Harmony of the Spheres

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Human beings have an inherent need to interact with one another. Yet, they often find themselves struggling with what appears to be the truth of their perceptions. This ambivalence leads to the categorizing of experiences as a way to manage personal reactions. Philosophers, such as John Locke, Immanuel Kant and Carl Jung, as well as mathematicians, such as Pythagoras and Kepler, have clarified this management in terms of music, more specifically, the music of the spheres.

This concept illustrates that human communication parallels strict mathematical components associated with harmonics. To clarify the concept of harmony of the spheres, one can consider a musical tone that contains the original resonating frequency with overtones creating precise harmonic variations.

Pythagoras’ theory contained the idea that there was a distinct mathematical configuration, establishing a relationship of the harmonic distances between the planets. These harmonics were considered the substance of a planetary influence on the human psyche.

Centuries later, Johannes Kepler clarified this theory with his discovery that harmonic energy emanates from the sun, and there exists an exact harmonic relationship between each planet. Philosophers of the eighteenth century, such as John Locke and Immanuel Kant, connect Kepler’s theory to the concept of human consciousness.

Thus, music of the spheres represents the harmonics of human thought whereby one idea, emanating from a human being, extends to another throughout the centuries, and overtones or nuances of thought create a new harmonic of the original conception. This new harmonic, then, resonates with another interpretation, and soon, there are many new concepts formed that connect with the original resonating thought.

Dante Alighieri's "Paradiso"

Photo from Google Images

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Dante Alighieri’s Paradiso

This week, I’ve placed parallel posts on my blogs with both exploring Dante Alighieri’s final book of The Divine Comedy: Paradiso.

Spheres and circularity dominate the theme of this epic poem. Dante often even imitates the shape of the circle with his words. The Pilgrim and guide enter heaven at the convergence of four circles with three crosses. (This use of seven symbols refers to the seven virtues: 4 cardinal, 3 theological.)

The term "cardinal" comes from the Latin cardo or hinge; therefore, the cardinal virtues (Prudence, Justice, Temperance, and Fortitude) are pivotal to any life of virtue.In the Old Testament Book of Wisdom, 8:7, we learn that "She [Wisdom] teacheth temperance, and prudence, and justice, and fortitude, which are such things as men can have nothing more profitable in life."
In The Republic, Plato identified these virtues with societal classes and thus, the very  faculties of humanity:

Temperance: produces classes, the farmers and craftsmen, also animal appetites
Fortitude: associated with the warrior class and the spirited element in man
Prudence: associated with rulers and reason
Justice: stands outside the class system and divisions of man, and rules the proper relationship among them

The theological virtues of Faith, Hope, and Love (charity), indicate a higher level of consciousness and compassion. Lessons that pertain to each of these virtues repeat throughout the Old and New Testament and within more ancient religious precepts. 

Memories of My Dad

A few years ago, I participated in a literary challenge to write about our fathers. I wrote this one for Father's Day. This is not a poem; it's a reflection of the time that my father brought me some Siberian iris tubes, and each year, I feel his presence as the irises propagate annually. The ones in the photo are from this year's blooms. 

Blue Iris:

A Reflection of my Dad

I didn’t realize it would be the final kiss on his dimpled cheek, that the irises he brought would be his last gift to me. “They’re blue, like your eyes, and they have your name,” he winks as he carefully unwraps the newspaper and inspects each delicate tuber. 

Thinking back as if it were just yesterday…

* I was picking green apples in our backyard on a hot August afternoon. I glanced down to see my T-shirt covered with ants; I ran, screaming, “Daddy! Daddy! Calmly, he brushed the ants off my shivering 4-year old self. “There, there, it’s nothing. See? All gone.”

* Glancing down at my hands now, I remember my little fingers clinging tightly to the rim of the old green wheelbarrow, as I sit atop a pile of fresh grass clippings, inhaling the sweetness. My own dimpled smile reflects his as he merrily sings to the tunes on the radio.

* His lap is the best seat in the house while we watch the Tigers defeat the Red Sox on T.V.

* As a sophomore in high school, I can still hear his lighter click as he inhales yet another Lucky Strike and patiently draws lines and digits as my dad the chemist patiently explains one more geometry theorem to me for the night.

* Purple heart, bronze star, and a battle wound scar in his leg that never kept him from running with the ball during many a neighborhood baseball game.

Once, he brought a spray of blue Siberian irises for me to plant in my garden. There, outside my window grows a sea of blue, each year more irises than the year before, winking at me, loving me. 

© Jeanne I. Lakatos

Bloomsday! (June 16th)

I took this photo of O'Neill's Pub, Suffolk St., Dublin, Ireland 27 May, 2010.

---that was the one true thing he said in his life and the sun shines for you yes that was why I liked him---  (from Molly Bloom's soliloquy in the novel, Ulysses, by James Joyce)

Happy Bloomsday! In James Joyce's novel, Ulysses, Leopold Bloom epitomizes the concept of circuitous paths, as he meanders through the streets of Dublin on the 16th of June, 1904. The following is an excerpt from a paper I presented in Dun Laoghaire last year. It will be a chapter in a book to be published this year with Peter Lang Publishers and illustrates the use of iconic realism in James Joyce's Ulysses as well as in the medieval poem, Roman de la Rose. The following excerpt from that chapter discusses the character, Molly Bloom, who speaks out in the final 'Penelope' chapter through 40 pages of stream of consciousness and not a punctuation point to be found... an amazing read!

            In his novel, Ulysses, James Joyce illustrates parochial dissonance by means of Victorian feminine perceptions throughout Molly Bloom’s soliloquy in the final chapter of his epic tale. Using stream of consciousness in a manner unparalleled at this novel’s publication, Joyce leads his audience to the entrance of the sphere of Molly’s mind, taking the reader to every crevice of her feminine consciousness. Joyce defies the social stigma of women during this era as he interweaves Molly Bloom’s expression of a unique feminine point of view.

            Through Molly’s voice, he seeks answers to his own challenge with a feminine defiance of human weakness. The Ireland in which James Joyce lives is in the midst of revolution. As Joyce leaves his ancestral home, he allows his own genius to flourish. He sees the result of the male world’s design for women and seeks to illuminate the world with its significance. His personal associations with women frame the female portrait of Molly Bloom, as he places Molly in the midst of the Victorian era, with its focus on proper placement of gender roles, customs and even nations, carries the burden of living with this regimented philosophical point of view. Joyce designs the person of Molly to reveal traits that originate from conventional Victorian masculine ideas of how a woman should act or think. Joyce writes Molly as one whose actions have a tendency to focus upon her sexual desires. Molly, like Ireland, is a contradiction of human spirit. On one hand, she is independent, wild, yet she depends on the ruler of her heart for identity. 

The History of the Star Spangled Banner

Below is the link for an historical insight of the United States' National Anthem, 

The Star Spangled Banner

https://youtu.be/YaxGNQE5ZLA