“My God, you’re not bleeding the humour from your eyeball—?”
“Look more carefully!” Isaac snapped. “Observe—don’t imagine.”
“I can’t bear it.”
“The needle is not piercing anything—the orb is perfectly intact. Come and see!”
Daniel approached, one hand clamped over his mouth as if he were abducting himself—he did not want to vomit on the open Waste-Book where Isaac was taking notes with his free hand. Upon a closer look he saw that Isaac had inserted the darning needle not into the eyeball itself but into the lubricated bearing where the orb rotated in its socket—he must’ve simply pulled his lower eyelid way down and probed between it and the eyeball until he’d found a way in. “The needle is blunt—it is perfectly harmless,” Isaac grunted. “If I could trouble you for a few minutes’ assistance?”
Now supposedly Daniel was a student, attending lectures and studying the works of Aristotle and Euclid. But in fact, he had over the last year become the one thing, aside from the Grace of God, keeping Isaac Newton alive. He’d long since stopped asking him such annoying, pointless questions as “Can you remember the last time you put food into your mouth” or “Don’t you suppose that a nap of an hour or two, once a night, might be good?” The only thing that really worked was to monitor Isaac until he physically collapsed on the table, then haul him into bed, like a graverobber transporting his goods, then pursue his own studies nearby and keep on eye on him until consciousness began to return, and then, during the moments when Isaac still didn’t know what day it was, and hadn’t gone off on some fresh train of thought, shove milk and bread at him so he wouldn’t starve all the way to death. He did all of this voluntarily—sacrificing his own education, and making a burnt offering of Drake’s tuition payments—because he considered it his Christian duty. Isaac, still in theory his sizar, had become his master, and Daniel the attentive servant. Of course Isaac was completely unaware of all Daniel’s efforts—which only made it a more perfect specimen of Christlike self-abnegation. Daniel was like one of those Papist fanatics who, after they died, were found to’ve been secretly wearing hair shirts underneath their satin vestments.
“The diagram may give you a better comprehension of the design of tonight’s experiment,” Isaac said. He’d drawn a cross-sectional view of eyeball, hand, and darning needle in his Waste Book. It was the closest thing to a work of art he had produced since the strange events of Whitsunday last year—since that date, only equations had flowed from his pen.
“May I ask why you are doing this?”
“Theory of Colors is part of the Program,” Isaac said—referring (Daniel knew) to a list of philosophical questions Isaac had recently written out in his Waste Book, and the studies he had pursued, entirely on his own, in hopes of answering them. Between the two young men in this room—Newton with his Program and Waterhouse with his God-given responsibility to keep the other from killing himself—neither had attended a single lecture, or had any contact with actual members of the faculty, in over a year. Isaac continued, “I’ve been reading Boyle’s latest—Experiments and Considerations Touching Colors—and it occurred to me: he uses his eyes to make all of his observations—his eyes are therefore instruments, like telescopes—but does he really understand how those instruments work? An astronomer who did not understand his lenses would be a poor philosopher indeed.”
Daniel might have said any number of things then, but what came out was, “How may I assist you?” And it was not just being a simpering toady. He was, for a moment, gobsmacked by the sheer presumption of a mere student, twenty-one years old, with no degree, calling into question the great Boyle’s ability to make simple observations. But in the next moment it occurred to Daniel for the first time: What if Newton was right, and all the others wrong? It was a difficult thing to believe. On the other hand, he wanted to believe it, because if it were true, it meant that in failing to attend so many lectures he had missed precisely nothing, and in acting as Newton’s manservant he was getting the best education in natural philosophy a man could ever have.
“I need you to draw a reticule on a leaf of paper and then hold it up at various measured distances from my cornea—as you do, I’ll move the darning needle up and down—creating greater and lesser distortions in the shape of my eyeball—I say, I’ll do that with one hand, and take notes of what I see with the other.”
So the night proceeded—by sunrise, Isaac Newton knew more about the human eye than anyone who had ever lived, and Daniel knew more than anyone save Isaac. The experiment could have been performed by anyone. Only one person had actually done it, however. Newton pulled the needle out of his eye, which was bloodred, and swollen nearly shut. He turned to another part of the Waste Book and began wrestling with some difficult math out of Cartesian analysis while Daniel stumbled downstairs and went to church. The sun turned the stained-glass windows of the chapel into matrices of burning jewels.
Daniel saw in a way he’d never seen anything before: his mind was a homunculus squatting in the middle of his skull, peering out through good but imperfect telescopes and listening horns, gathering observations that had been distorted along the way, as a lens put chromatic aberrations into all the light that passed through it. A man who peered out at the world through a telescope would assume that the aberration was real, that the stars actually looked like that—what false assumptions, then, had natural philosophers been making about the evidence of their senses, until last night? Sitting in the gaudy radiance of those windows hearing the organ play and the choir sing, his mind pleasantly intoxicated from exhaustion, Daniel experienced a faint echo of what it must be like, all the time, to be Isaac Newton: a permanent ongoing epiphany, an endless immersion in lurid radiance, a drowning in light, a ringing of cosmic harmonies in the ears.
