Mostrando entradas con la etiqueta Cowley. Mostrar todas las entradas
Mostrando entradas con la etiqueta Cowley. Mostrar todas las entradas

viernes, 1 de septiembre de 2017

Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts



This paper compares two very different cosmological accounts (a classical creationist one, from the Enlightenment poet Abraham Cowley) and a contemporary theory coming from the field of physics, Lee Smolin's evolutionary theory of cosmology which upholds the changing nature of physical laws. This is done in order to point out some striking coincidences. Evolutionary accounts of phenomena may display such seemingly enigmatic points in common due to two reasons: the nature of the physical processes described, and the cognitive instruments available to the human mind in dealing with the formation of stable objects of cognition, such as physical laws, order, regularity, and objects.


Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts


https://papers.ssrn.com/abstract=3013015 


Jose Angel Garcia Landa

Universidad de Zaragoza





Garcia Landa, Jose Angel, Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts (August 29, 2015). Ibercampus (August 29, 2015). Available at SSRN: https://ssrn.com/abstract=3013015


eJournal Classifications
AARN Subject Matter eJournals
    
        
AARN Subject Matter eJournals
    
        
            
CSN Subject Matter eJournals
    
        
LIT Subject Matter eJournals
    
        
PRN Subject Matter eJournals
    
        


Also here:

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." In García Landa, Vanity Fea 21 August 2015.*

         http://vanityfea.blogspot.com.es/2015/08/chaos-and-emergence-of-order-in.html

         2015

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." Ibercampus (Vanity Fea) 29 Aug. 2015.*

         http://www.ibercampus.eu/chaos-and-the-emergence-of-order-in-evolutionary-cosmology-two-classical-3358.htm

         2015 DISCONTINUED 2022 – Online at the Internet Archive.*

         https://web.archive.org/web/20210515203648/https://www.ibercampus.eu/chaos-and-the-emergence-of-order-in-evolutionary-cosmology-two-classical-3358.htm

         2026

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." SSRN 15 Aug. 2017.*

         https://ssrn.com/abstract=3013015

         2017

         Psychological Anthropology eJournal 15 Aug. 2017.*

         https://www.ssrn.com/link/Psychological-Anthropology.html

         2017

         Cultural Anthropology eJournal 15 Aug. 2017.*

         https://www.ssrn.com/link/Cultural-Anthropology.html

         2017

         Human Cognition in Evolution and Development eJournal 15 Aug. 2017.*

         https://www.ssrn.com/link/Human-Cognition-Evolution-Development.html

         2017

         English & Commonwealth Literature eJournal 15 Aug. 2017.*

         https://www.ssrn.com/link/English-Commonwealth-Lit.html

         2017

         Philosophy of Science eJournal 15 Aug. 2017.*

         https://www.ssrn.com/link/Philosophy-Science.html

         2017

_____. "Chaos and the Emergence of Order in Evolutionary Narratology: Two Classical Accounts." In García Landa, Vanity Fea 1 Sept. 2017.*

         http://vanityfea.blogspot.com.es/2017/09/chaos-and-emergence-of-order-in.html

         2017

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." Academia  14 Nov. 2017.*

         https://www.academia.edu/35133928/

         2017

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." ResearchGate 15 Nov. 2017.*

         https://www.researchgate.net/publication/321085936

         2017

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." Net Sight de José Angel García Landa 5 Jan. 2023.*

         https://personal.unizar.es/garciala/publicaciones/Chaos&theEmergence.pdf

         2023

_____. "Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts." Knowledge Commons Works 13 June 2026.*

         https://doi.org/10.17613/psea7-e1d11

         https://works.hcommons.org/records/psea7-e1d11

         2026


 




—oOo—

miércoles, 2 de noviembre de 2016

Cowley (and Denham)




From George Saintsbury's Short History of English Literature (1907)


