☇ ☈ ☍ ☊ ☩
You have been invaded by the freezine of fantasy
and science fiction. You no longer need to sub-
scribe, for we are already subscribed to you.


Tuesday, June 28, 2022

FLATLAND | Section 6

by A Square  




Section 6. Of Recognition by Sight


I am about to appear very inconsistent. In previous sections I have said that all figures in Flatland present the appearance of a straight line; and it was added or implied, that it is consequently impossible to distinguish by the visual organ between individuals of different classes: yet now I am about to explain to my Spaceland critics how we are able to recognize one another by the sense of sight.

If however the Reader will take the trouble to refer to the passage in which Recognition by Feeling is stated to be universal, he will find this qualification—"among the lower classes". It is only among the higher classes and in our temperate climates that Sight Recognition is practiced.

That this power exists in any regions and for any classes is the result of Fog; which prevails during the greater part of the year in all parts save the torrid zones. That which is with you in Spaceland an unmixed evil, blotting out the landscape, depressing the spirits, and enfeebling the health, is by us recognized as a blessing scarcely inferior to air itself, and as the Nurse of arts and Parent of sciences. But let me explain my meaning, without further eulogies on this beneficent Element.

If Fog were non-existent, all lines would appear equally and indistinguishably clear; and this is actually the case in those unhappy countries in which the atmosphere is perfectly dry and transparent. But wherever there is a rich supply of Fog objects that are at a distance, say of three feet, are appreciably dimmer than those at a distance of two feet eleven inches; and the result is that by careful and constant experimental observation of comparative dimness and clearness, we are enabled to infer with great exactness the configuration of the object observed.

An instance will do more than a volume of generalities to make my meaning clear.

Suppose I see two individuals approaching whose rank I wish to ascertain. They are, we will suppose, a Merchant and a Physician, or in other words, an Equilateral Triangle and a Pentagon: how am I to distinguish them?


003


It will be obvious, to every child in Spaceland who has touched the threshold of Geometrical Studies, that, if I can bring my eye so that its glance may bisect an angle (A) of the approaching stranger, my view will lie as it were evenly between his two sides that are next to me (viz. CA and AB), so that I shall contemplate the two impartially, and both will appear of the same size.

Now in the case of (1) the Merchant, what shall I see? I shall see a straight line DAE, in which the middle point (A) will be very bright because it is nearest to me; but on either side the line will shade away RAPIDLY INTO DIMNESS, because the sides AC and AB RECEDE RAPIDLY INTO THE FOG and what appear to me as the Merchant's extremities, viz. D and E, will be VERY DIM INDEED.

On the other hand in the case of (2) the Physician, though I shall here also see a line (D'A'E') with a bright center (A'), yet it will shade away LESS RAPIDLY into dimness, because the sides (A'C', A'B') RECEDE LESS RAPIDLY INTO THE FOG: and what appear to me the Physician's extremities, viz. D' and E', will not be NOT SO DIM as the extremities of the Merchant.

The Reader will probably understand from these two instances how—after a very long training supplemented by constant experience—it is possible for the well-educated classes among us to discriminate with fair accuracy between the middle and lowest orders, by the sense of sight. If my Spaceland Patrons have grasped this general conception, so far as to conceive the possibility of it and not to reject my account as altogether incredible—I shall have attained all I can reasonably expect. Were I to attempt further details I should only perplex. Yet for the sake of the young and inexperienced, who may perchance infer—from the two simple instances I have given above, of the manner in which I should recognize my Father and my Sons—that Recognition by sight is an easy affair, it may be needful to point out that in actual life most of the problems of Sight Recognition are far more subtle and complex.

If for example, when my Father, the Triangle, approaches me, he happens to present his side to me instead of his angle, then, until I have asked him to rotate, or until I have edged my eye round him, I am for the moment doubtful whether he may not be a Straight Line, or, in other words, a Woman. Again, when I am in the company of one of my two hexagonal Grandsons, contemplating one of his sides (AB) full front, it will be evident from the accompanying diagram that I shall see one whole line (AB) in comparative brightness (shading off hardly at all at the ends) and two smaller lines (CA and BD) dim throughout and shading away into greater dimness towards the extremities C and D.