Aboard Minerva, Massachusetts Bay
OCTOBER 1713
DANIEL BECOMES AWARE that someone is standing over him as he lies on the deck: a stubby red-headed and -bearded man with a lit cigar in his mouth, and spectacles with tiny circular lenses: it’s van Hoek, the captain, just checking to see whether his passenger will have to be buried at sea tomorrow. Daniel sits up, finally, and introduces himself, and van Hoek says very little—probably pretending to know less English than he really does, so Daniel won’t be coming to his cabin and pestering him at all hours. He leads Daniel aft along Minerva’s main deck (which is called the upperdeck, even though, at the ends of the ship, there other other decks above it) and up a staircase to the quarterdeck and shows him to a cabin. Even van Hoek, who can be mistaken for a stout ten-year-old if you see him from behind, has to crouch to avoid banging his head on the subtly arched joists that support the poop deck overhead. He raises one arm above his head and steadies himself against a low beam—touching it not with a hand, but a brass hook.
Even though small and low ceilinged, the cabin is perfectly all right—a chest, a lantern, and a bed consisting of a wooden box containing a canvas sack stuffed with straw. The straw is fresh, and its aroma will continue to remind Daniel of the green fields of Massachusetts all the way to England. Daniel strips off just a few items of clothing, curls up, and sleeps.
When he wakes up, the sun is in his eyes. The cabin has a small window (its forward bulkhead is deeply sheltered under the poop deck and so it is safe to put panes of glass there). And since they are sailing eastwards, the rising sun shines into it directly—along the way, it happens to beam directly through the huge spoked wheel by which the ship is steered. This is situated just beneath the edge of that same poop deck so that the steersman can take shelter from the weather while enjoying a clear view forward down almost the entire length of Minerva. At the moment, loops of rope have been cast over a couple of the handles at the ends of the wheel’s spokes and tied down to keep the rudder fixed in one position. No one is at the wheel, and it’s neatly dividing the red disk of the rising sun into sectors.
College of the Holy and Undivided Trinity, Cambridge
1664
IN THE GREAT COURT of Trinity there was a sundial Isaac Newton didn’t like: a flat disk divided by labeled spokes with a gnomon angling up from the center, naïvely copied from Roman designs, having a certain Classical elegance, and always wrong. Newton was constructing a sundial on a south-facing wall, using, as gnomon, a slender rod with a ball on the end. Every sunny day the ball’s shadow would trace a curve across the wall—a slightly different curve every day, because the tilt of the earth’s axis slowly changed through the seasons. That sheaf of curves made a fine set of astronomical data but not a usable timepiece. To tell time, Isaac (or his faithful assistant, Daniel Waterhouse) had to make a little crosstick at the place the gnomon’s shadow stood when Trinity’s bell (always just a bit out of synchronization with King’s) rang each of the day’s hours. In theory, after 365 repetitions of this daily routine, each of the curves would be marked with ticks for 8:00 A.M., 9:00 A.M., and so on. By connecting those ticks—drawing a curve that passed through all of the eight o’clock ticks, another through all of the nine o’clock ticks, and so on—Isaac produced a second family of curves, roughly parallel to one another and roughly perpendicular to the day curves.
One evening, about two hundred days and over a thousand crossticks into this procedure, Daniel asked Isaac why he found sundials so interesting. Isaac got up, fled the room, and ran off in the direction of the Backs. Daniel let him be for a couple of hours and then went out looking for him. Eventually, at about two o’clock in the morning, he found Isaac standing in the middle of Jesus Green, contemplating his own long shadow in the light of a full moon.
“It was a sincere request for information—nothing more—I want you to convey to me whatever it is about sundials I’ve been too thickheaded to find very interesting.”
This seemed to calm Isaac down, though he did not apologize for having thought the worst about Daniel. He said something along the lines of: “Heavenly radiance fills the æther, its rays parallel and straight and, so long as nothing is there to interrupt them, invisible. The secrets of God’s creation are all told by those rays, but told in a language we do not understand, or even hear—the direction from which they shine, the spectrum of colors concealed within the light, these are all characters in a cryptogram. The gnomon—look at our shadows on the Green! We are the gnomon. We interrupt that light and we are warmed and illuminated by it. By stopping the light, we destroy part of the message without understanding it. We cast a shadow, a hole in the light, a ray of darkness that is shaped like ourselves—some might say that it contains no information save the profile of our own forms—but they are wrong. By recording the stretching and skewing of our shadows, we can attain part of the knowledge hidden in the cryptogram. All we need to make the necessary observations is a fixed regular surface—a plane—against which to cast the shadow. Descartes gave us the plane.”
And so from then onwards Daniel understood that the point of this grueling sundial project was not merely to plot the curves, but to understand why each curve was shaped as it was. To put it another way, Isaac wanted to be able to walk up to a blank wall on a cloudy day, stab a gnomon into it, and draw all of the curves simply by knowing where the shadow would pass. This was the same thing as knowing where the sun would be in the sky, and that was the same as knowing where the earth was in its circuit around the sun, and in its daily rotation.
Though, as months went on, Daniel understood that Isaac wanted to be able to do the same thing even if the blank wall happened to be situated on, say, the moon that Christian Huygens had lately discovered revolving around Saturn.
Exactly how this might be accomplished was a question with ramifications that extended into such fields as: Would Isaac (and Daniel, for that matter) be thrown out of Trinity College? Were the Earth, and all the works of Man, nearing the end of a long relentless decay that had begun with the expulsion from Eden and that would very soon culminate in the Apocalypse? Or might things actually be getting better, with the promise of continuing to do so? Did people have souls? Did they have Free Will?
Aboard Minerva, Massachusetts Bay
OCTOBER 1713
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 ONTO the 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 shipwreck. 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 cœlestial 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—cœlestial 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.
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