Cowley

The position now for two centuries assigned to Milton was during his lifetime held by Abraham Cowley (NOTE 1). This poet, whose popularity, extraordinarily high and extraordinarily brief, was not quite so unreasonable as his loss of it, was a Londoner born ten years after Milton, in 1618. He went to Westminster, and thence to Cambridge. He certainly wrote verse, and good verse, very early, for some of it was published when he was fifteen; but whether his reading and emulation of Spenser really enabled him to produce some of these poems at ten years old must be left to the reader. He had but just taken his Master's degree in 1643 when Cambridge fell into the power of the Parliamentarians and he was ejected, went to Oxford, where he stayed for two years, and then going with Henrietta Maria to Paris, became her secretary. After some ten years' stay abroad, in 1656 he returned to England, and was arrested, but received his liberty on condition of some indefinite compliances which are vaguely and differently related. He returned to France till the Restoration, and was then, like many other Royalists, disappointed in hopes which Charles II. was perhaps not too careful to satisfy, but which he certainly could not in all cases have satisfied if he would. Nor was it very long before a beneficial lease of the Queen's lands gave him competence, if not affluence. He retired, however, in some dudgeon to Chertsey, and died there—not finding the country quite the poet's paradise—in July 1667. 

 

Cowley's remarkable prose may be for the present put aside. In his verse he is not merely a most curious bridge of communication between the couplet poets, the "school of good-sense," and the metaphysicals, but almost more than Waller, and much more than Denham, the pair who usually go with him, a bridge between one whole period of poetry and another. He wrote in youth a play called The Guardian, which he did not then intend for the stage, but after the Restoration altered and acted as Cutter of Coleman Street. But this requires no special notice. His purely poetical works, which are by no means so easily to be distinguished by mere chronological order as might be thought likely, fall pretty easily into three classes when judged from the point of view of form—namely, couplet verse, lyrics and stanza poems of various kinds, and Pindarics.

NOTE 1. In Chalmers. More completely in Dr. Grosart's "Chertsey Worthies."

His couplets

Of the couplet verse the most important piece in size, as indeed it is of the whole, is the curious sacred epic of the Davideis, much of which was written at Cambridge, though it was continued (it never was completed) later. Four books exist; but even this manageable length, assisted by Cowley's immense popularity, never made it generally read. There are unquestionably fine things in it—from the opening picture of Hell, earlier by much than that of Milton, through the sketch of the Priests' College, a favourite theme with the author, and worked out by him also in prose, to David's account of Saul and of Jonathan. And the passages of length are as a rule inferior to the single lines and couplets, which are sometimes wonderfully fine. But the miscarriage of the piece as a whole may be accounted for many times over. It is true, as Johnson urges, that the story, being merely begun, has no time to justify itself, that its amplification of familiar Scripture is felt as impertinent, and that the decorations exhibit the fatal fault of the "metaphysicals" almost in the worst degree. But there is more than this. The very accomplishment of the couplets now and then jars with the phraseology and imagery, as would not have been the case in stanza  or blank verse; and, little story as the poet gives himself room to tell, he interferes with the interest even of what little there is by constant divagation. The book is a museum of poetic fragments tastelessly cemented together, not an organic whole.

In his other couplet pieces, from quite early things to the translations intercalated in the Essays, Cowley shows much better, or at any rate is much more accessible, as a pioneer in the path. The piece upon the "Happy Birth of the Duke of Gloucester" in 1640, though sometimes "enjambed," shows on the whole a great preference for, and a pretty complete command of, the authentic, balanced, self-contained couplet with the cracker of rhyme at the tail of it. We only want weight to give us Dryden, and polish to give us Pope: the form is there already.

The lyrics

In his stanza-poems and lyrics proper Cowley shows the retrospective side of his poetic Janus-head, though it is observable that even in Constantia and Philetus, one of the earliest of the Juvenilia, the concluding couplets of the sizain "snap" as they would not have done in Daniel or in Drayton. The lyrics are often quite Jonsonian, while sometimes they have a lightness which Ben rarely achieved, and which is cheifly proper to his "sons," of whom Cowley was born just too late to be one. The famous Chronicle, his best-known thing, is the very best of poetic froth; while the Anacreontics are often equal to Ben, and sometimes not very far below Milton. One is frequently inclined to give Cowley a really high place, when something—his shallowness or his frigid wit, or a certain "shadow before" of eighteenth-century prose—interferes, especially in his once adored Mistress.

