The theory of ramification is one of pure colligation, for it takes no account of magnitude or position; geometrical lines are used, but these have no more real bearing on the matter than those employed in genealogical tables have in explaining the laws of procreation.

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.

Mathematics is the music of reason.

So long as a man remains a gregarious and sociable being, he cannot cut himself off from the gratification of the instinct of imparting what he is learning, of propagating through others the ideas and impressions seething in his own brain, without stunting and atrophying his moral nature and drying up the surest sources of his future intellectual replenishment.

Surely with as good reason as had Archimedes to have the cylinder, cone and sphere engraved on his tombstone might our distinguished countrymen leave testamentary directions for the cubic eikosiheptagram to be engraved on theirs. Spirit of the Universe! wither are we drifting, and when, where, and how is all this to end?

Aspiring to these wide generalizations, the analysis of quadratic functions soars to a pitch from whence it may look proudly down on the feeble and vain attempts of geometry proper to rise to its level or to emulate it in its flights.

May not music be described as the mathematics of the sense, mathematics as music of the reason? The musician feels mathematics, the mathematician thinks music: music the dream, mathematics the working life.