Hereby it is manifest, that during the time men live without a common power to keep them all in awe, they are in that condition which is called war; and such a war, as is of every man, against every man. For WAR, consisteth not in battle only, or the act of fighting; but in a tract of time, wherein the will to contend by battle is sufficiently known.
-HOBBES,Leviathan
NOW WALKING OUT ONTOthe upperdeck to find Minerva sailing steadily eastwards on calm seas, Daniel’s appalled that anyone ever doubted these matters. The horizon is a perfect line, the sun a red circle tracing a neat path in the sky and proceeding through an orderly series of color-changes, red-yellow-white. Thus Nature. Minerva -the human world-is a family of curves. There are no straight lines here. The decks are slightly arched to shed water and supply greater strength, the masts flexed, impelled by the thrust of the sails but restrained by webs of rigging: curve-grids like Isaac’s sundial lines. Of course, wherever wind collects in a sail or water skims around the hull it follows rules that Bernoulli has set down using the calculus-Leibniz’s version. Minerva is a congregation of Leibniz-curves navigating according to Bernoulli-rules across a vast, mostly water-covered sphere whose size, precise shape, trajectory through the heavens, and destiny were all laid down by Newton.
One cannot board a ship without imagining ship-wreck. Daniel envisions it as being like an opera, lasting several hours and proceeding through a series of Acts.
Act I: The hero rises to clear skies and smooth sailing. The sun is following a smooth and well-understood c?lestial curve, the sea is a plane, sailors are strumming guitars and carving objets d’art from walrus tusks, et cetera, while erudite passengers take the air and muse about grand philosophical themes.
Act II: A change in the weather is predicted based upon readings in the captain’s barometer. Hours later it appears in the distance, a formation of clouds that is observed, sketched, and analyzed. Sailors cheerfully prepare for weather.
Act III: The storm hits. Changes are noted on the barometer, thermometer, clinometer, compass, and other instruments-c?lestial bodies are, however, no longer visible-the sky is a boiling chaos torn unpredictably by bolts-the sea is rough, the ship heaves, the cargo remains tied safely down, but most passengers are too ill or worried to think. The sailors are all working without rest-some of them sacrifice chickens in hopes of appeasing their gods. The rigging glows with St. Elmo’s Fire-this is attributed to supernatural forces.
Act IV: The masts snap and the rudder goes missing. There is panic. Lives are already being lost, but it is not known how many. Cannons and casks are careering randomly about, making it impossible to guess who’ll be alive and who dead ten seconds from now. The compass, barometer, et cetera, are all destroyed and the records of their readings swept overboard-maps dissolve-sailors are helpless-those who are still alive and sentient can think of nothing to do but pray.
Act V: The ship is no more. Survivors cling to casks and planks, fighting off the less fortunate and leaving them to drown. Everyone has reverted to a feral state of terror and misery. Huge waves shove them around without any pattern, carnivorous fish use living persons as food. There is no relief in sight, or even imaginable.
–There might also be an Act VI in which everyone was dead, but it wouldn’t make for good opera so Daniel omits it.
Men of his generation were born during Act V*and raised in Act IV. As students, they huddled in a small vulnerable bubble of Act III. The human race has, actually, been in Act V for most of history and has recently accomplished the miraculous feat of assembling splintered planks afloat on a stormy sea into a sailing-ship and then, having climbed onboard it, building instruments with which to measure the world, and then finding a kind of regularity in those measurements. When they were at Cambridge, Newton was surrounded by a personal nimbus of Act II and was well on his way to Act I.
But they had, perversely, been living among people who were peering into the wrong end of the telescope, or something, and who had convinced themselves that the opposite was true-that the world had once been a splendid, orderly place-that men had made a reasonably trouble-free move from the Garden of Eden to the Athens of Plato and Aristotle, stopping over in the Holy Land to encrypt the secrets of the Universe in the pages of the Bible, and that everything had been slowly, relentlessly falling apart ever since. Cambridge was run by a mixture of fogeys too old to be considered dangerous, and Puritans who had been packed into the place by Cromwell after he’d purged all the people he did consider dangerous. With a few exceptions such as Isaac Barrow, none of them would have had any use for Isaac’s sundial, because it didn’t look like an old sundial, and they’d prefer telling time wrong the Classical way to telling it right the newfangled way. The curves that Newton plotted on the wall were a methodical document of their wrongness-a manifesto like Luther’s theses on the church-door.
In explaining why those curves were as they were, the Fellows of Cambridge would instinctively use Euclid’s geometry: the earth is a sphere. Its orbit around the sun is an ellipse-you get an ellipse by constructing a vast imaginary cone in space and then cutting through it with an imaginary plane; the intersection of the cone and the plane is the ellipse. Beginning with these primitive objects (viz. the tiny sphere revolving around the place where the gigantic cone was cut by the imaginary plane), these geometers would add on more spheres, cones, planes, lines, and other elements-so many that if you could look up and see ’em, the heavens would turn nearly black with them-until at last they had found a way to account for the curves that Newton had drawn on the wall. Along the way, every step would be verified by applying one or the other of the rules that Euclid had proved to be true, two thousand years earlier, in Alexandria, where everyone had been a genius.
Isaac hadn’t studied Euclid that much, and hadn’t cared enough to study him well. If he wanted to work with a curve he would instinctively write it down, not as an intersection of planes and cones, but as a series of numbers and letters: an algebraic expression. That only worked if there was a language, or at least an alphabet, that had the power of expressing shapes without literally depicting them, a problem that Monsieur Descartes had lately solved by (first) conceiving of curves, lines, et cetera, as being collections of individual points and (then) devising a way to express a point by giving its coordinates-two numbers, or letters representing numbers, or (best of all) algebraic expressions that could in principle be evaluated to generate numbers. This translated all geometry to a new language with its own set of rules: algebra. The construction of equations was an exercise in translation. By following those rules, one could create new statements that were true, without even having to think about what the symbols referred to in any physical universe. It was this seemingly occult power that scared the hell out of some Puritans at the time, and even seemed to scare Isaac a bit.
By 1664, which was the year that Isaac and Daniel were supposed to get their degrees or else leave Cambridge, Isaac, by taking the very latest in imported Cartesian analysis and then extending it into realms unknown, was (unbeknownst to anyone except Daniel) accomplishing things in the field of natural philosophy that his teachers at Trinity could not even comprehend, much less accomplish- they, meanwhile, were preparing to subject Isaac and Daniel to the ancient and traditional ordeal of examinations designed to test their knowledge of Euclid. If they failed these exams, they’d be branded a pair of dimwitted failures and sent packing.