The Pindarics

Undoubtedly, however, Cowley's Pindarics are the most peculiar efforts of his talent, and those which, upon his own time, produced most of the effect of genius. They are little read now, and there can be no doubt thet both their structure and the presumed necessity of imitating Pindar's style of obscure conciet encouraged the metaphysical manner very treacherously. But they would be interesting to us even were they far worse than they are intrinsically, because to the historian of literature nothing can ever be uninteresting which has, for a long time, supplied an obvious literary demand on the part of readers and provided employment for great writers. To Cowley we owe—in that sense of obligation which always presupposes remembrance, that the debt would have been due to another if this man had not been in case to lend—the really magnificent odes of Dryden, Gray, and Collins pretty directly: indirectly that strill greater one of Wordsworth which is almost his solitary claim to have reached the highest summits of poetry; and many great things of Shelley and Tennyson, not to mention lesser men. And the eager adoption of the form, which for more than half a century prduced libraries full of unreadable Pindarics (the most interesting and nearly the most hopeless examples being those of no less a man than Swift), whows us what the time wanted, how it was sick of the regular stanza, how blank verse was still a little too bold for it, while it had not yet settled down or become satisfied with the regular tick of the couplet-clock. But as a matter of fact the things themselves are not contemptible. "Life and Fame," "Life," the "Ode to Mr. Hobbes," and others are, or at least contain, very fine things; and the chief drawback of the whole is that descent to colloquial abbreviations ("I'm" etc.) which was due partly to the slow vulgarising of popular taste on such points which we shall have to record, partly to the still prevailing dread of slur and trisyllabic equivalence. On the whole, no doubt, Rochester was right when he said ("profanely," as Dryden very properly adds) that "Cowley was not of God, and so he could not stand." But the special reason of his fall was that he never could make up his mind whether to stand with the old age or with the new, with the couplet or with the wilder verse, with mystical fantasy or clear common sense, with lawless splendour or jejune decency.


(...)

Cowley's Prose

(...) Until 1660 it cannot be seriously maintained that England possessed, or even had possessed, a prose style suited for those misceellaneous and average purposes which, after all, prose is chiefly meant to subserve. (...) But we have examples of Dryden's prose at a time when it is next to impossible that he could have been influenced by Tillotson; the change is evident in the work of Cowley and other earlier still; and on the whole it is far safer and far more philosophical to take it as, like other literary evolutions or revolutions, a "flying spirit on the driven air," generally diffused and felt by many if not by all, rather than as a deliberately caused product of this or that person's idiosyncrasy, or study, or simple desire of innovation.

Cowley has just been mentioned, and his case is a notable one. His small handful of extremely pleasant Essays displays many of the characteristics of the new prose, but it is most noteworthy that they seem to date from the close of his life and after the Restoration. In his most brilliant piece, the Discourse concerning Oliver Cromwell (1661), old and new jostle each other in a fashion almost startling, and the colour, form and fire of the sinister angel who defends the Protector contrast with the almost eighteenth-cnetury correctness of some passages. As in verse, Cowley is the Janus of the time, but his forward face is that which is here most noticeable.



Denham

One splendid passage—which, by the way, did not appear in the first edition of the poem, Cooper's Hill, that contains it—has preserved to Sir John Denham (NOTE 1) a little of the very disproportionate reputation which he earned during his life, thanks chiefly to his younger contemporary Dryden's generous eulogy of it. He was born in Dublin, and of Irish parentage on his mother's side, in 1625; had at Oxford and Lincoln's Inn a reputation for idleness and extravagance, especially in gambling; obtained some fame in 1641 by The Sophy, and published Cooper's Hill soon afterwards; lived chiefly at Oxford during the war, and chiefly in France after it; was knighted at the Restoration, and received a valuable place, the surveyorship of the king's buildings; was unlucky in marriage, became disordered in mind, and died on 10th April 1668.

Few, except for studious curiosity, are ever likely again to read Denham through, or even any considerable part of his not extensive work. The Sophy was a feeble tragedy; Cooper's Hill, putting aside the patch


Oh! could I flow like thee

and a few other fine lines, is chiefly a creditable, and tolerable though not very early, exercise in the new kind of couplet. A verse paraphrase of the Second Aeneid adopts the older and looser "enjambed" form of the same measure; indeed, this enjambment is common in Denham, and is found in Cooper's Hill itself. Prudence, Justice, Old Age (of all odd things a verse handling of the De Senectute), The Progress of Learning, are preludes to the eighteenth-century concert of couplet tunes on things not tunable. The smaller poems, with occasional flashes, such as the happy transformation (for translation it is not) of Martial's Non ego sum Curius nec Numa nec Titius into


