Nadira Husain

            Flatland

            301007

... 

““I admit,” said he — when I mentioned to him this objection — “I admit the truth of your critic's facts, but I deny his conclusions. It is true that we have really in Flatland a Third unrecognized Dimension called 'height,' just as it also is true that you have really in Spaceland a Fourth unrecognized Dimension, called by no name at present, but which I will call ‘extra-height.’ But we can no more take cognizance of our ‘height’ than you can of your ‘extra-height.’ Even I — who have been in Spaceland, and have had the privilege of understanding for twenty-four hours the meaning of ‘height’ — even I cannot now comprehend it, nor realize it by the sense of sight or by any process of reason; I can but apprehend it by faith.””

...

““Does this still seem strange to you? Then put yourself in a similar position. Suppose a person of the Fourth Dimension, condescending to visit you, were to say, ‘Whenever you open your eyes, you see a Plane (which is of Two Dimensions) and you infer a Solid (which is of Three); but in reality you also see (though you do not recognize) a Fourth Dimension, which is not colour nor brightness nor anything of the kind, but a true Dimension, although I cannot point out to you its direction, nor can you possibly measure it.’ What would you say to such a visitor? Would not you have him locked up? Well, that is my fate: and it is as natural for us Flatlanders to lock up a Square for preaching the Third Dimension, as it is for you Spacelanders to lock up a Cube for preaching the Fourth. Alas, how strong a family likeness runs through blind and persecuting humanity in all Dimensions! Points, Lines, Squares, Cubes, Extra-Cubes — we are all liable to the same errors, all alike the Slavers of our respective Dimensional prejudices, as one of our Spaceland poets has said — ‘One touch of Nature makes all worlds akin.’””

...

“In a still more obscure passage he now desires to disavow the Circular or aristocratic tendencies with which some critics have naturally credited him. While doing justice to the intellectual power with which a few Circles have for many generations maintained their supremacy over immense multitudes of their countrymen, he believes that the facts of Flatland, speaking for themselves without comment on his part, declare that Revolutions cannot always be suppressed by slaughter, and that Nature, in sentencing the Circles to infecundity, has condemned them to ultimate failure — “and herein,” he says, “I see a fulfillment of the great Law of all worlds, that while the wisdom of Man thinks it is working one thing, the wisdom of Nature constrains it to work another, and quite a different and far better thing.” For the rest, he begs his readers not to suppose that every minute detail in the daily life of Flatland must needs correspond to some other detail in Spaceland; and yet he hopes that, taken as a whole, his work may prove suggestive as well as amusing, to those Spacelanders of moderate and modest minds who — speaking of that which is of the highest importance, but lies beyond experience — decline to say on the one hand, “This can never be,” and on the other hand, “It must needs be precisely thus, and we know all about it.””

“Immoral, licentious, anarchical, unscientific — call them by what names you will — yet, from an aesthetic point of view, those ancient days of the Colour Revolt were the glorious childhood of Art in Flatland — a childhood, alas, that never ripened into manhood, nor even reached the blossom of youth. To live then in itself a delight, because living implied seeing. Even at a small party, the company was a pleasure to behold; the richly varied hues of the assembly in a church or theatre are said to have more than once proved too distracting from our greatest teachers and actors; but most ravishing of all is said to have been the unspeakable magnificence of a military review.”

“It happened that an Isosceles of a low type, with a brain little if at all above four degrees — accidentally dabbling in the colours of some Tradesman whose shop he had plundered — painted himself, or caused himself to be painted (for the story varies) with the twelve colours of a Dodecagon. Going into the Market Place he accosted in a feigned voice a maiden, the orphan daughter of a noble Polygon, whose affection in former days he had sought in vain; and by a series of deceptions — aided, on the one side, by a string of lucky accidents too long to relate, and, on the other, by an almost inconceivable fatuity and neglect of ordinary precautions on the part of the relations of the bride — he succeeded in consummating the marriage. The unhappy girl committed suicide on discovering the fraud to which she had been subjected.”

            Die zitierten Textpassagen sind der Novelle „Flatland – A Romance of many dimensions“

            von Edwin A. Abbott (1838 – 1926) entnommen.

            (Volltext)

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