004


But I must not give way to the temptation of enlarging on these topics. The meanest mathematician in Spaceland will readily believe me when I assert that the problems of life, which present themselves to the well-educated—when they are themselves in motion, rotating, advancing or retreating, and at the same time attempting to discriminate by the sense of sight between a number of Polygons of high rank moving in different directions, as for example in a ball-room or conversazione—must be of a nature to task the angularity of the most intellectual, and amply justify the rich endowments of the Learned Professors of Geometry, both Static and Kinetic, in the illustrious University of Wentbridge, where the Science and Art of Sight Recognition are regularly taught to large classes of the ELITE of the States.

It is only a few of the scions of our noblest and wealthiest houses, who are able to give the time and money necessary for the thorough prosecution of this noble and valuable Art. Even to me, a Mathematician of no mean standing, and the Grandfather of two most hopeful and perfectly regular Hexagons, to find myself in the midst of a crowd of rotating Polygons of the higher classes, is occasionally very perplexing. And of course to a common Tradesman, or Serf, such a sight is almost as unintelligible as it would be to you, my Reader, were you suddenly transported into our country.

In such a crowd you could see on all sides of you nothing but a Line, apparently straight, but of which the parts would vary irregularly and perpetually in brightness or dimness. Even if you had completed your third year in the Pentagonal and Hexagonal classes in the University, and were perfect in the theory of the subject, you would still find that there was need of many years of experience, before you could move in a fashionable crowd without jostling against your betters, whom it is against etiquette to ask to "feel", and who, by their superior culture and breeding, know all about your movements, while you know very little or nothing about theirs. In a word, to comport oneself with perfect propriety in Polygonal society, one ought to be a Polygon oneself. Such at least is the painful teaching of my experience.

It is astonishing how much the Art—or I may almost call it instinct—of Sight Recognition is developed by the habitual practice of it and by the avoidance of the custom of "Feeling". Just as, with you, the deaf and dumb, if once allowed to gesticulate and to use the hand-alphabet, will never acquire the more difficult but far more valuable art of lipspeech and lip-reading, so it is with us as regards "Seeing" and "Feeling". None who in early life resort to "Feeling" will ever learn "Seeing" in perfection.

For this reason, among our Higher Classes, "Feeling" is discouraged or absolutely forbidden. From the cradle their children, instead of going to the Public Elementary schools (where the art of Feeling is taught), are sent to higher Seminaries of an exclusive character; and at our illustrious University, to "feel" is regarded as a most serious fault, involving Rustication for the first offence, and Expulsion for the second.

But among the lower classes the art of Sight Recognition is regarded as an unattainable luxury. A common Tradesman cannot afford to let his son spend a third of his life in abstract studies. The children of the poor are therefore allowed to "feel" from their earliest years, and they gain thereby a precocity and an early vivacity which contrast at first most favorably with the inert, undeveloped, and listless behavior of the half-instructed youths of the Polygonal class; but when the latter have at last completed their University course, and are prepared to put their theory into practice, the change that comes over them may almost be described as a new birth, and in every art, science, and social pursuit they rapidly overtake and distance their Triangular competitors.

Only a few of the Polygonal Class fail to pass the Final Test or Leaving Examination at the University. The condition of the unsuccessful minority is truly pitiable. Rejected from the higher class, they are also despised by the lower. They have neither the matured and systematically trained powers of the Polygonal Bachelors and Masters of Arts, nor yet the native precocity and mercurial versatility of the youthful Tradesman. The professions, the public services, are closed against them; and though in most States they are not actually debarred from marriage, yet they have the greatest difficulty in forming suitable alliances, as experience shews that the offspring of such unfortunate and ill-endowed parents is generally itself unfortunate, if not positively Irregular.

