Will Power

If you cannot understand my argument, and declare ‘It’s Greek to me’, you are quoting Shakespeare; if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act more in sorrow than in anger, if your wish is father to the thought, if your lost property has vanished into thin air, you are quoting Shakespeare; if you have ever refused to budge an inch or suffered from green-eyed jealousy, if you have played fast and loose, if you have been tongue-tied, a tower of strength, hoodwinked or in a pickle, if you have knitted your brows, made a virtue of necessity, insisted on fair play, slept not one wink, stood on ceremony, danced attendance (on your lord and master), laughed yourself into stitches, had short shrift, cold comfort or too much of a good thing, if you have seen better days or lived in a fool’s paradise — why, be that as it may, the more fool you, for it is a foregone conclusion that you are (as good luck would have it) quoting Shakespeare; if you think it is early days and clear out bag and baggage, if you think it is high time and that that is the long and short of it, if you believe that the game is up and that truth will out even if it involves your own flesh and blood, if you lie low till the crack of doom because you suspect foul play, if you have your teeth set on edge (at one fell swoop) without rhyme or reason, then — to give the devil his due — if the truth were known (for surely you have a tongue in your head) you are quoting Shakespeare; even if you bid me good riddance and send me packing, if you wish I was dead as a door-nail, if you think I am an eyesore, a laughing stock, the devil incarnate, a stony-hearted villain, bloody-minded or a blinking idiot, then — by Jove! O Lord! Tut, tut! for goodness’ sake! what the dickens! but me no buts — it is all one to me for you are quoting Shakespeare.

— Bernard Levin, Enthusiasms, 1983

In a Word

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pathographesis
n. writing inspired by illness

After a shining start, Swiss philosopher Henri-Frédéric Amiel lost his patronage and his health, leaving him remembered largely for a private journal that became his only reality, the symptom and source of his illness. In the end it ran to 12 compulsively written volumes totaling 6 million words, a real-time description of its writer’s inner life:

  • “I can find no words for what I feel. My consciousness is withdrawn into itself; I hear my heart beating, and my life passing. It seems to me that I have become a statue on the banks of the river of time, that I am the spectator of some mystery, and shall issue from it old, or no longer capable of age.”
  • “Am I not more attached to the ennuis I know, than in love with pleasures unknown to me?”
  • “At bottom there is but one subject of study: the forms and metamorphoses of mind. All other subjects may be reduced to this study.”

He was slowly suffocating as he wrote his final entries — the last, written on April 19, 1881, reads, “A terrible sense of oppression. My flesh and my heart fail me. Que vivre est difficile, ô mon coeur fatigué!

“We think our protagonist was virtually unique in the degree to which he turned his diary into a fetishistic addiction, not so different from the substance addiction common in his culture,” write George S. Rousseau and Caroline Warman. “His diary was his fix. Boundaries between himself and his diary are nonexistent. And his larger definition of life, or living, was so firmly fused with the diary that he could not conceive of life, or living, apart from it.”

(George S. Rousseau and Caroline Warman, “Writing as Pathology, Poison, or Cure: Henri-Frédéric Amiel’s Journal intime,” Studies in Gender and Sexuality 3:3 [2002], 229–262.)

A Missed Train

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Is this art? It’s The Railway Station, painted by William Powell Frith in 1862. In his 1914 book Art, critic Clive Bell singled out Frith’s painting to claim that it wasn’t art at all. Why? Bell said it lacks “significant form,” which he defined as “lines and colours combined in a particular way, certain forms, and relations of forms, that stir our aesthetic emotions.” Frith’s painting, he said, provoked pleasant feelings in him but no aesthetic emotion:

Few pictures are better known or liked than Frith’s Paddington Station: certainly I should be the last to grudge it its popularity. Many a weary forty minutes have I whiled away disentangling its fascinating incidents and forging for each an imaginary past and an improbable future. But certain though it is that Frith’s masterpiece, or engravings of it, have provided thousands with half-hours of curious and fanciful pleasure, it is not less certain that no one has experienced before it one half-second of aesthetic rapture — and this although the picture contains several pretty passages of color, and is by no means badly painted. Paddington Station is not a work of art; it is an interesting and amusing document in which line and color are used to recount anecdotes, suggest ideas and indicate the manners and customs of an age: they are not used to provoke aesthetic emotion.

