Conversations on the Plurality of Worlds

by M. de Fontenelle

THE EARTH IS A PLANET WHICH TURNS ON ITS AXIS, AND GOES ROUND THE SUN.

After supper we went to take a walk in the park. We felt the fragrant breeze of evening peculiarly delightful, as the heat had been intense during the day: the silvery rays of the moon, gleaming through the foliage, formed an agreeable contrast with the darkened shadows of the landscape. Not a cloud intercepted or veiled the smallest star. Every orb appeared a mass of pure gold, rendered more brilliant by the rich blue of the sky. The beauty of the scenery produced a gentle reverie, from which, had not the Marchioness been with me, I should not have been easily roused; but in the company of so interesting a woman I could not long abandon myself to the influence of the moon and stars. Do you not think, said I, addressing myself to her, that the charms of a fine night greatly exceed those of the day? Yes, she replied, the splendour of day resembles a fair and dazzling beauty, but the milder radiance of night may be compared to a woman of less brilliancy of complexion, and more sweetness of expression. You are very generous, resumed I, in giving the preference to the brunette, whilst you are so fair. It is however true, that an unclouded sun is the most glorious object in nature; and it is equally true, that the heroines of romance, the most beautiful objects imagination can depict, have almost invariably been represented with fair complexions. Beauty, answered my companion, is nothing, unless it interests our feelings. You will not deny that the finest day never had the power of inspiring so delightful a reverie as you were falling into just now in contemplating the loveliness of the evening. You are right, said I, but the loveliest night I ever beheld, with all it's shadowy beauty, would fail to give me such enchanting sensations as the contemplation of the fair face of the Marchioness de G——. I should not be satisfied with your compliment, she replied, did I even believe you sincere, since the brightness of day, with which we have been comparing fair women, has so little influence on your heart. Why do lovers, who undoubtedly can judge of what is most touching, address all their poetic effusions to the night? To the ear of day they neither confide their transports nor their sorrows—why is it so entirely excluded from their confidence? Probably, I answered, because it is not calculated to inspire that delicious sentiment, at once impassioned and melancholy, which we feel in the stillness of night, whilst all nature seems to repose. The stars appear to move with more silent progress than the sun: every object that decorates the heavens is soft, and attractive to the eye: in short, we resign ourselves more easily to reverie because we feel as if no other being was at that time enjoying the pensive pleasure that expands our soul. Perhaps, too, the uniformity of day, in which the sky presents no other object than the sun, is less favourable to the wild and pleasing illusions of fancy than the view of innumerable stars, scattered with sportive irregularity, over the boundless space. I have always felt what you describe, said she, I love to see the stars, and am almost inclined to reproach the sun for hiding them. Ah! cried I, I cannot forgive him for concealing so many worlds from my sight! Worlds! she exclaimed, turning to me with surprise, what do you mean? Forgive me, said I, you touched the wildest chord of my imagination—I forget myself in a romantic idea. And what is this romantic idea? enquired the Marchioness. Ah! replied I, I am half ashamed of owning it:—I have taken it in my head that every star may be a world. I would not positively assert the truth of my opinion, but I believe it because it affords me pleasure; it has possessed my mind with irresistible force; and I consider pleasure a needful accessary to truth. Well, said she, since your whim is such a pleasant one, make me a partaker of it; I'll believe any thing you chuse about the stars, provided it contributes to my happiness. Ah! madam, I replied, 'tis not such an enjoyment as you would find in seeing one of Molière's comedies: it is an idea which can only give delight to the understanding. What! exclaimed she, do you think I am not susceptible of pleasures which depend only on reason? I will convince you of your mistake. Teach me your system. No, answered I, I will not subject myself to the reproach of having talked of philosophy, in such an enchanting walk as this, to the most interesting woman of my acquaintance. No, seek for pedants elsewhere.

For a long while I attempted, in vain, to excuse myself; I was at last obliged to yield: I insisted, however, for my reputation's sake, on a promise of secrecy. Every objection being removed, I wished to begin the subject, but found the commencement extremely difficult; for, with a person who was ignorant of natural philosophy, it was necessary to converse in a very circuitous manner, to prove that the earth was a planet, the other planets similar to the earth, and all the stars so many suns which enlightened a number of worlds. I once more assured her it would be much better to talk on such trifles as other people, in our situation, would amuse themselves with. In the end, however, to give her a general idea of philosophy, I pursued the following plan.

