Categories
Science Poetry

Enzyme Catalysis

“Inventive, reflective—
Marie Maynard Daly 
Seeks routes mechanistic
For enzymes and cells;
Goals realizing while
Paths catalyzing for 
Students to follow 
Through future, as well.”

The 16 April 2021 Twitter biography briefly recounted the story of Marie Maynard Daly (1921-2003), who was the first Black woman to earn a Ph.D. in chemistry in the USA.     

“Inventive, reflective— / 
Marie Maynard Daly /
Seeks routes mechanistic /
For enzymes and cells…”

Marie Maynard Daly completed her undergraduate work at Queens College and her master’s degree at New York University.  She then attended Columbia University to earn her doctorate degree, and her thesis was entitled “A Study of the Products Formed by the Action of Pancreatic Amylase on Corn Starch.”  Her dissertation research, completed in only three years, explored “routes mechanistic / [f]or enzymes,” as pancreatic amylase is an enzyme that can break down complex carbohydrates into glucose (sugar).  

Daly graduated from Columbia in 1947, then continued her biochemical research at multiple institutions: as a postdoctoral researcher at the Rockefeller Institute, then as a researcher and instructor at Columbia University, and ultimately as a faculty member at the Albert Einstein College of Medicine, where she taught for more than 25 years.  Her insights were widespread: investigating protein synthesis and illustrating the harmful effects of cholesterol, among many other studies.    

“Goals realizing while / 
Paths catalyzing for /
Students to follow /
Through future, as well.”

A catalyst can speed the rate of a chemical reaction by lowering its activation energy: the energetic barrier that must be overcome for a reaction to proceed.  An enzyme is a catalyst for a biochemical reaction, specifically.

Daly established a scholarship at Queens College in memory of her father, who had also studied chemistry but was unable to complete his degree due to lack of financial support. These last few lines thus highlight the way in which Daly helped students along their paths to graduation, breaking down barriers: “paths catalyzing for / students to follow / through future, as well.”  

Categories
Science Poetry

Science Alliance

“The findings of Somerville, Mary:
Relating the sciences, varied.
Her knowledge, collecting;
The STEM fields, connecting,
In textbook most extraordinary.”

The 15 April 2021 Twitter biography noted the myriad accomplishments of Mary Somerville, an accomplished researcher who published On the Connection of the Physical Sciences in 1858.  

“The findings of Somerville, Mary: /
Relating the sciences, varied.” 

Mary Somerville (1780-1872) was a gifted scientist and author; she wrote articles and books related to astronomy, physics, and other varied STEM fields.    

“Her knowledge, collecting; /
The STEM fields, connecting, /
In textbook most extraordinary.”

While Somerville wrote many books, her most famous text is likely the one cited in the introduction to this post: On the Connection of the Physical SciencesIt deliberately examines links and connections between scientific topics: defying disciplinary barriers and thus anticipating many of the challenges that still persist in STEM today.  

The book discusses such varied and accessible topics as the moon’s orbit, the processes of photography, and the vibrations of strings involved in music, as well as the underlying scientific concepts, processes, and patterns beneath all of these.  Somerville writes in the book’s introduction: “Science, regarded as the pursuit of truth, must ever afford occupation of consummate interest, and subject of elevated meditation… Our knowledge of external objects is founded upon experience, which furnishes facts; the comparison of these facts establishes relations, from which the belief that like causes will produce like effects leads to general laws.”   

Given the wide range of her academic interests, Somerville was the first person to ever be described via the word “scientist”; this was a term coined by her contemporary William Whewell (1794-1866) in describing Somerville’s varied interests, since job titles such as “astronomer” or “mathematician” alone were disciplinarily insufficient.  (Like Somerville, Whewell was a widely interested researcher, and he gave many useful neologisms to both STEM and the humanities.)

Somerville’s “textbook most extraordinary” is available online via Project Gutenberg

Categories
Science Poetry

Oil and Water

“Swiftly, synthetic’ly,
Alice Augusta Ball
Works towards seeds of the
Chaulmoogra trees;
Efforts invested yield
Oil’s ethyl ester and 
Thus a key treatment
To combat disease.”  