Was he right? Notably, in a 2012 survey of 105 art professionals, not one agreed with him: 97% of the respondents said they felt Frith’s painting was art, and the remaining 3% were unsure.

“Admittedly, these data do not prove that Bell’s theory is wrong,” the authors note. “The sensibilities required to detect significant form and experience the aesthetic emotion it provokes could be even rarer than Bell claimed.”

(Richard Kamber and Taylor Enoch, “Why Is That Art?”, in Florian Cova and Sébastien Réhault, Advances in Experimental Philosophy of Aesthetics, 2019.)

Summary

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A letter to the Daily Telegraph, Feb. 26, 1913:

Sir,

Everyone seems to agree upon the necessity of putting a stop to Suffragist outrages; but no one seems certain how to do so. There are two, and only two, ways in which this can be done. Both will be effectual.

1. Kill every woman in the United Kingdom.

2. Give women the vote.

Yours truly,

Bertha Brewster

RSS Quiz

The Royal Statistical Society has released its Christmas quiz for 2021, a set of 11 puzzles that require general knowledge, logic, lateral thinking, and searching skills, but no specialist mathematical knowledge.

Anyone may enter, individually or in teams of up to five. The top entry will receive £150 in Wiley book vouchers, second place £50 in book vouchers, and the next three entries a puzzle book or board game. And everyone who achieves a score of 50 percent or higher will win a donation to their favorite charity or good cause.

Entries must be received by 21:00 GMT on January 31. See the quiz web page for the rules and some tips for budding solvers.

Zipf’s Law

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Image: Wikimedia Commons

In any language, the most frequently used word occurs about twice as often as the second most frequent word, three times as often as the third most frequent word, and so on.

In American English text, the word the occurs most frequently, accounting for nearly 7% of all word occurrences. The second most frequent word, of, accounts for slightly over 3.5% of words, and so on.

This pattern obtains even in non-natural languages like Esperanto. It’s named for American linguist George Kingsley Zipf, who popularized it.

12/24/2021 UPDATE: Apart from languages, the law is observed in measurements of the citations of scientific papers, web hits, copies of books sold, telephone calls, the magnitude of earthquakes, the diameter of moon craters, the intensity of solar flares, the intensity of wars, and the populations of cities. See this paper. (Thanks, Snehal.)

Windtowers

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Image: Wikimedia Commons

Marco Polo noticed an interesting feature in the architecture of Hormuz: “The heat is tremendous, and on that account their houses are built with ventilators to catch the wind. These ventilators are placed on the side from which the wind comes, and they bring the wind down into the house to cool it. But for this the heat would be utterly unbearable.” This technique has been used for thousands of years, originally in ancient Iran and now throughout West Asia: By catching the prevailing wind and directing it through the interior of a house, the residents can greatly increase air circulation while avoiding the sun’s heat.

In 2005 tests using a wind tunnel, Vipac Engineering confirmed that windtowers are effective in reducing the impact of summer climate — and their passivity makes them valuable for energy conservation.

(Anne Coles and Peter Jackson, Windtower, 2007.)

Simplest Terms

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English geographer Halford Mackinder’s 1914 paper “The Geographical Pivot of History” helped to found the study of geopolitics. In it, he described his Heartland Theory, in which the world’s land surface was divided into the “World-Island,” meaning Europe, Asia, and Africa; the “offshore islands,” including Britain and Japan; and the “outlying islands,” including the continents of North America, South America, and Australia. At the world’s center lies the Heartland, stretching from the Volga to the Yangtze and from the Himalayas to the Arctic.

In 1919 he reduced his theory to three startlingly stark statements:

Who rules East Europe commands the Heartland.

Who rules the Heartland commands the World Island.

Who rules the World Island commands the World.

He thought the “pivot area” was impregnable to attack by sea and thus capable of building a land power that could conquer the world.

“No mere academic theoretician, Mackinder injected his Heartland thesis into the 1919 Paris Peace Conference that followed World War I,” write Mark Monmonier and George Schnell in Map Appreciation. “He recommended buffer states in Eastern Europe to prevent any nation(s) from gaining control of the Heartland, especially through a German-Soviet alliance. The conference’s subsequent creation of independent states from territories that had been parts of Austria-Hungary, Germany, or Russia varied little from Mackinder’s proposal and included Estonia, Latvia, and Lithuania (along the Baltic Sea) and Poland, Czechoslovakia, and Yugoslavia (extending from the Baltic to the Adriatic).”