I pretend not to the wise ones
To the grave or the precise ones,

and a few pieces of some nobility like the elegy on Cowley and the attack on Love in favour of Friendship, are apt to oscillate between the tastelessly fantastical and the merely gross. Moreover, Denham is an eminent sinner in the small matters of grammar, rhyme, and measure which disgrace so many writers in the middle and later part of the seventeenth century and are obviously due not to any imperfect condition of the language, but to sheer carelessness and a down-at-heel fashion of literature. He has occupied that place between Cowley and Waller as the "three reformers of our numbers" so long, that he has established a title to it by prescription; and as it has long been understood what this "reform in numbers" meant, there is the less reason for turning him out. But he is much less of a poet than Cowley, while it is an injustice to couple his slatternly muse with the neat and graceful, if not radiantly lovely or bewitching, muse of Edmund Waller.






—oOo—

sábado, 29 de agosto de 2015

Chaos and the Emergence of Order in Evolutionary Cosmology: Two Classical Accounts

Primordial chaos may precede the Universe, and all its objects and its laws—up to the basic constituents of matter and the laws of physics. Or mathematics itself. All of these "timeless" realities may turn out to be contingent— the result of an evolutionary process.

The evolutionary cosmology proposed by Roberto Mangabeira Unger and Lee Smolin in The Singular Universe and the Reality of Time (2015) is a high bid for the preeminence of cosmology as the ground and basis of science, over against physics. This amounts to an overthrowing of the Newtonian paradigm as it has been unwittingly perpetuated by the "new" physics of the twentieth century. Both Newtonian and Einsteinian physics assume a body of laws of nature, and of basic constituents of nature, which is eternal, outside time,  preexisting change and ruling it. The preeminence of time and evolution (and of cosmology) above physics would lead us, instead, to assume the preeminence of change, and to admit the variability both of the laws of physics, at least in the crucial cosmogonic events, and of the basic constituents of nature. We may thus speak of an emerging evolutionary paradigm in physics and cosmology.

Note that Darwin's theory of biological evolution scrapped the notion of eternal kinds in Nature at the level of biological species, but it did not apply behyond its intended scope, living beings. Laplace's cosmology and Lyell's geology likewise showed that astronomical bodies may be subject to history and evolution. They did not however deny the eternity of such kinds of natural "bodies" as the elementary particles, however conceived, nor to the basic laws of their interaction.

Unger and Smolin raise the stakes, arguing that radical and universal evolutionism leaves no place "outside time" for any such laws or kinds to reside. Everything is subject to time, and therefore even the basic principles of order, not to mention the elementary constituents of nature, are historical and contingent, the product of evolution, rather than the visible script of a transcendental catalogue of kinds.

The Singular Universe and the Reality of Time is an important volume in the philosophy of science, and I warmly encourage its reading. Its reconceptualization has far-reaching consequences for our current notions of science, of natural laws and phenomena, of physics and of mathematics—even mathematics, yes, because nothing escapes this radical overhauling of the role of time. Mathematical realities are by definition outside time. In Unger and Smolin's view, this would make them into a technique for dealing with the world from a certain perspective, and would demote mathematics from its current ambitious position as "God's grammar" or as the privileged key to the structure of the universe. Mathematics, instead, may be a misleading cognitive instrument when applied beyond its proper scope—an example would be the use of the mathematical notion of infinity in conceptualizing and representing cosmological critical events such as the Big Bang or black holes. Such extreme events would be misrepresented by a mathematical fiction such as infinity, giving rise to the current notion of Singularity—which according to Unger and Smolin is mistaken, and involves scientific research in unresolvable paradoxes as well as unnecessarily limiting the scope of scientific research.

But I digress. I wanted to quote a passage of Unger and Smolin's book and show the way it compares to some more classical conceptions in cosmology, which (leaving out the creationist implications) may lead to a reassessment of the classical paradigm in some of its radical evolutionary implications.


