HARMONICS OF HISTORY
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crimsoncurrentSince history, astrology, and numerology reflect higher orders of
creation, no one of them proceeds from another. Each is the manifes¬
tation of a higher principle; but when they reflect the same principle,
then one may shed light on another. For example, the fact that the
Egyptian civilization was Cancerian helps us to understand the inner
purpose of this civilization; but at the same time the study of the
Egyptian character may help us further to grasp the nature of the
Cancerian principle.
The study of harmonics in history opens windows on the beauty of
creation. It sharpens the essential correspondence between number
and form. It strengthens our grasp of the logical order of evolution,
and advances our intimations of the relationship between human will
and historical principle. For man’s choices do indeed affect the
particular forms of historical expression, even though there is no
justification for assuming that they change the course of history.
Man’s creative imagination and practical application give form to the
possibilities tossed up by the river of history.
In the end there is no problem of determination versus free will;
there is only the appearance of such a problem, arising from the
limitations of our grasp of the relation between historical process and
man’s role within it. Historical process operates according to strict
law, to which there are no exceptions and from which there is no
appeal. History produces changing possibilities, within which man is
given room to operate. Surely man is responsible for the creation of
particular social and artistic forms—but this should not lead him to
suppose he can create whatever he fancies. Michelangelo could create
sculpture undreamt of by anyone else, but he could not have created
worthwhile sculpture in Romanesque or Egyptian style.
xviii
HARMONICS OF HISTORY
The individual forms of history are not pre-ordained, but its direc¬
tion and purposes are. We live in a lawful universe: Why should
historical process be exempt when physical or natural process is not?
But man, having free will, is given a certain choice within these lawful
operations: He is allowed to employ his imagination and reason
within the range of opportunities available at the given stage of
historical development. So the operation of human genius does
determine the particular forms and meanings whose chronicle we
recount under the name of history. Human genius is a function of the
human spirit, and can choose—not any way it likes, but at least
between this way and that way. Fritz Novotny nicely summed the
situation in saying, “Naturally, I am not thinking of a ‘blind’ law of
development, and I shall avoid saying that it had to come. For being a
matter of the history of spirit, it could surely have been different. But
since it took place as it did, we must note that a highly con
giza sarcophagus
. After clearing the deep shaft filled with limestone debris, the burial chamber containing the sarcophagus and other grave goods was reached and ENTERED on March 9, 1925. The sarcophagus was sealed but empty upon opening (in 1927), though the tomb yielded remarkable artifacts like gilded furniture, jewelry, and a canopic chest, providing key insights into Old Kingdom royal burials.
3 sources
creation, no one of them proceeds from another. Each is the manifes¬
tation of a higher principle; but when they reflect the same principle,
then one may shed light on another. For example, the fact that the
Egyptian civilization was Cancerian helps us to understand the inner
purpose of this civilization; but at the same time the study of the
Egyptian character may help us further to grasp the nature of the
Cancerian principle.
The study of harmonics in history opens windows on the beauty of
creation. It sharpens the essential correspondence between number
and form. It strengthens our grasp of the logical order of evolution,
and advances our intimations of the relationship between human will
and historical principle. For man’s choices do indeed affect the
particular forms of historical expression, even though there is no
justification for assuming that they change the course of history.
Man’s creative imagination and practical application give form to the
possibilities tossed up by the river of history.
In the end there is no problem of determination versus free will;
there is only the appearance of such a problem, arising from the
limitations of our grasp of the relation between historical process and
man’s role within it. Historical process operates according to strict
law, to which there are no exceptions and from which there is no
appeal. History produces changing possibilities, within which man is
given room to operate. Surely man is responsible for the creation of
particular social and artistic forms—but this should not lead him to
suppose he can create whatever he fancies. Michelangelo could create
sculpture undreamt of by anyone else, but he could not have created
worthwhile sculpture in Romanesque or Egyptian style.
xviii
HARMONICS OF HISTORY
The individual forms of history are not pre-ordained, but its direc¬
tion and purposes are. We live in a lawful universe: Why should
historical process be exempt when physical or natural process is not?
But man, having free will, is given a certain choice within these lawful
operations: He is allowed to employ his imagination and reason
within the range of opportunities available at the given stage of
historical development. So the operation of human genius does
determine the particular forms and meanings whose chronicle we
recount under the name of history. Human genius is a function of the
human spirit, and can choose—not any way it likes, but at least
between this way and that way. Fritz Novotny nicely summed the
situation in saying, “Naturally, I am not thinking of a ‘blind’ law of
development, and I shall avoid saying that it had to come. For being a
matter of the history of spirit, it could surely have been different. But
since it took place as it did, we must note that a highly con
giza sarcophagus
. After clearing the deep shaft filled with limestone debris, the burial chamber containing the sarcophagus and other grave goods was reached and ENTERED on March 9, 1925. The sarcophagus was sealed but empty upon opening (in 1927), though the tomb yielded remarkable artifacts like gilded furniture, jewelry, and a canopic chest, providing key insights into Old Kingdom royal burials.
3 sources