“The Black Patch”

Submitted by Randolph Hartley for Life magazine’s 1915 short story contest:

I wear a black patch over my left eye. It has aroused the curiosity of many; no one has suspected the horror that it hides.

Twenty years ago Bernard Vroom and I, fellow students at the University of Jena, were devotees at the feet of Professor Malhausen, the foremost optical surgeon of his time. Living, working, dreaming together, Vroom and I became almost as one intelligence in our passionate study of the anatomy of the eye. Vroom it was who advanced the theory that a living eye-ball might be transferred from the head of one man to the head of another. It was I who suggested, and arranged for, the operation, performed by Professor Malhausen, through which Vroom’s left eye became mine and my left eye became Vroom’s. Professor Malhausen’s monograph, published shortly afterward, describes the delicate operation in detail. The ultimate effects of the operation are my own story.

Very distinctly do I remember the final struggle for breath when the anesthetic was administered; and quite as vividly do I recall my return to consciousness, in a hospital cot, weakened by a six weeks’ illness with brain fever, which had followed the operation. Slowly but clearly my mind advanced through the process of self-identification, and memory brought me to the moment of my last conscious thought. With a mingled feeling of curiosity and dread I opened my eyes.

I opened my eyes and beheld two distinct and strongly contrasting scenes. One, which was visible most clearly when I employed only my right eye, was the bare hospital room in which I lay. The other, distinct to the left eye alone, was the deck of a ship, a stretch of blue sea, and in the distance a low, tropical coast that was to me totally unfamiliar.

Perplexed and vaguely afraid, I begged the nurse to send at once for Vroom. She explained gently that Vroom had recovered quickly, and that, although deeply distressed over leaving me, he had sailed for Egypt, a fortnight since, on a scientific mission. In a flash the truth came to me overwhelmingly. The severing of the optic nerve had not destroyed the sympathy between Vroom’s two eyes. With Vroom’s left eye, now physically mine, I was beholding that which Vroom beheld with his right. The magnitude of the discovery and its potentialities stunned me. I dared not tell Professor Malhausen for fear of being thought insane. For the same reason I have held the secret until now.

On the second day of double-vision my left eye revealed a gorgeous picture of the port and city of Alexandria — and of a woman. Evidently she and Vroom were standing close together at the ship’s rail. I saw on her face an expression that I had never seen on woman’s before. I thrilled with exultation. Then suddenly I went cold. The look was for Vroom, not for me. I had found a love that was not mine, a love to which every atom of my being responded, and it was to be my portion to behold on my loved one’s face, by day and by night, the manifestation of her love for another man.

From that moment on I lived in the world that was revealed to me by my left eye. My right was employed only when I set down in my diary the impressions and experiences of this other life. The record was chiefly of the woman, whose name I never knew. The final entry, unfinished, describes the evidences that I saw of her marriage to Vroom in the English Garrison Church at Cairo. I could write no more. A jealousy so sane and so well founded, so amply fed by new fuel every new moment that it was the acme of torture, possessed me. I was truly insane, but with a true vision, and to me was given the weapon of extreme cunning that insanity provides. I convinced Professor Malhausen that my left eye was sightless, and by simulating calmness and strength I gained my discharge from the hospital. The next day I sailed from Bremen for Port Said.

Upon reaching Cairo I had, naturally, no difficulty in finding my way through the already familiar streets, to the Eden Palace Hotel, and to the very door of Vroom’s apartment, overlooking the Esbekieh Gardens. Without plan, save for the instant sight of her I loved, I opened the door. Vroom stood there facing me, a revolver in his hand.

“You did not consider,” he said calmly, “that my left eye also is sympathetic; that I have followed every movement of yours; that I am acquainted with your errand through the entries in your diary, which I read line by line as you wrote. You shall not see her. I have sent her far away.”

I rushed upon him in a frenzy. His revolver clicked but missed fire. I bore him backward over a divan, my hands at his throat. His eyes grew big as I strangled him. And into my left eye came a vision of my own face, as Vroom saw it, distorted by the lust of murder. He died with that picture fixed in his own eye, and upon the retina of the eye that once was his, and is now mine, that fearful picture of my face was fixed, to remain until my death.

I wear a black patch over my left eye. I dare not look upon the horror that it hides.