It is from these specimens of the refuse of our Nobility that the great Tumults and Seditions of past ages have generally derived their leaders; and so great is the mischief thence arising that an increasing minority of our more progressive Statesmen are of opinion that true mercy would dictate their entire suppression, by enacting that all who fail to pass the Final Examination of the University should be either imprisoned for life, or extinguished by a painless death.

But I find myself digressing into the subject of Irregularities, a matter of such vital interest that it demands a separate section.





No comments:

Post a Comment

Archive of Stories
and Authors

Callum Leckie's
THE DIGITAL DECADENT


J.R. Torina's
ANTHROPOPHAGUS


J.R. Torina's
THE HOUSE IN THE PORT


J.R. Torina was DJ for Sonic Slaughter-
house ('90-'97), runs Sutekh Productions
(an industrial-ambient music label) and
Slaughterhouse Records (metal record
label), and was proprietor of The Abyss
(a metal-gothic-industrial c.d. shop in
SLC, now closed). He is the dark force
behind Scapegoat (an ambient-tribal-
noise-experimental unit). THE HOUSE
IN THE PORT is his first publication.

Sean Padlo's
NINE TENTHS OF THE LAW

Sean Padlo's
GRANDPA'S LAST REQUEST

Sean Padlo's exact whereabouts
are never able to be fully
pinned down, but what we
do know about him is laced
with the echoes of legend.
He's already been known
to haunt certain areas of
the landscape, a trick said
to only be possible by being
able to manipulate it from
the future. His presence
among the rest of us here
at the freezine sends shivers
of wonder deep in our solar plexus.


Konstantine Paradias & Edward
Morris's HOW THE GODS KILL


Konstantine Paradias's
SACRI-FEES

Konstantine Paradias is a writer by
choice. At the moment, he's published
over 100 stories in English, Japanese,
Romanian, German, Dutch and
Portuguese and has worked in a free-
lancing capacity for videogames, screen-
plays and anthologies. People tell him
he's got a writing problem but he can,
like, quit whenever he wants, man.
His work has been nominated
for a Pushcart Prize.

Edward Morris's
ONE NIGHT IN MANHATTAN


Edward Morris's
MERCY STREET

Edward Morris is a 2011 nominee for
the Pushcart Prize in literature, has
also been nominated for the 2009
Rhysling Award and the 2005 British
Science Fiction Association Award.
His short stories have been published
over a hundred and twenty times in
four languages, most recently at
PerhihelionSF, the Red Penny Papers'
SUPERPOW! anthology, and The
Magazine of Bizarro Fiction. He lives
and works in Portland as a writer,
editor, spoken word MC and bouncer,
and is also a regular guest author at
the H.P. Lovecraft Film Festival.


Tim Fezz's
BURNT WEENY SANDWICH

Tim Fezz's
MANY SILVERED MOONS AGO

Tim Fezz hails out of the shattered
streets of Philly destroying the air-
waves and people's minds in the
underground with his band OLD
FEZZIWIG. He's been known to
dip his razor quill into his own
blood and pen a twisted tale
every now and again. We are
delighted to have him onboard
the FREEZINE and we hope
you are, too.

Daniel E. Lambert's
DEAD CLOWN AND MAGNET HEAD


Daniel E. Lambert teaches English
at California State University, Los
Angeles and East Los Angeles College.
He also teaches online Literature
courses for Colorado Technical
University. His writing appears
in Silver Apples, Easy Reader,
Other Worlds, Wrapped in Plastic
and The Daily Breeze. His work
also appears in the anthologies
When Words Collide, Flash It,
Daily Flash 2012, Daily Frights
2012, An Island of Egrets and
Timeless Voices. His collection
of poetry and prose, Love and
Other Diversions, is available
through Amazon. He lives in
Southern California with his
wife, poet and author Anhthao Bui.

