The Power That Preserves | My Web Site Page 305 Chapter 01 Page 06

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Where does this energy come from? Enormous jets of red glowing gases can be seen shooting outwards from the sun, like flames from a fire, for thousands of miles. Does this argue fire, as we know fire on the earth? On this point the scientist is sure. The sun is not burning, and combustion is not the source of its heat. Combustion is a chemical reaction between atoms. The conditions that make it possible are known and the results are predictable and measurable. But no chemical reaction of the nature of combustion as we know it will explain the sun's energy, nor indeed will any ordinary chemical reaction of any kind. If the sun were composed of combustible material throughout and the conditions of combustion as we understand them were always present, the sun would burn itself out in some thousands of years, with marked changes in its heat and light production as the process advanced. There is no evidence of such changes. There is, instead, strong evidence that the sun has been emitting light and heat in prodigious quantities, not for thousands, but for millions of years. Every addition to our knowledge that throws light on the sun's age seems to make for increase rather than decrease of its years. This makes the wonder of its energy greater.

Hero makes no suggestions as to application of any of the devices he describes to a useful purpose. From the time of Hero until the late sixteenth and early seventeenth centuries, there is no record of progress, though evidence is found that such devices as were described by Hero were sometimes used for trivial purposes, the blowing of an organ or the turning of a skillet. Mathesius, the German author, in 1571; Besson, a philosopher and mathematician at Orleans; Ramelli, in 1588; Battista Delia Porta, a Neapolitan mathematician and philosopher, in 1601; Decause, the French engineer and architect, in 1615; and Branca, an Italian architect, in 1629, all published treatises bearing on the subject of the generation of steam.

A piece of music, again, without any words at all, or a song with words that have nothing in the world to do with the ideas which it is nevertheless made to convey, is often very effectual language. Much lying, and all irony depends on tampering with covenanted symbols, and making those that are usually associated with one set of ideas convey by a sleight of mind others of a different nature. That is why irony is intolerably fatiguing unless very sparingly used. Take the song which Blondel sang under the window of King Richard's prison. There was not one syllable in it to say that Blondel was there, and was going to help the king to get out of prison. It was about some silly love affair, but it was a letter all the same, and the king made language of what would otherwise have been no language, by guessing the meaning, that is to say by perceiving that he was expected to enter then and there into a new covenant as to the meaning of the symbols that were presented to him, understanding what this covenant was to be, and acquiescing in it.

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