{"title":"Melville and the Vortex Theory of Matter","authors":"Paweł Stachura","doi":"10.4000/ejas.20759","DOIUrl":null,"url":null,"abstract":"The brief reference to the Cartesian vortex in Moby-Dick has already been discussed in numerous specialized articles, usually in terms of the history of ideas, e.g. in two articles by D. C. Leonard (1979; 1980). By itself, a vortex is an appropriate image for being immersed, obsessed, absorbed, and blended into objectivity, but the paper will focus on another, non-Cartesian vortex, which was emerging in the 1850s as the so-called vortex theory of matter. The point of this “hydrokinetic theory of matter” was that it was a “unitary continuum theory” of a “Universal Plenum,” conceived initially on the basis of Herman von Helmholtz’s work on hydrodynamics. In 1859, the German physicist demonstrated mathematically that stable vortex rings could exist indefinitely in a (theoretical) continuous elastic fluid, rather like the remarkably stable smoke rings blown by guns or as a smoking trick. For a time, the vortex atom was recognized as a very promising idea on the cutting edge of science. In literary fiction, the vortex atom translated into curious imagery of a claustrophobic universal plenum, matter and soul combined, organized by intermeshing vortices, and leaving no possible room for a hovering freedom in empty space. In a universe based on the vortex theory of matter, a subject is not in a vortex, but is itself a vortex, continuously meshing with other vortices, in a basket-like, tightly knit lattice that comprises everything. Melville’s imagery related to matter and vortices seems to be one of the early instances of the simultaneous fascination and dismay provoked by the vortex theory of matter in the second half of the nineteenth century, not among scientists, but among the non-scientific general audience. The article focuses on Clarel, comparing three different images of the vortex with imagery from contemporary popular scientific articles. Additional examples from Moby-Dick, Pierre, and Billy Budd are discussed as contexts illustrating the variety of meaning attached by Melville to the vortex.","PeriodicalId":54031,"journal":{"name":"European Journal of American Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.1000,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"European Journal of American Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4000/ejas.20759","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
The brief reference to the Cartesian vortex in Moby-Dick has already been discussed in numerous specialized articles, usually in terms of the history of ideas, e.g. in two articles by D. C. Leonard (1979; 1980). By itself, a vortex is an appropriate image for being immersed, obsessed, absorbed, and blended into objectivity, but the paper will focus on another, non-Cartesian vortex, which was emerging in the 1850s as the so-called vortex theory of matter. The point of this “hydrokinetic theory of matter” was that it was a “unitary continuum theory” of a “Universal Plenum,” conceived initially on the basis of Herman von Helmholtz’s work on hydrodynamics. In 1859, the German physicist demonstrated mathematically that stable vortex rings could exist indefinitely in a (theoretical) continuous elastic fluid, rather like the remarkably stable smoke rings blown by guns or as a smoking trick. For a time, the vortex atom was recognized as a very promising idea on the cutting edge of science. In literary fiction, the vortex atom translated into curious imagery of a claustrophobic universal plenum, matter and soul combined, organized by intermeshing vortices, and leaving no possible room for a hovering freedom in empty space. In a universe based on the vortex theory of matter, a subject is not in a vortex, but is itself a vortex, continuously meshing with other vortices, in a basket-like, tightly knit lattice that comprises everything. Melville’s imagery related to matter and vortices seems to be one of the early instances of the simultaneous fascination and dismay provoked by the vortex theory of matter in the second half of the nineteenth century, not among scientists, but among the non-scientific general audience. The article focuses on Clarel, comparing three different images of the vortex with imagery from contemporary popular scientific articles. Additional examples from Moby-Dick, Pierre, and Billy Budd are discussed as contexts illustrating the variety of meaning attached by Melville to the vortex.
在《白鲸》中对笛卡尔涡旋的简要引用已经在许多专门的文章中进行了讨论,通常是在思想史方面,例如在D. C. Leonard (1979;1980)。就漩涡本身而言,它是一种被沉浸、沉迷、吸收和融入客观事物的恰当形象,但本文将重点关注另一种非笛卡尔漩涡,它出现在19世纪50年代,即所谓的物质漩涡理论。这个“物质的流体动力学理论”的要点在于,它是一个“普遍全会”的“统一连续统理论”,最初是在赫尔曼·冯·亥姆霍兹关于流体动力学的工作的基础上构想出来的。1859年,这位德国物理学家用数学方法证明了稳定的旋涡环可以在(理论上)连续的弹性流体中无限期地存在,就像用枪吹出的非常稳定的烟圈或吸烟戏法一样。有一段时间,涡旋原子被认为是科学前沿的一个非常有前途的想法。在文学小说中,漩涡原子被翻译成一个幽闭恐怖的宇宙全体会议的奇特意象,物质和灵魂结合在一起,由相互交织的漩涡组织起来,在空旷的空间里不给盘旋的自由留下任何可能的空间。在一个基于物质涡旋理论的宇宙中,一个主体并不在涡旋中,但它本身就是一个涡旋,不断地与其他涡旋啮合,形成一个篮状的、紧密编织的晶格,包含了一切。梅尔维尔关于物质和漩涡的意象似乎是19世纪下半叶物质漩涡理论同时引起的迷恋和沮丧的早期例子之一,不是在科学家中,而是在非科学的普通观众中。本文以Clarel为中心,将三种不同的漩涡图像与当代科普文章中的图像进行比较。《白鲸记》、《皮埃尔》和《比利·巴德》中的其他例子被讨论为梅尔维尔赋予漩涡的各种意义的上下文。