because our thought-form has +become so habitual as to give rise to certain geometric axioms. All we +need in order to come to a fourth-dimensional consciousness, said Henri +Poincare, 'the greatest of moderns,' is a new table of distribution; +that is, a breaking up of old associations of ideas and the forming of +new relations - a simple matter were it not for our mental inertia. +Lester Ward speculates that life remained aquatic for the vast periods +that paleontology would indicate; Cambrian, Silurian, Devonian, +Carboniferous - a duration greater than all subsequent time - for the +reason that the creature had not progressed beyond the stage when it +could move otherwise than in a straight line when actuated by desire for +food or mate. Life was not able to maintain itself on land until it had +overcome this one-dimensional limitation. A venturesome Pterodactyl was +he who first essayed to make his way among the many obstructions to be +found ashore! By what intuition was he impelled? + +It is a matter of common observation that the growth of the higher +perceptive faculty is strangely concomitant with adversity. The +intuitive person is a person who has suffered. When conditions press +sufficiently hard, a new table of distribution may be the only means for +survival. Thus we proceed to make a virtue of necessity and so come to +the recognition of other values which we denominate spiritual because we +have not as yet spatialized them. The caterpillar has to mount the twig +to find the tender green that is his food, but, he solaces himself for +the journey by thinking himself a creature of the light. Mr. Carpenter, +in an interesting study of what he calls Intermediate Types, shows that +the seers and spiritually-minded come to be such because they found +themselves differing in some wise from their fellows, and dwelling on +that difference had their minds turned inward. Progress in thought and +imagination naturally followed, with the result that these were lifted +above the majority and came thereby to larger vision. Failure may well +be the measure of extension in a new dimension. + +The significance of the much fumbling and groping of earth's creatures +is the desire for a larger outlook. Man has to feel his way out of a +three-fold world even as the worm out of his hole. That we are hearing +much of the principle of relativity is perhaps the best indication we +have that the collective human consciousness is about to enter a higher +dimension. So long as man knew only an absolute good was his world a +definitely determined world. Now that the question of relative values +obtrudes itself on every side the range of consciousness promises to be +infinite. + +Man's interest having in these latter days become largely centered on +value-judgments and estimates of worth, an exposition affords perhaps +the most general application of the principle of relativity, bringing it +home to the collective mind in an intimately human way as nothing else +could: - With nation vying with nation and individual with individual in +all of the arts and crafts of human industry, absolute standards must +needs vanish, and with their going we may be able to set up such a +distribution of values as will give new direction to our efforts. +However that may be, the industrial competition to which, in the last +analysis, the Exposition owes its inception, is pushing many aside from +the beaten highways into hitherto unexplored regions of thought and +endeavor, and who is to say that we may not in consequence find a +direction quite at right angles to all of our wonted ways of thinking. +Certainly there could be no more fitting occasion for the launching of a +new thought-form than a great international exposition. + + + +The Fourth-Dimensional +Aspects of the Panama-Pacific +International Exposition + +And I know not if, save in this, such gift be allowed to man, + That out of three sounds he frame, not a fourth sound, but a star. +Consider it well: each tone of our scale in itself is naught: + It is everywhere in the world - loud, soft, and all is said: +Give it to me to use! I mix it with two in my thought: + And there! Ye have heard and seen: consider and bow the head! + + - Browning. + +The Panama-Pacific International Exposition is best seen in its +fourth-dimensional aspect when approached through the Gateway of Memory. +This is what one might expect, for that entrance alone has the requisite +geometrical structure. You will recall having heard, I am sure, how in +the fourth dimension a person may go in and out of a locked room at his +pleasure with bolts and bars untouched. Broad and open as is this Gate +of Memory, when you pass its portals the wall closes behind you; there +is no visible opening to mark the spot of your entry. A feeling of +detachment comes over you. This is augmented by the burst of light and +color that flashes across the field of your vision, and for the first +time you understand the purport of those 'banners yellow, glorious, +golden' which 'do float and flow.' They seem to bear you on breezes of +their own creating to the freedom of outer spaces. What you had taken +for the flauntings of festivity are become the heralds of hyperspace. + +As you wend your way down the Avenue of Time you feel an inexpressive +lightness, a sensation of being lifted out of yourself. The moment seems +unique. Things are unrelated. There is no concern of proportion. The +place is one of immediacy. You wander from the ephemeral to the +ephemeral. 