Copernicus, who rightly did condemn
This eldest systeme, form'd a wiser scheme;
In which he leaves the Sun at Rest, and rolls
The Orb Terrestial on its proper Poles;
Which makes the Night and Day by this Career,
And by its slow and crooked Course the Year.
The famous Dane, who oft the Modern guides,
To Earth and Sun their Provinces divides:
The Earth's Rotation makes the Night and Day,
The Sun revolving through th'Eccliptic Way
Effects the various seasons of the Year,
Which in their Turn for happy Ends appear.
This Scheme or that, which pleases best, embrace,
Still we the Fountain of their Motion trace.
Kepler asserts these Wonders may be done
By the Magnetic Vertue of the Sun,
Which he, to gain his End, thinks fit to place
Full in the Center of that mighty Space,
Which does the Spheres, where Planets roll, include,
And leaves him with Attractive Force endu'd.
The Sun, thus seated, by Mechanic Laws,
The Earth, and every distant Planet draws;
By which Attraction all the Planets found
Within his reach, are turn'd in Ether round.

Nature is curious, and such worke may make,
That our dull sense can never finde, but scape.
For Creatures, small as Atomes, may be there,
If every Atome a Creatures Figure beare.
If foure Atomes a World can make, then see
What severall Worlds might in an Eare--ring bee:
For Millions of these Atomes may bee in
The Head of one Small, little, Single Pin.
And if thus Small, then Ladies may well weare
A World of Worlds, as Pendents in each Eare.

[About describing atomic models in the language of classical physics:] We must be clear that when it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images and establishing mental connections.

A man said to the universe:
'Sir, I exist!'
'However,' replied the universe,
'The fact has not created in me
A sense of obligation.'

Alas! That partial Science should approve
The sly rectangle's too licentious love!
From three bright Nymphs the wily wizard burns;-
Three bright-ey'd Nymphs requite his flame by turns.
Strange force of magic skill! Combined of yore.

And make us as Newton was, who in his garden watching
The apple falling towards England, became aware
Between himself and her of an eternal tie.

Astronomy, that micography of heaven, is the most magnificent of the sciences. ... Astronomy has its clear side and its luminous side; on its clear side it is tinctured with algebra, on its luminous side with poetry.

Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modem chemistry and modem algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.

Could Hamlet have been written by a committee, or the “Mona Lisa” painted by a club? Could the New Testament have been composed as a conference report? Creative ideas do not spring from groups. They spring from individuals. The divine spark leaps from the finger of God to the finger of Adam, whether it takes ultimate shape in a law of physics or a law of the land, a poem or a policy, a sonata or a mechanical computer.

Coy Nature, (which remain'd, though aged grown,
A beauteous virgin still, enjoy'd by none,
Nor seen unveil'd by anyone),
When Harvey's violent passion she did see,
Began to tremble and to flee;
Took sanctuary, like Daphne, in a tree:
There Daphne's Lover stopped, and thought it much
The very leaves of her to touch:
But Harvey, our Apollo, stopp'd not so;
Into the Bark and Root he after her did go!

Energy is Eternal Delight.

For a scientist must indeed be freely imaginative and yet skeptical, creative and yet a critic. There is a sense in which he must be free, but another in which his thought must be very preceisely regimented; there is poetry in science, but also a lot of bookkeeping.

Hubble touches people. When you're looking that far out, you're giving people their place in the universe, it touches people. Science is often visual, so it doesn't need translation. It's like poetry, it touches you.

I do not see how a man can work on the frontiers of physics and write poetry at the same time. They are in opposition. In science you want to say something that nobody knew before, in words which everyone can understand. In poetry you are bound to say ... something that everyone knows already in words that nobody can understand.
Commenting to him about the poetry J. Robert Oppenheimer wrote.

I should not think of devoting less than 20 years to an Epic Poem. Ten to collect materials and warm my mind with universal science. I would be a tolerable Mathematician, I would thoroughly know Mechanics, Hydrostatics, Optics, and Astronomy, Botany, Metallurgy, Fossilism, Chemistry, Geology, Anatomy, Medicine—then the mind of man—then the minds of men—in all Travels, Voyages and Histories. So I would spend ten years—the next five to the composition of the poem—and the five last to the correction of it. So I would write haply not unhearing of the divine and rightly-whispering Voice, which speaks to mighty minds of predestinated Garlands, starry and unwithering.

