Six Lectures on Light. Delivered In The United States In 1872-1873

It is quite true, as Helmholtz says, that Young was in advance of his age; but something is to be added which illustrates the responsibility of our public writers. For twenty years this man of genius was quenched—hidden from the appreciative intellect of his country-men—deemed in fact a dreamer, through the vigorous sarcasm of a writer who had then possession of the public ear, and who in the Edinburgh Review poured ridicule upon Young and his speculations. To the celebrated Frenchmen Fresnel and Arago he was first indebted for the restitution of his rights; for they, especially Fresnel, independently remade and vastly extended his discoveries. To the students of his works Young has long since appeared in his true light, but these twenty blank years pushed him from the public mind, which became in time filled with the fame of Young's colleague at the Royal Institution, Davy, and afterwards with the fame of Faraday. Carlyle refers to a remark of Novalis, that a man's self-trust is enormously increased the moment he finds that others believe in him. If the opposite remark be true—if it be a fact that public disbelief weakens a man's force—there is no calculating the amount of damage these twenty years of neglect may have done to Young's productiveness as an investigator. It remains to be stated that his assailant was Mr. Henry Brougham, afterwards Lord Chancellor of England.

§ 4. Wave-Motion, Interference of Waves, 'Whirlpool Rapids' of Niagara

Our hardest work is now before us. But the capacity for hard work depends in a great measure on the antecedent winding up of the will; I would call upon you, therefore, to gird up your loins for coming labours.

In the earliest writings of the ancients we find the notion that sound is conveyed by the air. Aristotle gives expression to this notion, and the great architect Vitruvius compares the waves of sound to waves of water. But the real mechanism of wave-motion was hidden from the ancients, and indeed was not made clear until the time of Newton. The central difficulty of the subject was, to distinguish between the motion of the wave itself, and the motion of the particles which at any moment constitute the wave.

Stand upon the seashore and observe the advancing rollers before they are distorted by the friction of the bottom. Every wave has a back and a front, and, if you clearly seize the image of the moving wave, you will see that every particle of water along the front of the wave is in the act of rising, while every particle along its back is in the act of sinking. The particles in front reach in succession the crest of the wave, and as soon as the crest is past they begin to fall. They then reach the furrow or sinus of the wave, and can sink no farther. Immediately afterwards they become the front of the succeeding wave, rise again until they reach the crest, and then sink as before. Thus, while the waves pass onwards horizontally, the individual particles are simply lifted up and down vertically. Observe a sea-fowl, or, if you are a swimmer, abandon yourself to the action of the waves; you are not carried forward, but simply rocked up and down. The propagation of a wave is the propagation of a form, and not the transference of the substance which constitutes the wave.

The length of the wave is the distance from crest to crest, while the distance through which the individual particles oscillate is called the amplitude of the oscillation. You will notice that in this description the particles of water are made to vibrate across the line of propagation.10

And now we have to take a step forwards, and it is the most important step of all. You can picture two series of waves proceeding from different origins through the same water. When, for example, you throw two stones into still water, the ring-waves proceeding from the two centres of disturbance intersect each other. Now, no matter how numerous these waves may be, the law holds good that the motion of every particle of the water is the algebraic sum of all the motions imparted to it. If crest coincide with crest and furrow with furrow, the wave is lifted to a double height above its sinus; if furrow coincide with crest, the motions are in opposition and their sum is zero. We have then still water. This action of wave upon wave is technically called interference, a term, to be remembered.

Fig. 10.

To the eye of a person conversant with these principles, nothing can be more interesting than the crossing of water ripples. Through their interference the water-surface is sometimes shivered into the most beautiful mosaic, trembling rhythmically as if with a kind of visible music. When waves are skilfully generated in a dish of mercury, a strong light thrown upon the shining surface, and reflected on to a screen, reveals the motions of the liquid metal. The shape of the vessel determines the forms of the figures produced. In a circular dish, for example, a disturbance at the centre propagates itself as a series of circular waves, which, after reflection, again meet at the centre. If the point of disturbance be a little way removed from the centre, the interference of the direct and reflected waves produces the magnificent chasing shown in the annexed figure.11 The light reflected from such a surface yields a pattern of extraordinary beauty. When the mercury is slightly struck by a needle-point in a direction concentric with the surface of the vessel, the lines of light run round in mazy coils, interlacing and unravelling themselves in a wonderful manner. When the vessel is square, a splendid chequer-work is produced by the crossing of the direct and reflected waves. Thus, in the case of wave-motion, the most ordinary causes give rise to most exquisite effects. The words of Emerson are perfectly applicable here:—

'Thou can'st not wave thy staff in the air,Or dip thy paddle in the lake,But it carves the brow of beauty there.And the ripples in rhymes the oars forsake.'

