The fourth dimension

THE USE OF FOUR DIMENSIONS IN THOUGHT 99

From this square, let it be supposed that that direction in which the figures are represented runs to the left hand. Thus we have a cube (1) running from the square above, in which the square itself is hidden, but the letters A, £, 1, 0, of the conclusion are seen. In this cube we have the minor premiss and the conclusion in all their moods, and all the figures represented. With regard to the major premiss, since the face (2) belongs to the first wall from the left in the original arrangement, and in this

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(2) an) :

E E O7 ELIA S ‘ER 4321 Fig. 55. arrangement was characterised by the major premiss in the mood A, we may say that the whole of the cube we now have put up represents the mood 4 of the major premiss.

Hence the small cube at the bottom to the right in 1, nearest to the spectator, is major premiss, mood a; minor premiss, mood A; conclusion, mood A; and figure the first. The cube next to it, running to the left, is major premiss, mood A}; minor premiss, mood 4; conclusion, mood A; figure 2.

So in this cube we have the representations of all the combinations which ean occur when the major premiss, remaining in the mood a, the minor premiss, the conclusion, and the figures pass through their varieties.

In this case there is no room in space for a natural representation of the moods of the major premiss. To represent them we must suppose as before that there is a fourth dimension, and starting from this cube as base in the fourth direction in four equal stages, all the first volume corresponds to major premiss A, the second to major