'Time is,' you say, in childish glee. And you hasten to +assemble images as many and as disparate as possible, believing that you +are drinking life at its fountain head. The outer world presents itself +to your consciousness in the form of facts in juxtaposition. You read +guide-books and rejoice in the acquisition of knowledge. Gradually +through the perception of the same phantasmagoria comes an at-oneness +with your fellows. You are caught up in the swirl of a larger self. + +Soon you weary of the heterogeneous. The Zone of Consciousness stands +revealed in all its grotesqueness. 'Time is,' you cry, but to give +thought its impulse, and you hasten on if perchance you may discover the +direction of the life-principle. What you had taken for reality is but +its cross-section - so does this empirical realm stand to the higher +world of your spirit, even as a plane to a solid. + +Now you turn your attention from things to relations in the hope of +getting at truth in the large. A passage in Plato comes vividly to your +mind. 'For a man must have intelligence of universals, and be able to +proceed from the many particulars of sense to one conception of reason; +- this is the recollection of those things which our soul once saw while +following God, when, regardless of that which we now call being, she +raised her head up towards the true being.' + +Henceforth the multiplicity that you seek is one of organization and has +nothing to do with number. 'Time was,' you proclaim, that consciousness +might sift out the irrelevant. As you pass from collection to collection +individual fact becomes prolonged into general law and science dominates +the field of thought. A thousand years are as a day when subsumed by its +laws. You look at the objects of man's creating with new eyes. The +displays are no longer contests of laborious industry but of vision, and +faith. You see that truth has made itself manifest through the long +repetition of the same fundamental theme. That which is unique and +personal you are surprised to find of less value than the habit +perfected by patient practice. The routine and monotony of daily toil +become glorified in the light that now falls athwart your vision. You +learn to substitute for your personal feeling the common impersonal +element felt by the many. Your concern is not as formerly to recollect, +but to symbolize. To this end you study frieze and statuary and frequent +lectures. Your sense of social solidarity grows through mutual +comprehension of the same truths. + +And again that 'vexing, forward reaching sense of some more noble +permanence' urges you on. 'Time was;' you joyously affirm for man to +come to the knowledge of an eternal self. But that, your tradition and +education have led you to believe, is still yonder, worlds away. And you +image the soul in its quest passing from life to life as you are now +passing from building to building, from hall to hall. But glad the +thought - there will be courts wherein you may perhaps glimpse the plan +of the whole and so gather strength and purpose for another housing. All +at once you know that death has no fear for you and you feel toward your +present life as you do toward these Palaces of the Mundane - the sooner +compassed the better. + +You pass from court to edifice and from edifice to court, marveling at +the symmetry of plan and structure. Unity, balance, and harmony become +manifest as spatial properties - you had been taught to regard them as +principles of art. You wonder if art itself may not be merely a matter +of right placing - the adjustment of a thing to its environment. You are +certain that this is so as each coign and niche offers you its +particular insight. Strange vagaries float through your mind - one's +duty to the inanimate things of one's possession; the house too large +for the personality of the owner; the right setting for certain +idiosyncrasies; character building as a constructive process; the ideal +as the limit of an infinite series - each pointing the way, as you +think, to a different vista of human outlook. What then your glad +surprise to find these converging toward one ideal synthesis. In +anticipation of the splendor you hasten on till earth shall have +attained to heaven. There it stands - 'a structure brave,' the Palace of +Art, the Temple of the Soul - and you know you were made to be perfect +too. + +Now that you apprehend the plan of the whole, symmetry takes on a vital +significance for your thought. You try to recall what you learned of it +in geometry. There was a folding over, you remember, and a fitting +together 'congruence' you believe it was called. But that could have no +meaning for solids. Stop! a folding over? Why, that implies another +dimension! The two halves of a leaf can be brought together only as one +or the other is lifted out of the plane of the leaf into a third +dimension. So to bring two buildings into superposition when they are +alike except for a reverse order of parts, would necessitate a fourth +dimension and a turning inside out. Quick as the thought, the court you +are in is that - a building inside out! + +Ah! you know now wherefor that wonderful uplifting sensation that comes +whenever you enter one of these beautiful inclosures. You have passed +into the fourth dimension of spatial realization. 