I think that I shall never see
A poem as lovely as a tree.
A tree whose hungry mouth is prest
Against the earth's sweet flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in Summer wear
A nest of robins in her hair;
Upon whose bosom snow has lain;
Who intimately lives with rain.
Poems are made by fools like me,
But only God can make a tree.

I turn my eyes to the schools & universities of Europe
And there behold the loom of Locke whose woof rages dire,
Washed by the water-wheels of Newton. Black the cloth
In heavy wreaths folds over every nation; cruel works
Of many wheels I view, wheel without wheel, with cogs tyrannic
Moving by compulsion each other: not as those in Eden, which
Wheel within wheel in freedom revolve, in harmony & peace.

I would liken science and poetry in their natural independence to those binary stars, often different in colour, which Herschel's telescope discovered to revolve round each other. 'There is one light of the sun,' says St. Paul, 'and another of the moon, and another of the stars: star differeth from star in glory.' It is so here. That star or sun, for it is both, with its cold, clear, white light, is SCIENCE: that other, with its gorgeous and ever-shifting hues and magnificent blaze, is POETRY. They revolve lovingly round each other in orbits of their own, pouring forth and drinking in the rays which they exchange; and they both also move round and shine towards that centre from which they came, even the throne of Him who is the Source of all truth and the Cause of all beauty.

If matter is not eternal, its first emergence into being is a miracle beside which all others dwindle into absolute insignificance. But, as has often been pointed out, the process is unthinkable; the sudden apocalypse of a material world out of blank nonentity cannot be imagined; its emergence into order out of chaos when “without form and void” of life, is merely a poetic rendering of the doctrine of its slow evolution.

If you want to penetrate into the heart of physics, then let yourself be initiated into the mysteries of poetry.

In a notable family called Stein
There were Gertrude, and Ep, and then Ein.
Gert's writing was hazy,
Ep's statues were crazy,
And nobody understood Ein.

IN MEMORIAM: FLORENCE NIGHTINGALE
She whom we love, our Lady of Compassion,
Can never die, for Love forbids her death.
Love has bent down in his old kindly fashion,
And breathed upon her his immortal breath.
On wounded soldiers, in their anguish lying,
Her gentle spirit shall descend like rain.
Where the white flag with the red cross is flying,
There shall she dwell, the vanquisher of pain.
[In remembrance of 'The Lady of the Lamp' who died 13 Aug 1910.]

In science, reason is the guide; in poetry, taste. The object of the one is truth, which is uniform and indivisible; the object of the other is beauty, which is multiform and varied.

It is the very strangeness of nature that makes science engrossing. That ought to be at the center of science teaching. There are more than seven-times-seven types of ambiguity in science, awaiting analysis. The poetry of Wallace Stevens is crystal-clear alongside the genetic code.

Mock on, mock on, Voltaire, Rousseau!
Mock on, mock on: 'Tis all in vain!
You throw the sand against the wind,
And the wind blows it back again.
And every sand becomes a gem
Reflected in the beams divine;
Blown back they blind the mocking eye,
But still in Israel's paths they shine.
The atoms of Democritus
And Newton's particles of light
Are sands upon the Red Sea shore,
Where Israel's tents do shine so bright.

Nature is a vast tablet, inscribed with signs, each of which has its own significancy, and becomes poetry in the mind when read; and geology is simply the key by which myriads of these signs, hitherto indecipherable, can be unlocked and perused, and thus a new province added to the poetical domain.

Nothing could have been worse for the development of my mind than Dr. Butler's school, as it was strictly classical, nothing else being taught, except a little ancient geography and history. The school as a means of education to me was simply a blank. During my whole life I have been singularly incapable of mastering any language. Especial attention was paid to versemaking, and this I could never do well. I had many friends, and got together a good collection of old verses, which by patching together, sometimes aided by other boys, I could work into any subject.

Once early in the morning, at two or three in the morning, when the master was asleep, the books in the library began to quarrel with each other as to which was the king of the library. The dictionary contended quite angrily that he was the master of the library because without words there would be no communication at all. The book of science argued stridently that he was the master of the library for without science there would have been no printing press or any of the other wonders of the world. The book of poetry claimed that he was the king, the master of the library, because he gave surcease and calm to his master when he was troubled. The books of philosophy, the economic books, all put in their claims, and the clamor was great and the noise at its height when a small low voice was heard from an old brown book lying in the center of the table and the voice said, “The Lord is my shepherd, I shall not want.” And all of the noise and the clamor in the library ceased, and there was a hush in the library, for all of the books knew who the real master of the library was.