Here, in pre-scientific and pre-philosophical language, is an account of the relation between the present universe and the early universe. This account accords with what we know about the history of the universe. It suggests why the mutability and the stability of the laws of nature may be a feature of this history. It shows how the same processes that give rise to the stability may also produce the mutability.
     The mutability of the laws of nature ceases to contradict their stability, and begins to complement it, once we place both the stability and the mutability in the context of a historical view. It is only when we treat the stability and the mutability of the laws of nature without regard to the historical character of the universe that they appear to contradict each other.
     Imagine the present, cooled-down universe, in comparison to the universe in its fiery and formative stage, as a living corpse: with limited kinetic energy, temperature, and degrees of freedom, with an established structure, and with enduring regularities—the laws of nature. Yet there was a time, of extreme density and temperature, when the distinction between states of affairs and regularities was unclear (a time that can be described alternately as one of law-giving or of lawlessness), when the present division of nature into well-defined constituents was not yet established, and when the phenomena were excited to much higher degrees of freedom than those enjoyed by the living corpse. The unexplained values of the dimensionless constants or parameters of nature may have their origins in the process by which this formative moment gave rise to the ensuing regularities and structures.
     This rudimentary account—a stylized interpretation of certain central features of the history of the universe, such as contemporary cosmology represents it—distinguishes between relatively brief and formative moments of extreme density, kinetic energy, and temperature and the relatively long periods, subsequent to these moments, of lesser density, kinetic energy, and temperature, in which a universe is worked out. We have increasing reason to think that these formative moments of extreme density and temperature, resulting in a new universe, recur. (Roberto Mangabeira Unger, in Unger and Smolin 2015, 267-68)

Compare now a classical account, ultimately deriving from Greek cosmology, via Lucretius, as assimilated and retold (with the creationist additions which I am now asking to mentally delete) by the Christian tradition in which the universe is not eternal and everything in Nature has an origin—even the basic ingredients of nature, even the most basic laws and regularities. In Abraham Cowley's epic Davideis (c. 1640) we find an excursus on the role of music (read Pythagorean harmony, law or proportion) in the Universe. To my mind it reads, in some respects, like a versification of the previous passage from Roberto Mangabeira Unger:

 

Tell me, O Muse (for thou or none canst tell
The mystic powers that in blest numbers dwell,
Thou their great nature knowst, nor is it fit
This noblest gem of thine own crown to omit),
Tell me from whence these heavenly charms arise;
Teach the dull world t'admire what they despise.
     As first a various unformed hint we find
Rise in some godlike poet's fertile mind,
Till all the parts and words their places take,
And with just marches verse and music make,
Such was God's poem, this world's new essay;
So wild and rude in its first draught it lay;
Th' ungoverned parts no correspondence knew,
And artless war from thwarting motions grew;
Till they to number and fixed rules were brought
By the eternal mind's poetic thought.
Water and air he for the tenor chose,
Earth made the base, the treble flame arose;
To th' active moon a quick brisk stroke he gave,
To Saturn's string a touch more soft and grave.
The motions straight and round and swift and slow
And short and long were mixed and woven so,
Did in such artful figures smoothly fall,
As made this decent measured dance of all.
And this is music: sounds that charm our ears
Are but one dressing that rich science wears.
Though no man hear't, though no man it rehearse,
Yet will there still be music in my verse.

new turner


We find here an account of Chaos preceding not just the present objects and forms in the universe, but preceding order and law itself. Laws, in Cowley's view (mentally bar, I insist, the "Godlike creative mind" designing the creation) are emergent—they are produced in the course of creative evolution, just as the "elements" themselves. Note that while Cowley's view may seem naively creationist from the standopoint of twentieth century science, science under this paradigm might seem equally naive in assuming that its own elements (e.g. "iron", "carbon", "protons", "quarks") and its own laws ("the speed of light", "the law of gravitation") as well as any regularities, might be basic preexisting conditions and constants, exempt from emergence and evolution, rather than created and emergent (i.e. contingent) productions themselves, the result of the "chaotic" interaction of "thwarting motions".

I already compared Cowley's passage to the cosmological account presented in Andrew Lange's Segre Lecture, "How Did the Universe Begin". That is, we are not dealing here with matters of specific wording and mere coincidence, but with a persistently returning perspective on the nature of the universe, of order and of its necessary change—an evolutionary perspective which will keep returning because it reflects some of our deepest insights about the universe and its transcience.





—oOo—

Chaos and the Emergence of Order — at Ibercampus

Mi fotoblog

Mi fotoblog
se puede ver haciendo clic en la foto ésta de Termineitor. Y hay más enlaces a cosas mías al pie de esta página.