The most impressive illustration of the action of waves on waves that I have ever seen occurs near Niagara. For a distance of two miles, or thereabouts, below the Falls, the river Niagara flows unruffled through its excavated gorge. The bed subsequently narrows, and the water quickens its motion. At the place called the 'Whirlpool Rapids,' I estimated the width of the river at 300 feet, an estimate confirmed by the dwellers on the spot. When it is remembered that the drainage of nearly half a continent is compressed into this space, the impetuosity of the river's escape through this gorge may be imagined.

Two kinds of motion are here obviously active, a motion of translation and a motion of undulation—the race of the river through its gorge, and the great waves generated by its collision with the obstacles in its way. In the middle of the stream, the rush and tossing are most violent; at all events, the impetuous force of the individual waves is here most strikingly displayed. Vast pyramidal heaps leap incessantly from the river, some of them with such energy as to jerk their summits into the air, where they hang suspended as bundles of liquid pearls, which, when shone upon by the sun, are of indescribable beauty.

The first impression, and, indeed, the current explanation of these Rapids is, that the central bed of the river is cumbered with large boulders, and that the jostling, tossing, and wild leaping of the waters there are due to its impact against these obstacles. A very different explanation occurred to me upon the spot. Boulders derived from the adjacent cliffs visibly cumber the sides of the river. Against these the water rises and sinks rhythmically but violently, large waves being thus produced. On the generation of each wave there is an immediate compounding of the wave-motion with the river-motion. The ridges, which in still water would proceed in circular curves round the centre of disturbance, cross the river obliquely, and the result is, that at the centre waves commingle which have really been generated at the sides. This crossing of waves may be seen on a small scale in any gutter after rain; it may also be seen on simply pouring water from a wide-lipped jug. Where crest and furrow cross each other, the wave is annulled; where furrow and furrow cross, the river is ploughed to a greater depth; and where crest and crest aid each other, we have that astonishing leap of the water which breaks the cohesion of the crests, and tosses them shattered into the air. The phenomena observed at the Whirlpool Rapids constitute, in fact, one of the grandest illustrations of the principle of interference.

§ 5. Analogies of Sound and Light

Thomas Young's fundamental discovery in optics was that the principle of Interference was applicable to light. Long prior to his time an Italian philosopher, Grimaldi, had stated that under certain circumstances two thin beams of light, each of which, acting singly, produced a luminous spot upon a white wall, when caused to act together, partially quenched each other and darkened the spot. This was a statement of fundamental significance, but it required the discoveries and the genius of Young to give it meaning. How he did so will gradually become clear to you. You know that air is compressible: that by pressure it can be rendered more dense, and that by dilatation it can be rendered more rare. Properly agitated, a tuning-fork now sounds in a manner audible to you all, and most of you know that the air through which the sound is passing is parcelled out into spaces in which the air is condensed, followed by other spaces in which the air is rarefied. These condensations and rarefactions constitute what we call waves of sound. You can imagine the air of a room traversed by a series of such waves, and you can imagine a second series sent through the same air, and so related to the first that condensation coincides with condensation and rarefaction with rarefaction. The consequence of this coincidence would be a louder sound than that produced by either system of waves taken singly. But you can also imagine a state of things where the condensations of the one system fall upon the rarefactions of the other system. In this case (other things being equal) the two systems would completely neutralize each other. Each of them taken singly produces sound; both of them taken together produce no sound. Thus by adding sound to sound we produce silence, as Grimaldi, in his experiment, produced darkness by adding light to light.

Through his investigations on sound, which were fruitful and profound, Young approached the study of light. He put meaning into the observation of Grimaldi, and immensely extended it. With splendid success he applied the undulatory theory to the explanation of the colours of thin plates, and to those of striated surfaces. He discovered and explained classes of colour which had been previously unnoticed or unknown. On the assumption that light was wave-motion, all his experiments on interference were accounted for; on the assumption that light was flying particles, nothing was explained. In the time of Huyghens and Euler a medium had been assumed for the transmission of the waves of light; but Newton raised the objection that, if light consisted of the waves of such a medium, shadows could not exist. The waves, he contended, would bend round opaque bodies and produce the motion of light behind them, as sound turns a corner, or as waves of water wash round a rock. It was proved that the bending round referred to by Newton actually occurs, but that the inflected waves abolish each other by their mutual interference. Young also discerned a fundamental difference between the waves of light and those of sound. Could you see the air through which sound-waves are passing, you would observe every individual particle of air oscillating to and fro, in the direction of propagation. Could you see the luminiferous ether, you would also find every individual particle making a small excursion to and fro; but here the motion, like that assigned to the water-particles above referred to, would be across the line of propagation. The vibrations of the air are longitudinal

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1

Among whom may be especially mentioned the late Sir Edmund Head, Bart., with whom I had many conversations on this subject.