Philosophy becomes poetry, and science imagination, in the enthusiasm of genius.

Poetry, mythology, and religion represent the world as man would like to have it, while science represents the world as he gradually comes to discover it.

Pray God us keep
From Single vision & Newton's sleep!

Science and art, or by the same token, poetry and prose differ from one another like a journey and an excursion. The purpose of the journey is its goal, the purpose of an excursion is the process.

Science has succeeded to poetry, no less in the little walks of children than with men. Is there no possibility of averting this sore evil?

Science is continually correcting what it has said. Fertile corrections... science is a ladder... poetry is a winged flight... An artistic masterpiece exists for all time... Dante does not efface Homer.

Science is for those who learn, poetry for those who know.

Science is for those who learn; poetry, for those who know.

Science sees signs; Poetry, the thing signified.
Co-author with his brother Julius Hare.

Science was false by being unpoetical. It assumed to explain a reptile or a mollusk, and isolated it—which is hunting for life in graveyards. Reptile or mollusk or man or angel only exists in system, in relation.

Sir Hiram Maxim is a genuine and typical example of the man of science, romantic, excitable, full of real but somewhat obvious poetry, a little hazy in logic and philosophy, but full of hearty enthusiasm and an honorable simplicity. He is, as he expresses it, “an old and trained engineer,” and is like all of the old and trained engineers I have happened to come across, a man who indemnifies himself for the superhuman or inhuman concentration required for physical science by a vague and dangerous romanticism about everything else.

Some drill and bore
The solid earth, and from the strata there
Extract a register, by which we learn,
That he who made it, and reveal'd its date
To Moses, was mistaken in its age.

The design of a book is the pattern of reality controlled and shaped by the mind of the writer. This is completely understood about poetry or fiction, but it is too seldom realized about books of fact. And yet the impulse which drives a man to poetry will send a man into the tide pools and force him to report what he finds there. Why is an expedition to Tibet undertaken, or a sea bottom dredged? Why do men, sitting at the microscope, examine the calcareous plates of a sea cucumber and give the new species a name, and write about it possessively? It would be good to know the impulse truly, not to be confused by the “services to science” platitudes or the other little mazes into which we entice our minds so that they will not know what we are doing.

The interpretations of science do not give us this intimate sense of objects as the interpretations of poetry give it; they appeal to a limited faculty, and not to the whole man. It is not Linnaeus or Cavendish or Cuvier who gives us the true sense of animals, or water, or plants, who seizes their secret for us, who makes us participate in their life; it is Shakspeare [sic] . . . Wordsworth … Keats ... Chateaubriand ... Senancour.

The more we know about this universe, the more mysterious it is. The old world that Job knew was marvelous enough, and his description of its wonders is among the noblest poetry of the race, but today the new science has opened to our eyes vistas of mystery that transcend in their inexplicable marvel anything the ancients ever dreamed.

The process of preparing programs for a digital computer is especially attractive, not only because it can be economically and scientifically rewarding, but also because it can be an aesthetic experience much like composing poetry or music.

The sublime can only be found in the great subjects. Poetry, history and philosophy all have the same object, and a very great object—Man and Nature. Philosophy describes and depicts Nature. Poetry paints and embellishes it. It also paints men, it aggrandizes them, it exaggerates them, it creates heroes and gods. History only depicts man, and paints him such as he is.

The true spirit of delight, the exaltation, the sense of being more than man, which is the touchstone of highest excellence, is to be found in mathematics as surely as in poetry.

This is, in truth, the first charm of chemistry, and the secret of the almost universal interest excited by its discoveries. The serious complacency which is afforded by the sense of truth, utility, permanence, and progression, blends with and ennobles the exhilarating surprise and the pleasurable sting of curiosity, which accompany the propounding and the solving of an Enigma... If in SHAKPEARE [sic] we find Nature idealized into Poetry, through the creative power of a profound yet observant meditation, so through the meditative observation of a DAVY, a WOOLLASTON [sic], or a HATCHETT; we find poetry, as if were, substantiated and realized in nature.

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.

