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Edwin A. Abbott

Flatland: A Romance of Many Dimensions

Annotated Edition

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Flatland: A Romance of Many Dimensions§ 9.—Of the Universal Colour Bill · Part 1

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English Edition · Branch 39 of 100

§ 9.—Of the Universal Colour Bill · Part 1

Flatland: A Romance of Many Dimensions

p. 39

§ 9.—Of the Universal Colour Bill

But meanwhile the intellectual Arts were fast decaying.

The Art of Sight Recognition, being no longer needed, was no longer practised; and the studies of Geometry, Statics, Kinetics, and other kindred subjects, came soon to be considered superfluous, and fell into disrepute and neglect even at our University. The inferior Art of Feeling speedily experienced the same fate at our Elementary Schools. Then the Isosceles classes, asserting that the Specimens were no longer used nor needed, and refusing to pay the customary tribute from the Criminal classes to the service of Education, waxed daily more numerous and more insolent on the strength of their immunity from the old burden which had formerly exercised the twofold wholesome effect of at once taming their brutal nature and thinning their excessive numbers.

Year by year the Soldiers and Artisans began more vehemently to assert—and with increasing truth—that there was no great difference between them and the very highest class of Polygons, now that they were raised to an equality with the latter, and enabled to grapple with all the difficulties and solve all the problems of life, whether Statical and Kinetical, by the simple process of Colour Recognition. Not content with the natural neglect into which Sight Recognition was falling, they began boldly to demand the legal prohibition of all “monopolising and aristocratic Arts” and the consequent abolition of all endowments for the studies of Sight Recognition, Mathematics, and Feeling. Soon, they began to insist that inasmuch as Colour, which was a second Nature, had destroyed the need of aristocratic distinctions, the Law should follow in the same path, and that henceforth all individuals and all classes should be recognized as absolutely equal and entitled to equal rights.

Finding the higher Orders wavering and undecided, the leaders of the Revolution advanced still further in their requirements, and at last demanded that all classes alike, the Priests and the Women not excepted, should do homage to Colour by submitting to be painted. When it was objected that Priests and Women had no sides, they retorted that Nature and Expediency concurred in dictating that the front half of every human being (that is to say, the half containing his eye and mouth) should be distinguishable from his hinder half. They therefore brought before a general and extraordinary Assembly of all the States of Flatland a Bill proposing that in every Woman the half containing the eye and mouth should be coloured red, and the other half green. The Priests were to be painted in the same way, red being applied to that semicircle in which the eye and mouth formed the middle point; while the other or hinder semicircle was to be coloured green.

There was no little cunning in this proposal, which indeed emanated, not from any Isosceles—for no being so degraded would have had angularity enough to appreciate, much less to devise, such a model of state-craft—but from an Irregular Circle who, instead of being destroyed in his childhood, was reserved by a foolish indulgence to bring desolation on his country and destruction on myriads of his followers.

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About This Reading Edition

Edwin A. Abbott’s mathematical romance of a Square in a two-dimensional world, in the revised text of 1884, with an introduction, full notes and a chapter outline.

Historical Text

Edwin A. Abbott, Flatland: A Romance of Many Dimensions, first published by Seeley and Co., London, in 1884 under the pseudonym A Square. This supplied annotated edition follows the revised second edition of 1884, established from a modern transcription collated against that printing.

About This Edition

Revised second edition, Seeley and Co., London, 1884; supplied annotated Diotimos edition, 2026

Rights

Edwin A. Abbott’s historical text is in the public domain. Introduction, notes and apparatus © 2026 Diotimos Editions.