The 14 April 2021 Twitter poem was another biographical tribute.  This one celebrated the chemistry achievements of Alice Augusta Ball (1892-1916), who developed the first effective medical treatment for leprosy.  

“Swiftly, synthetic’ly, / 
Alice Augusta Ball /
Works towards seeds of the / 
Chaulmoogra trees…”

Alice Ball was a gifted researcher in synthetic organic chemistry.  She completed her undergraduate work at the University of Washington and soon after earned a master’s degree from the University of Hawaii (becoming both the first Black student and the first woman to do so).  She ultimately accepted a research position at Hawaii’s Kalihi Hospital, working with surgeon Harry Hollman on a treatment for leprosy.  It was known that chaulmoogra oil, derived from “seeds of the / [c]haulmoogra trees,” was a useful treatment for this disease.  However, the oil itself had several side effects.  It couldn’t be taken orally, as it made patients ill.  Moreover, the oil couldn’t be injected without causing unwanted blistering and pain; due to its viscous nature and water-insolubility, it would clump up under the skin.        

“Efforts invested yield /
Oil’s ethyl ester and /
Thus a key treatment /
To combat disease.” 

Ball determined that if the fatty acids in the chaulmoogra oil were converted to their ethyl esters, the medication would become water-soluble: able to dissolve in water; capable of traveling through and being absorbed by the body; avoiding the terrible side effects while remaining medically active.  This was a tremendous accomplishment, revolutionizing the treatment of leprosy.    

Tragically, Ball died soon after this discovery, at the age of 24.  Moreover, another chemist, Arthur Dean, continued her work without crediting her, publishing extensively on “Dean’s method” as a leprosy treatment.  

However, years later, the credit for Ball’s work was rightfully restored, and the pertinent technique is now known as Ball’s method.  The University of Hawaii celebrated Alice Augusta Ball Day earlier in 2022.         

Categories
Science Poetry

Landmark Achievements

“Scholar and mentor,
Prof. St. Elmo Brady:
His far-reaching teaching,
Key insights, perceives.
Chemical topics and
Goals spectroscopic will,
Illuminatingly,
Landmarks achieve.”

The next Twitter biography poem, posted on 13 April 2021, celebrated St. Elmo Brady (1884-1966), who was the first Black chemist to earn a Ph.D. in the USA.  

“Scholar and mentor, /
Prof. St. Elmo Brady: /
His far-reaching teaching, /
Key insights, perceives.”

In 1916, St. Elmo Brady earned his doctorate from the University of Illinois, Urbana-Champaign (UIUC), examining how substituent effects could impact carboxylic acids.  He spent much of his subsequent career establishing chemistry departments at multiple historically Black colleges and universities (HBCUs), including Tuskegee University, Howard University, Fisk University (his undergraduate alma mater), and Tougaloo College.  He impacted countless students through his mentoring efforts in teaching and scholarship.  

“Chemical topics and /
Goals spectroscopic will, /
Illuminatingly, /
Landmarks achieve.”

These last four lines commemorate just a few specific achievements from Brady’s outstanding career, centered around the theme of achieving landmarks.  As part of his work at both Fisk University and Howard University, Brady led efforts towards construction of new academic buildings. Moreover, during his tenure at Fisk University, Brady collaborated with UIUC to develop a research institute devoted to infrared spectroscopy, a technique which identifies “chemical landmarks” (functional groups) in chemical compounds through the use of infrared light (“illuminatingly,” to use a double-dactylic word).  Finally, in 2019, the American Chemical Society celebrated Brady’s achievements with the designation of a national historic chemical landmark, at UIUC.  

After Brady’s death, chemist Samuel Massie wrote an article in The Capital Chemist in 1967 in tribute to his colleague’s life and career.  He noted: “Brady not only built buildings and departments, he built men and women.  He was never too busy to listen to the problems of a student or fellow faculty member… Although he is gone as a person, his shadow remains… Truly the story of chemistry at four institutions is the lengthened shadow of a great teacher, friend and scholar.”