True poetry is truer than science, because it is synthetic, and seizes at once what the combination of all the sciences is able, at most, to attain as a final result. (31 Oct 1852)

War rages on the teeming earth;
The hot and sanguinary fight
Begins with each new creature's birth:
A dreadful war where might is right;
Where still the strongest slay and win,
Where weakness is the only sin.

What binds us to space-time is our rest mass, which prevents us from flying at the speed of light, when time stops and space loses meaning. In a world of light there are neither points nor moments of time; beings woven from light would live “nowhere” and “nowhen”; only poetry and mathematics are capable of speaking meaningfully about such things.

When it comes to atoms, language can be used only as in poetry.

Why do they [Americans] quarrel, why do they hate Negroes, Indians, even Germans, why do they not have science and poetry commensurate with themselves, why are there so many frauds and so much nonsense? I cannot soon give a solution to these questions ... It was clear that in the United States there was a development not of the best, but of the middle and worst sides of European civilization; the notorious general voting, the tendency to politics... all the same as in Europe. A new dawn is not to be seen on this side of the ocean.

Without poetry our science will appear incomplete, and most of what now passes with us for religion and philosophy will be replaced by poetry.

You can be a thorough-going Neo-Darwinian without imagination, metaphysics, poetry, conscience, or decency. For 'Natural Selection' has no moral significance: it deals with that part of evolution which has no purpose, no intelligence, and might more appropriately be called accidental selection, or better still, Unnatural Selection, since nothing is more unnatural than an accident. If it could be proved that the whole universe had been produced by such Selection, only fools and rascals could bear to live.

You may translate books of science exactly. ... The beauties of poetry cannot be preserved in any language except that in which it was originally written.

[Certain students] suppose that because science has penetrated the structure of the atom it can solve all the problems of the universe. ... They are known in every ... college as the most insufferable, cocksure know-it-alls. If you want to talk to them about poetry, they are likely to reply that the "emotive response" to poetry is only a conditioned reflex .... If they go on to be professional scientists, their sharp corners are rubbed down, but they undergo no fundamental change. They most decidedly are not set apart from the others by their intellectual integrity and faith, and their patient humility in front of the facts of nature.... They are uneducated, in the fullest sense of the word, and they certainly are no advertisement for the claims of science teachers.

[L]et us not overlook the further great fact, that not only does science underlie sculpture, painting, music, poetry, but that science is itself poetic. The current opinion that science and poetry are opposed is a delusion. ... On the contrary science opens up realms of poetry where to the unscientific all is a blank. Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. Whoever will dip into Hugh Miller's works on geology, or read Mr. Lewes's “Seaside Studies,” will perceive that science excites poetry rather than extinguishes it. And whoever will contemplate the life of Goethe will see that the poet and the man of science can co-exist in equal activity. Is it not, indeed, an absurd and almost a sacrilegious belief that the more a man studies Nature the less he reveres it? Think you that a drop of water, which to the vulgar eye is but a drop of water, loses anything in the eye of the physicist who knows that its elements are held together by a force which, if suddenly liberated, would produce a flash of lightning? Think you that what is carelessly looked upon by the uninitiated as a mere snow-flake, does not suggest higher associations to one who has seen through a microscope the wondrously varied and elegant forms of snow-crystals? Think you that the rounded rock marked with parallel scratches calls up as much poetry in an ignorant mind as in the mind of a geologist, who knows that over this rock a glacier slid a million years ago? The truth is, that those who have never entered upon scientific pursuits know not a tithe of the poetry by which they are surrounded. Whoever has not in youth collected plants and insects, knows not half the halo of interest which lanes and hedge-rows can assume. Whoever has not sought for fossils, has little idea of the poetical associations that surround the places where imbedded treasures were found. Whoever at the seaside has not had a microscope and aquarium, has yet to learn what the highest pleasures of the seaside are. Sad, indeed, is it to see how men occupy themselves with trivialities, and are indifferent to the grandest phenomena—care not to understand the architecture of the Heavens, but are deeply interested in some contemptible controversy about the intrigues of Mary Queen of Scots!—are learnedly critical over a Greek ode, and pass by without a glance that grand epic written by the finger of God upon the strata of the Earth!

[The popular impression about some chemists is that] the aquafortis and the chlorine of the laboratories have as effectually bleached the poetry out of them, as they destroy the colours of tissues exposed to their action.