'Time is past,' you +shout aloud, and laugh to find yourself on the inside of externality. +Cubism in architecture! Futurism, in very truth! + +You visit again the galleries of the New Art, not to scoff, but in +earnest desire for enlightenment as to this thing which is so near to +consciousness and yet so far. You find yourself exclaiming: + +'Ah, there is something here +Unfathomed by the cynic's sneer!' + +As you gaze at the portrayal so strangely weird in form and color you +ask yourself where have I felt that, seen this, before? Immediately you +are transported in memory to the midst of a crowded street. In the mad +bustle and noise you are conscious only of mechanical power; of speed - +always of speed. Your voice far away - 'The child, oh, the child!' A +swooning sensation. Men's faces as triangles and horses with countless +legs. The chaos of primal forces about youthen darkness. + +As the past fuses with the present you awaken to a larger privilege of +life than man now knows. You feel yourself encompassed by truth, vital +and strong. This art, erstwhile so baffling, stands revealed as the +struggle of a superhuman entity for self-expression. The tendency toward +God has to begin anew with each round of the life-spiral - that eternal +circle which life pursues. + +Now you find yourself in the Court of the Universe. Bands of +many-colored light, the white radiance of eternity, stream athwart the +sky. The illumination is of the wonder that now is. How marvelously +strange the sight of the world-consciousness passing over into a higher +thought-form! Each individual element suffering reversal to take its +proper place in the new world-order! You see positive becoming negative, +negative becoming positive, and Evolution giving place to Involution - a +process as yet uncomprehended by our narrow thought. And the secret of +the world-struggle across the sea you know; men passing their nature's +bound; new hopes and loyalties supplanting old ties and joys; the +established creeds of right and wrong as they vanish in this +immeasurable thirst for an unknown good. All these things you know to be +the travail of the world as it gives birth to some higher entity than +individual man. + +'Time is past,' and as you speak a dove settles to rest upon a pediment. +Therewith you are carried away in the spirit to a great and high +mountain and you behold a new heaven and a new earth; for the first +heaven and the first earth are passed away. You see the holy city coming +down out of heaven - her light is like unto a stone most precious, as it +were a jasper stone, clear as crystal, and the walls thereof are adorned +with all manner of precious stones - and they brought the glory and the +honor of the nations into it. + + + +Creative Evolution +(After Bergson) + +Out of a sense of immediacy +Comes an intuition of things forming. +Pressed up by the vital urge, +Mind meets matter and matter mind +In mutual understanding. +That which apprehends, since by the object shaped, +A fitting instrument is for what itself has wrought. +From the same stuff, +Cut by an identical process, +Thing and intellect to congruence come, +In a space-world forever unfolding. + +No preestablished harmony this +Of inner to outer realm corresponding, +Nor spirit nor form by the other determined. +Stranger far the genesis whereof I speak: +From the universal flux, +In a moment, that is ever unique, +Life to new consciousness springs; +Creator and created together evolve, +In a time-stream continually changing. + + + +My Bibliography of Fourth-Dimensional Insight + +While to books I owe much, I owe still more to the beautiful people by +whom I have been, like Marcus Aurelius, all my life surrounded, and +particularly to my parents of large vision. + +Creative Evolution: Bergson. + An intuition so great that if spatialized it would lead to a world of + infinite dimensions. + +The Ethical Implications of Bergson's Philosophy: Una Bernard Sait. + +The New Infinite and the Old Theology: C. J. Keyser. + +The Fourth Dimension: C. H. Hinton. + +First and Last Things: H. G. Wells. + +The Art of Creation: Edward Carpenter. + +Some Neglected Factors of Evolution: Bernard. + A scientific presentation of Involution, a book than which none other + has more light to throw on present world problems. + +Primer of Higher Space: Claude Bragdon. + +Projective Ornament: Claude Bragdon. + +Paracelsus: Browning. + +ABT Vogler: Browning. + +Commemoration Ode: Lowell. + +The Book of Revelations. + + + +Here ends "The Fourth Dimensional Reaches of the Panama-Pacific +International Exposition," written by Cora Lenore Williams, M.S., with +lines on Fourth-Dimensional Insight by Ormeida Curtis Harrison; and the +illustrations are from etchings done by Gertrude Partington, and the +Fourth Dimensional cover design by Julia Manchester Mackie. Published by +Paul Elder & Company, and printed under the typographical direction of +H. A. Funke at their Tomoye Press, in San Francisco, during the month of +November, Nineteen Hundred and Fifteen. + + + + + + +End of the Project Gutenberg EBook of The Fourth Dimensional Reaches of the +Panama-Pacific International Exposition, by Cora Lenore Williams + +*** END OF THIS PROJECT GUTENBERG EBOOK FOURTH DIMENSIONAL REACHES *** + +***** This file should be named 12010.txt or 12010.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/0/1/12010/ + +Produced by David A. Schwan + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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