Читать книгу The Science of Religion - Howard Barry Schatz - Страница 2

The most logical title for this text would probably be “The History and Science of Religion.” However, the current title reflects the profound notion that modern science is capable of anchoring the diversity of religious dogma within a comprehensive scientific framework. But to even suggest that a science of religion exists as an objective common ground is to swim against a very strong worldwide current of religious tradition and academic scholarship.

As a college student I had the good fortune to study with friend and mentor Dr. Ernest McClain, who taught me that the ancient mathematical discipline of music was the only way to unlock the deepest meaning of history’s great religious and philosophical texts. McClain’s writings survey crucial mathematical passages in texts of world literature — the Bible, the Rig Veda, the Egyptian Book of the Dead, Plato — points that often challenged or eluded experts in the concerned disciplines.

McClain credits colleagues Ernst Levy and Siegmund Levarie for introducing him to Pythagoreanism via the insights of 19th century scholar Albert von Thimus. Von Thimus was a pioneer in suggesting that a Pythagorean approach to the mathematics of music might help explain the many confusing mathematical passages in Plato’s dialogues. McClain applied this Pythagorean approach to Plato, and to many other important texts of world literature, revealing music as the key to deciphering the deepest meaning of many ancient texts. My own writings are an attempt to expand on this thesis by considering the scientific, historical, theological, and sociological implications of McClain’s work, in order to synthesize a comprehensive history and science of gnosticism, as a plausible framework for interfaith discussion.

First, I would like to thank Dr. McClain for giving my life meaning with all that he taught me. Few texts are written without extensive help from others, and I am grateful to Linda Prudhomme for continually encouraging me to keep the text as simple and clear as possible. I would also like to thank my mother, Anita Weiss, for her painting of “The Garden of Eden” featured on the book’s cover. I’d like to thank Charles Bentz for his drawing of “The New Jerusalem”; Jonathan Clark for his poem “Autumn Rhapsody”; Duane Christensen, Ivan Matetic, Gregory Rosen, and Arthur Lindberg for their insight and edits; and finally, to Charles Weiss, Lisa Moose, Ted Weg, Donna Kasmer, Terrence Bazylewicz, Pete Dello, Faisal Malik, Asad Gilani, Peter Duff, and Jonathan Clark for their comments, criticisms, suggestions, and encouragement.