Hinton - The Fourth Dimension.pdf

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, E, I, O, 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
(2)
O
I
E
(1)
O I EA
A
Fig. 55.
4 3 2 1
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 A of the major premiss.
Hence the small cube at the bottom to the right in 1,
nearest to the spectator, is major press, 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 A; conclusion, mood A;
figure 2.
So in this cube we have the representations of all the
combinations which can 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
O
I
E
A