Phoenix's
AGAIN AND AGAIN

Phoenix has enjoyed writing since he
was a little kid. He finds much import-
ance and truth in creative expression.
Phoenix has written over sixty books,
and has published everything from
novels, to poetry and philosophy.
He hopes to inspire people with his
writing and to ask difficult questions
about our world and the universe.
Phoenix lives in Salt Lake City, Utah,
where he spends much of his time
reading books on science, philosophy,
and literature. He spends a good deal
of his free time writing and working
on new books. The Freezine of Fant-
asy and Science Fiction welcomes him
and his unique, intense vision.
Discover Phoenix's books at his author
page on Amazon. Also check out his blog.

Adam Bolivar's
SERVITORS OF THE
OUTER DARKNESS


Adam Bolivar's
THE DEVIL & SIR
FRANCIS DRAKE



Adam Bolivar's
THE TIME-EATER


Adam Bolivar is an expatriate Bostonian
who has lived in New Orleans and Berkeley,
and currently resides in Portland, Oregon
with his beloved wife and fluffy gray cat
Dahlia. Adam wears round, antique glasses
and has a fondness for hats. His greatest
inspirations include H.P. Lovecraft,
Jack tales and coffee. He has been
a Romantic poet for as long as any-
one can remember, specializing in
the composition of spectral balladry,
utilizing to great effect a traditional
poetic form that taps into the haunted
undercurrents of folklore seldom found
in other forms of writing.
His poetry has appeared on the pages
of such publications as SPECTRAL
REALMS and BLACK WINGS OF
CTHULHU, and a poem of his,
"The Rime of the Eldritch Mariner,"
won the Rhysling Award for long-form
poetry. His collection of weird balladry
and Jack tales, THE LAY OF OLD HEX,
was published by Hippocampus Press in 2017.


Sanford Meschkow's
INEVITABLE

Sanford Meschkow is a retired former
NYer who married a Philly suburban
Main Line girl. Sanford has been pub-
lished in a 1970s issue of AMAZING.
We welcome him here on the FREE-
ZINE of Fantasy and Science Fiction.


Owen R. Powell's
NOETIC VACATIONS

Little is known of the mysterious
Owen R. Powell (oftentimes referred
to as Orp online). That is because he
usually keeps moving. The story
Noetic Vacations marks his first
appearance in the Freezine.

Gene Stewart
(writing as Art Wester)
GROUND PORK


Gene Stewart's
CRYPTID'S LAIR

Gene Stewart is a writer and artist.
He currently lives in the Midwest
American Wilderness where he is
researching tales of mystical realism,
writing ficta mystica, and exploring
the dark by casting a little light into
the shadows. Follow this link to his
website where there are many samples
of his writing and much else; come
explore.

Daniel José Older's
GRAVEYARD WALTZ


Daniel José Older's
THE COLLECTOR


Daniel José Older's spiritually driven,
urban storytelling takes root at the
crossroads of myth and history.
With sardonic, uplifting and often
hilarious prose, Older draws from
his work as an overnight 911 paramedic,
a teaching artist & an antiracist/antisexist
organizer to weave fast-moving, emotionally
engaging plots that speak whispers and
shouts about power and privilege in
modern day New York City. His work
has appeared in the Freezine of Fantasy
and Science Fiction, The ShadowCast
Audio Anthology, The Tide Pool, and
the collection Sunshine/Noir, and is
featured in Sheree Renee Thomas'
Black Pot Mojo Reading Series in Harlem.
When he's not writing, teaching or
riding around in an ambulance,
Daniel can be found performing with
his Brooklyn-based soul quartet
Ghost Star. His blog about the
ridiculous and disturbing world
of EMS can be found here.


Paul Stuart's
SEA?TV!


