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1、FromDivineordertoHumanapproximation:MathematicsinBaroqueScienceDraftOferGalUniversityofSydney1.BaroqueScience?Forcefulandoccasionallyforcedparadox;violentcontrast;relianceonsensualdetail,particularlycolorandtouch,toindicatemoralconditionandreligioustheme;deliberatedistortionofre
2、gularstructurestoproducetheasymmetriceffectofbaroqueart;andunityofthoughtmoredependentonimagerythanonlogic.(Whiteetal.,Seventeenth-CenturyVerseandProse,Vol.1;391)ThesearethewordsusedbytheMacmillan’santhologyofseventeenth-centuryliteraturetodescribethewritingofRichardCrashaw(b.16
3、12or13,d.1649),apoetofturbulentlifeandmodest,thoughnotcompletelynegligiblerepute.Theyareinterestingfortworeasons.First,becauseCrashawisthedefinitive‘Baroque’Englishpoet.Literallyso;hereistheverydefinitionof“baroque”inHollanderandKermode’sTheLiteratureofRenaissanceEngland:22(1)or
4、iginally(andstill),anoddlyshapedratherthanasphericalpearl,andhencesomethingtwisted,contorted,involuted.(2)Byacomplicatedanalogy,atermdesignatingstylisticperiodsinart,musicandliteratureduringthe16thand17thcenturiesinEurope.Theanalogiesamongthearts[continueHollanderandKermode]aref
5、requentlystrained,andthestylisticperiodsbynomeanscompletelycoincide.ButtherelationbetweenthepoetryofRichardCrashawinEnglishandLatin,andthesculptureandarchitectureofGianlorenzoBernini(1598-1680),isfrequentlytakentotypifythespiritoftheBaroque.”(HollanderandKermode,TheLiteratureofR
6、enaissanceEngland;1049)Secondly,thewordsusedtocharacterizeCrashaw’sstyleareinterestingbecausetheyrepresentanexactmirrorimageofwhatweareaccustomedtothinkofthegreatculturalachievementofCrashaw’slifetime—theNewScience:“Forcefulandoccasionallyforcedparadox”isaclearoppositeofthestric
7、tlogicalcoherenceadvocatedbytheideologuesofthenewphilosophy;“violentcontrast”runsagainstthemathematicalharmoniestheychampion;“sensualdetail,particularlycolorandtouch”arethesecondaryqualitiestheyspecificallytaughtshouldnotbereliedupon.“Deliberatedistortionofregularstructurestopro
8、ducetheasymmetriceffectofbaroqueart”isdiametric
