Major concerns and teachings

The harmony of the cosmos

The sacred decad (the sum of the first four numbers) in particular has a cosmic significance in Pythagoreanism: its mystical name, tetraktys (meaning approximately “fourness”), implies 1 + 2 + 3 + 4 = 10; but it can also be thought of as a “perfect triangle.”

Speculation on number and proportion led to an intuitive feeling of the harmonia (“fitting together”) of the kosmos (“order of things”); and the application of the tetraktys to the theory of music (see below Music) revealed a hidden order in the range of sound. Pythagoras may have referred, vaguely, to the “music of the heavens,” which he alone seemed able to hear; and later Pythagoreans seem to have assumed that the distances of the heavenly bodies from the earth somehow correspond to musical intervals—a theory that, under the influence of Platonic conceptions, resulted in the famous idea of the “harmony of the spheres.” Though number to the early Pythagoreans was still a kind of cosmic matter, like the water or air proposed by the Ionians, their stress upon numerical proportions, harmony, and order constituted a decisive step toward a metaphysic in which form is the basic reality.

The doctrine of opposites

From the Ionians, the Pythagoreans adopted the idea of cosmic opposites, which they—perhaps secondarily—applied to their number speculation. The principal pair of opposites is the limit and the unlimited; the limit (or limiting), represented by the odd (3,5,7,…), is an active force effecting order, harmony, and “cosmos” in the unlimited, represented by the even. All kinds of opposites somehow “fit together” within the cosmos, as they do, microcosmically, in an individual person and in the Pythagorean society. There was also a Pythagorean “table of ten opposites,” to which Aristotle has referred—limit-unlimited, odd-even, one-many, right-left, male-female, rest-motion, straight-curved, light-darkness, good-evil, and square-oblong. The arrangement of this table reflects a dualistic conception, which was apparently not original with the school, however, or accepted by all of its members.

The Pythagorean number metaphysic was also reflected in its cosmology. The unit (1), being the starting point of the number series and its principle of construction, is not itself strictly a number; for, to be a number is to be even or odd, whereas, in the Pythagorean view, “one” is seen as both even and odd. This ambivalence applies, similarly, to the total universe, conceived as the One. There was also a cosmogonical theory (a theory of the origins of the cosmos) that explained the generation of numbers and number-things from the limiting-odd and the unlimited-even—a theory that, by stages unknown to scholars, was ultimately incorporated into Plato’s philosophy in his doctrine of the derivation of sensed realities from mathematical principles.

Arithmetic

Early Pythagorean achievements in mathematics are unclear and largely disputable, and the following is therefore a compromise between the widely divergent views of scholars.

In the speculation on odd and even numbers, the early Pythagoreans used so-called gnōmones (“carpenter’s squares”). Judging from Aristotle’s account, gnomon numbers were represented by dots or pebbles arranged in a manner producing “square” and “oblong” shapes. If a series of odd numbers are put around the unit as gnomons, they always produce squares; thus, the members of the series 4, 9, 16, 25,… are “square” numbers. If even numbers are depicted in a similar way, the resulting figures (which offer infinite variations) represent “oblong” numbers, such as those of the series 2, 6, 12, 20,…. On the other hand, a triangle represented by three dots (as in the upper part of the tetraktys) can be extended by a series of natural numbers to form the “triangular” numbers 6, 10 (the tetraktys), 15, 21,…. This procedure—which was so far Pythagorean—led later, perhaps in the Platonic Academy, to a speculation on “polygonal” numbers.

Probably the square numbers of the gnomons were early associated with the Pythagorean theorem (likely to have been used in practice in Greece, however, before Pythagoras), which holds that for a right triangle a square drawn on the hypotenuse is equal in area to the sum of the squares drawn on its sides; in the gnomons it can easily be seen, in the case of a 3,4,5–triangle for example, that the addition of a square gnomon number to a square makes a new square: 3² + 4² = 5², and this gives a method for finding two square numbers the sum of which is also a square.

Some 5th-century Pythagoreans seem to have been puzzled by apparent arithmetical anomalies: the mutual relationships of triangular and square numbers; the anomalous properties of the regular pentagon; the fact that the length of the diagonal of a square is incommensurable with its sides—i.e., that no fraction composed of integers can express this ratio exactly (the resulting decimal is thus defined as irrational); and the irrationality of the mathematical proportions in musical scales. The discovery of such irrationality was disquieting because it had fatal consequences for the naive view that the universe is expressible in whole numbers; the Pythagorean Hippasus is said to have been expelled from the brotherhood, according to some sources even drowned, because he made a point of the irrationality.

In the 4th century, Pythagorizing mathematicians made a significant advance in the theory of irrational numbers, such as the-square-root-of-n (Square root of√n), n being any rational number, when they developed a method for finding progressive approximations to Square root of√2 by forming sets of so-called diagonal numbers.