Page 17 - The Ashley Book of Knots

THE ASHLEY BOOK OF KNOTS

But I had given no thought atthat time to writing a book of knots,

a fact which I have had occasion to regret many times since, for

my early notes were very fragmentary. However, I am not con-

vinced that an excuse is called for. Throughout history, from the

early peregrinations of Marco Polo and the first voyage of Chris-

topher Columbus down to more recent explorations in Antarctica

and the Himalayas, the thrill incident to the pursuit of untrod den

ways and the joy that attends occasional discovery have ever been

accounted sufficient reward in themselves for almost any human ef-

fort or sacrifice.

Tome the simple act of tying a knot is an adventure in unlimited

space. A bit of string affords a dimensional latitude that is unique

among the entities. For an uncomplicated strand is a palpable object

that, for all practical purposes, possesses one dimension onl . If we
,

! ' •
[('Ill! move a single strand in a plane, interlacing it at will, actua objects

of beauty and of utility can result in what is practically two dimen-

sions; and if we choose to direct our strand out of this one plane,

another dimension is added which provides opportunity for an ex-

cursion that is limited only by the scope of our own imagery and

the length of the ropemaker's coil.

What can be more wonderful than that?

But there always seems to be another car ahead in every likely

parking space. Here is a Mr. Klein who claims to have proved

• (Mathematische Annalen) that knots cannot exist in space of four
•
%-
· -- dimensions. This in itself is bad enough, but if someone else should
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- -
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-- .

. --~ come forward to prove that heaven does not exist in three dimen-

sions, what future is there left for the confirmed knot tier?

The basis of this work is the assembled notes of forty years' collec-

tion. My aim has been to write a comprehensive and orderly book on

applied knots and to make whatever information it contains easily

accessible.

Unless a knot serves a prescribed purpose, which may be either

practical or decorative, it does not belong here. Knots that cannot

hold their form when tied in tangible material are not shown, no

matter how decorative they may be. Many such decorative knots

appear in ancient architectural carvings, on early book covers, and in

illuminated manuscripts. Old tombstones often bear them. The early

Britons employed them in various heraldic devices. Many artists, in-

cluding Leonardo da Vinci, have drawn elaborate knot forllls in their

decorations. These pictured and sculptured knots serve their pur-

poses admirably, but they are not within the scope of the present

work. A knot must have distinction of some sort to be included. Bad

as the GRANNY KNOT is, it has borne a name, and been in use for many

years. With such, I do not feel at liberty to be arbitrary, no matter

how unimportant they may seem to be.

•
.. ,. . .. The purpose of a knot and the method of tying it are not less im-

• • • • .. portant than its name and aspect, the two features that are commonly

•

• stressed. The question of what knot is best for a particular need is

perhaps the most important of all to be considered.

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