All philosophy, said I, is founded on two things; an inquisitive mind, and defective sight; for if your eyes could discern every thing to perfection you would easily perceive whether each star is a sun, giving light to a number of worlds; on the other hand, had you less curiosity, you would hardly take the trouble to inform yourself about the matter, and consequently remain in equal ignorance; but the difficulty consists in our wanting to become acquainted with more than we see: besides, it is out of our power to understand much of what is even within the reach of our sight, because objects appear to us very different from what they are. Thus philosophers pass their lives in disbelieving what they see, and endeavouring to conjecture what is concealed from them; such a state of mind is not very enviable.

In thinking on this subject, nature always appears to me in the same point of view as theatrical representations. In the situation you occupy at the opera you do not see the whole of its arrangements: the machinery and decorations are so disposed as to produce an agreeable effect at a distance, and at the same time the weights and wheels are hidden by which every motion is effected. You behold all that is passing, without concerning yourself about the causes; and so perhaps do all the other spectators, unless among the number some obscure student of mechanics is puzzling himself to account for an extraordinary motion which he cannot understand. You see the case of this mechanical genius resembles that of the philosopher studying the structure of the universe. What, however, augments the difficulty with respect to philosophers is, that nature so conceals from us the means by which her scenery is produced, that for a long time we were unable to discover the causes of her most simple movements. Figure yourself, as spectators of an opera, the Pythagorases, the Platos, the Aristotles; all these men whose names are so celebrated. Let us suppose them viewing the flight of Phæton, rising on the wind; ignorant at the same time of the construction of the theatre, and the cords by which the figure is put in motion. One to explain the phenomenon, says, it is some hidden virtue in Phæton which causes him to rise; another replies, Phæton is composed of certain numbers which produce his elevation. A third says, Phæton has a love for the top of the stage; he is uneasy at any other part. The fourth thinks, it is not essential to the nature of Phæton to rise in the air, but he prefers flying up to leaving a vacuum at the top of the stage. Such were the ridiculous notions of the ancient philosophers, which to my astonishment have not ruined the reputation of antiquity. After all Descartes and some other moderns appear: they tell you that Phæton rises in consequence of being drawn by cords, fastened to a descending weight, which is heavier than himself. It is no longer believed that a body can have motion, unless acted upon by another body; that it can rise and descend without a counterbalancing weight; thus, whoever examines the mechanism of nature is only going behind the scenes of a theatre. If that be the case, answered the Marchioness, philosophy is a very mechanical affair! So much so, I replied, that I am afraid it will fall into disrepute. In short, the universe is but a watch on a larger scale; all its motions depending on determined laws and the mutual relation of its parts. Confess the truth, have you not hitherto entertained a more exalted idea of the works of nature? Have you not considered them with more veneration than they deserve? I have known some people esteem them less as their knowledge encreased. For my part, said she, I contemplate the universe with more awful delight now I find that such wonderful order is produced by principles so simple.

I know not, rejoined I, how you have acquired such rational ideas, for, to say the truth, they are not very common. The generality are affected only by the obscure and marvellous. They admire nature merely because they consider it a sort of magic; something too occult for the understanding to reach: to them a thing appears contemptible as soon as they find the possibility of explaining its nature: but you, madam, can reason so clearly, that I have only to draw aside the veil, and present the world to your inspection.

What we behold at the greatest distance from our earth is the azure heaven, that immense arch to which the stars seem firmly to adhere. They are called fixed, because they appear to have no other motion than that of their sky, carrying them from east to west. Between the earth and the remote firmament are suspended, at various distances, the sun, moon, and the other five stars, denominated planets; Mercury, Venus, Mars, Jupiter and Saturn.[6] These planets not being stationary at one point in the heavens, but having unequal motions, vary with respect to their relative situations; the fixed stars, on the contrary, always bear the same local relation to each other. The chariot, for instance, that you may distinguish, formed of those seven stars, has always had that configuration, and is likely to retain it; but the moon sometimes approaches nearer to the sun; sometimes retreats farther from it; the same is observed of the other planets. Such were the observations made by the Chaldean shepherds whose continual leisure enabled them to give so much attention to the heavenly bodies as to form the rudiments of astronomy, for we learn that that science took its rise in Chaldea,[7] as Geometry was first studied in Egypt, where the inundations of the Nile destroyed the boundaries of different possessions, made the inhabitants desirous of exact measures by which they could again separate their own lands from those of their neighbours. Thus astronomy is the offspring of idleness, geometry of interest; and if we enquire into the origin of poetry, we shall probably find that she is the daughter of love.

[6] In 1781, M. Herschel discovered a sixth. Astronomy by Lalande, third edition, 1792, Vol. 1, Art. 116.