Paul Stuart is the author of numerous
biographical blurbs written in the third
person. His previously published fiction
appears in The Vault of Punk Horror and
His non-fiction financial pieces can be found
in a shiny, west-coast magazine that features
pictures of expensive homes, as well as images
of women in casual poses and their accessories.
Consider writing him at paul@twilightlane.com,
if you'd like some thing from his garage. In fall
2010, look for Grade 12 Trigonometry and
Pre-Calculus -With Zombies.


Rain Grave's
MAU BAST


Rain Graves is an award winning
author of horror, science fiction and
poetry. She is best known for the 2002
Poetry Collection, The Gossamer Eye
(along with Mark McLaughlin and
David Niall Wilson). Her most
recent book, Barfodder: Poetry
Written in Dark Bars and Questionable
Cafes, has been hailed by Publisher's
Weekly as "Bukowski meets Lovecraft..."
in January of 2009. She lives and
writes in San Francisco, performing
spoken word at events around the
country. 877-DRK-POEM -




Blag Dahlia's
armed to the teeth
with LIPSTICK



BLAG DAHLIA is a Rock Legend.
Singer, Songwriter, producer &
founder of the notorious DWARVES.
He has written two novels, ‘NINA’ and
‘ARMED to the TEETH with LIPSTICK’.


G. Alden Davis's
THE FOLD


G. Alden Davis wrote his first short story
in high school, and received a creative
writing scholarship for the effort. Soon
afterward he discovered that words were
not enough, and left for art school. He was
awarded the Emeritus Fellowship along
with his BFA from Memphis College of Art
in '94, and entered the videogame industry
as a team leader and 3D artist. He has over
25 published games to his credit. Mr. Davis
is a Burningman participant of 14 years,
and he swings a mean sword in the SCA.
He's also the best friend I ever had. He
was taken away from us last year on Jan
25 and I'll never be able to understand why.
Together we were a fantastic duo, the
legendary Grub Bros. Our secret base
exists on a cross-hatched nexus between
the Year of the Dragon and Dark City.
Somewhere along the tectonic fault
lines of our electromagnetic gathering,
shades of us peel off from the coruscating
pillars and are dropped back into the mix.
The phrase "rest in peace" just bugs me.
I'd rather think that Greg Grub's inimitable
spirit somehow continues evolving along
another manifestation of light itself, a
purple shift shall we say into another
phase of our expanding universe. I
ask myself, is it wishful thinking?
Will we really shed our human skin
like a discarded chrysalis and emerge
shimmering on another wavelength
altogether--or even manifest right
here among the rest without their
even beginning to suspect it? Well
people do believe in ghosts, but I
myself have long been suspicious
there can only be one single ghost
and that's all the stars in the universe
shrinking away into a withering heart
glittering and winking at us like
lost diamonds still echoing all their
sad and lonely songs fallen on deaf
eyes and ears blind to their colorful
emanations. My grub brother always
knew better than what the limits
of this old world taught him. We
explored past the outer peripheries
of our comfort zones to awaken
the terror in our minds and keep
us on our toes deep in the forest
in the middle of the night. The owls
led our way and the wilderness
transformed into a sanctuary.
The adventures we shared together
will always remain tattooed on
the pages of my skin. They tell a
story that we began together and
which continues being woven to
this very day. It's the same old
story about how we all were in
this together and how each and
every one of us is also going away
someday and though it will be the far-
thest we can manage to tell our own
tale we may rest assured it will be
continued like one of the old pulp
serials by all our friends which survive
us and manage to continue
the saga whispering in the wind.

Shae Sveniker's
A NEW METAPHYSICAL STUDY
REGARDING THE BEHAVIOR
OF PLANT LIFE


Shae is a poet/artist/student and former
resident of the Salt Pit, UT, currently living
in Simi Valley, CA. His short stories are on
Blogger and his poetry is hosted on Livejournal.


Nigel Strange's
PLASTIC CHILDREN


Nigel Strange lives with his wife and
daughter, cats, and tiny dog-like thing
in their home in California where he
occasionally experiments recreationally
with lucidity. PLASTIC CHILDREN
is his first publication.