2

At whose hands it gives me pleasure to state I have always experienced honourable and liberal treatment.

3

One of the earliest of these came from Mr. John Amory Lowell of Boston.

4

It will be subsequently shown how this simple apparatus may be employed to determine the 'polarizing angle' of a liquid.

5

From this principle Sir John Herschel deduces in a simple and elegant manner the fundamental law of reflection.—See Familiar Lectures, p. 236.

6

The low dispersive power of water masks, as Helmholtz has remarked, the imperfect achromatism of the eye. With the naked eye I can see a distant blue disk sharply defined, but not a red one. I can also see the lines which mark the upper and lower boundaries of a horizontally refracted spectrum sharp at the blue end, but ill-defined at the red end. Projecting a luminous disk upon a screen, and covering one semicircle of the aperture with a red and the other with a blue or green glass, the difference between the apparent sizes of the two semicircles is in my case, and in numerous other cases, extraordinary. Many persons, however, see the apparent sizes of the two semicircles reversed. If with a spectacle glass I correct the dispersion of the red light over the retina, then the blue ceases to give a sharply defined image. Thus examined, the departure of the eye from achromatism appears very gross indeed.

7

Both in foliage and in flowers there are striking differences of absorption. The copper beech and the green beech, for example, take in different rays. But the very growth of the tree is due to some of the rays thus taken in. Are the chemical rays, then, the same in the copper and the green beech? In two such flowers as the primrose and the violet, where the absorptions, to judge by the colours, are almost complementary, are the chemically active rays the same? The general relation of colour to chemical action is worthy of the application of the method by which Dr. Draper proved so conclusively the chemical potency of the yellow rays of the sun.

8

Young, Helmholtz, and Maxwell reduce all differences of hue to combinations in different proportions of three primary colours. It is demonstrable by experiment that from the red, green, and violet all the other colours of the spectrum may be obtained.

Some years ago Sir Charles Wheatstone drew my attention to a work by Christian Ernst Wünsch, Leipzig 1792, in which the author announces the proposition that there are neither five nor seven, but only three simple colours in white light. Wünsch produced five spectra, with five prisms and five small apertures, and he mixed the colours first in pairs, and afterwards in other ways and proportions. His result is that red is a simple colour incapable of being decomposed; that orange is compounded of intense red and weak green; that yellow is a mixture of intense red and intense green; that green is a simple colour; that blue is compounded of saturated green and saturated violet; that indigo is a mixture of saturated violet and weak green; while violet is a pure simple colour. He also finds that yellow and indigo blue produce white by their mixture. Yellow mixed with bright blue (Hochblau) also produces white, which seems, however, to have a tinge of green, while the pigments of these two colours when mixed always give a more or less beautiful green, Wünsch very emphatically distinguishes the mixture of pigments from that of lights. Speaking of the generation of yellow, he says, 'I say expressly red and green light, because I am speaking about light-colours (Lichtfarben), and not about pigments.' However faulty his theories may be, Wünsch's experiments appear in the main to be precise and conclusive. Nearly ten years subsequently, Young adopted red, green, and violet as the three primary colours, each of them capable of producing three sensations, one of which, however, predominates over the two others. Helmholtz adopts, elucidates, and enriches this notion. (Popular Lectures, p. 249. The paper of Helmholtz on the mixture of colours, translated by myself, is published in the Philosophical Magazine for 1852. Maxwell's memoir on the Theory of Compound Colours is published in the Philosophical Transactions, vol. 150, p. 67.)

9

The following charming extract, bearing upon this point, was discovered and written out for me by my deeply lamented friend Dr. Bence Jones, when Hon. Secretary to the Royal Institution:—

'In every kind of magnitude there is a degree or sort to which our sense is proportioned, the perception and knowledge of which is of the greatest use to mankind. The same is the groundwork of philosophy; for, though all sorts and degrees are equally the object of philosophical speculation, yet it is from those which are proportioned to sense that a philosopher must set out in his inquiries, ascending or descending afterwards as his pursuits may require. He does well indeed to take his views from many points of sight, and supply the defects of sense by a well-regulated imagination; nor is he to be confined by any limit in space or time; but, as his knowledge of Nature is founded on the observation of sensible things, he must begin with these, and must often return to them to examine his progress by them. Here is his secure hold: and as he sets out from thence, so if he likewise trace not often his steps backwards with caution, he will be in hazard of losing his way in the labyrinths of Nature.'—(Maclaurin: An Account of Sir I. Newton's Philosophical Discoveries. Written 1728; second edition, 1750; pp. 18, 19.)

10

I do not wish to encumber the conception here with the details of the motion, but I may draw attention to the beautiful model of Prof. Lyman, wherein waves are shown to be produced by the circular motion of the particles. This, as proved by the brothers Weber, is the real motion in the case of water-waves.

11

Copied from Weber's Wellenlehre.