By Andrew Marvell
The nice seventeenth-century metaphysical poet Andrew Marvell was once one of many leader wits and satirists of his time in addition to a passionate defender of person liberty. this present day, besides the fact that, he's recognized mainly for his tremendous lyric poems, together with “The Garden,” “The Definition of Love,” “Bermudas,” “To His Coy Mistress,” and the “Horatian Ode” to Cromwell. Marvell’s paintings is marked through remarkable sort, starting from incomparable lyric explorations of the interior existence to satiric poems at the recognized males and significant problems with his time–one of the main politically risky epochs in England’s historical past. From the lover’s recognized admonition, “Had we yet international adequate, and Time, / This coyness, girl, have been no crime,” to a twin of the solitary poet “Annihilating all that’s made / To a eco-friendly concept in a eco-friendly Shade,” Marvell’s poetry has earned an enduring position within the canon and within the hearts of poetry enthusiasts.
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Legend has it that, one day Pythagoras was passing by a blacksmith’s workshop, and realized that when the blacksmith struck rods with a simple ratio between their lengths — for example, one was twice as long as the other or one and a half times as long, the combination of the two sounds was pleasing to the ear. In modern terminology, two sounds sound well together if the ratio between their frequencies is simple, that is, it is expressed by small numbers (for example 3:2 is simpler than 11:5). The frequency of a sound is the number of times per second the air vibrates when the sound is produced, or in more precise language: the number of peaks per second of the sound waves.
The cult numbered about 600 men and women, who lived in the Greek colony of Crotona in the south of the Apennine peninsula, in the “heel” of the Italian boot. They donated all their possessions to the community, and swore to keep their discoveries secret. Legend has it that, one day Pythagoras was passing by a blacksmith’s workshop, and realized that when the blacksmith struck rods with a simple ratio between their lengths — for example, one was twice as long as the other or one and a half times as long, the combination of the two sounds was pleasing to the ear.
If this is so, it easily follows that for every ascent (that rises by a factor of about 3), there are, on average, 2 descents. Since these two descents mean going down by a factor of 4, every ascent times 3 is typically matched by a 4 times descent. Therefore, on average, we drop further than we rise, so that, eventually, there is a good probability of reaching 1. Of course this does not constitute a proof, because even if the probability of an event is low, it can still occur. Another diﬃculty is that the numbers can go in a circle: there is no a priori reason why, say, if we begin with the number 537, the sequence will not eventually come around again to 537, just as when we begin with 1 we return to 1 (the sequence beginning with 1 is: 1, 4, 2, 1).
Marvell: Poems (Everyman Edition) by Andrew Marvell