Fibonacci Dreamscape

About this poem

Considered “the most talented Western mathematician of the Middle Ages,” Leonardo of Pisa, posthumously known as Fibonacci (circa 1170-1240 A.D.), an Italian mathematician of Pisa, Republic of Pisa, is renown for having popularized the Indo-Arabic numerical system in the Western world through his composition in 1202 of Liber Abaci, an historic Latin manuscript of calculations. The Fibonacci numerical series starts with the number one, adds one to give two, and from then on, the following number becomes the sum of the previous two numbers in the series such that, as example: 3=1+2; 5=3+2. Metaphysical research of Fibonacci number system and equations posits that the “Fibonacci numbers are [represented] in all of life” with a prime example as the double helix molecule with its spiral-like staircase winding upwards like sacred geometry embracing a central pole. Before composing this poem which emerged from a dream, I had never heard of the mathematician Fibonacci. I am also not a mathematician and not formally trained in mathematics. When I had learned that I had uttered what appeared to be a mathematical formula in my dream, and while fast asleep, I became, as Alice in Wonderland would have said, “curiouser and curiouser.” I desired to have a better understanding of what my dream portended, and what, by happenstance, I had tapped into. Having conducted post-dream research on Fibonacci as a mathematician, and having ascertained his metaphysical mathematical inclinations, I have entitled this poem “Fibonacci Dreamscape” because the word “Dreamscape” is suggestive of a ladder-like landscape or scene, with the strangeness of mystery that is characteristic of dreams in general with their powerful images of surrealism. Additionally, Fibonacci’s mathematical landscape presents itself to us in a similar symbolic framework . As an afterthought, I recognize that this most recent composition of mine, in Jungian fashion of synchronicity, serves as a twin companion to a poem that also emerged from the dream world, which precedes it in composition, and which I entitled ”ESOTERICA.” The symbolic dreamworld is indeed a chthonic world of archetypal creations where Chomsky’s “colorless green ideas sleep furiously.” more »