Categories
Science Poetry

Third in a Series

Past few months have been chaos kinetic;
Mind’s been far from rhymed verse academic.
But: still worth a try, so
Bring on NaPoWriMo,
Third attempt toward an April poetic.

Here at the start of both a new calendar year and a new spring semester, I’ll begin revisiting the April 2021 National Poetry Writing Month poems, previously posted on Twitter.  Not all of these were science-themed, but enough were that I should be able to repeat this pattern throughout the spring.  This Twitter limerick, from 1 April 2021, merely introduces the month’s goal; it still might be useful in setting the scene for the next several weeks.    

“Past few months have been chaos kinetic; / 
Mind’s been far from rhymed verse academic.”

I wrote this limerick in the waning weeks of the 2020-21 academic year.  I was reflecting on the stress of managing day-to-day work in such an unusual time, where “chaos kinetic” was still predominating.  I had paused my Twitter poems (“rhymed verse academic”) since the end of the Fall 2020 semester.  

“But: still worth a try, so /
Bring on NaPoWriMo, /
Third attempt toward an April poetic.” 
 

As in April 2020, I contemplated in April 2021 the feasibility of persisting in the daily writing trend that National Poetry Writing Month (NaPoWriMo) encourages.  Thirty poems in thirty days seemed even more daunting than in the previous year.  Following successful endeavors in 2019 and 2020, the “third attempt” ultimately seemed “worth a try.”  

Part of my motivation in doing so was the possibility of generating thematic material for these subsequent essays, as that two-step process (poem first, then interpretive essay) has provided a helpful writing routine over the past two years. 

I find the poetic form of the interlocking rubaiyat particularly resonant: how the structure and word choice in one stanza informs that of the next (AABA, BBCB, CCDC, etc.).  In a similar way, by writing thirty poems in April, I can ensure that I have several themes for the following year’s blog posts, since the topics I chose for the poems inform the substance of the longer essays.  [I also note some parallels here with the structure of the Periodic Table of Elements: each essay is in the same “family” (theme) as its prompting verse and is itself a higher “number”… in terms of word count!]   

Categories
Science Poetry

Time of Flight

I’m flying a kite on the shore of the lake
In the summer before I turn ten.
The weak string grows taut and eventually snaps,
And the kite sails away overhead.   

Though I haven’t let go in the technical sense,
Still my aim plays no longer a role;
Story’s end is the same whether fate takes command
Or the kite’s wind-blown path I control.   

In the decades that pass since that warm summer day,
Expectations will rarely align
With reality; little makes narrative sense
To extent I’ve envisioned in mind.  

Recalling today that long-past afternoon—
Freed kite framed against vivid blue sky—
Though I mourned in that moment the loss of my toy,
I’ll remember now letting it fly.  

As winter break quickly passes by, I will take a few minutes today to write a brief post, to note the disappearing month and year.  This non-Twitter poem was one I wrote in a creative writing course a few years ago, for which the pertinent day’s prompt was considering the act of “letting go.” 

I’m flying a kite on the shore of the lake /
In the summer before I turn ten. /
The weak string grows taut and eventually snaps, /
And the kite sails away overhead.   

Though written in meter, this initial depiction is relatively prosaic.  I still remember standing by the side of a lake in a state park, many years ago: watching, befuddled, as a colorful diamond soared far into the distance.    

Though I haven’t let go in the technical sense, /
Still my aim plays no longer a role; /
Story’s end is the same whether fate takes command /
Or the kite’s wind-blown path I control.   

This stanza veers the closest of any here to a chemistry theme, lining up with the discussion of state functions and path functions I’ve mentioned before.  Mathematically, state functions and path functions are approached differently; a state function simplifies much accompanying math because it can be defined by taking the final state minus the initial state.  To use my perennial example of a mountain climber’s odyssey, the altitude achieved in the climb is a state function, since it can be calculated simply by taking the final height reached minus the initial height at ground level; the distance traveled is a path function, since it requires information about the specific route to determine.     

Here, “story’s end”– the altitude of the lost kite; its final state– would have been the same whether the string broke or I let go of it: “whether fate takes command / or the kite’s wind-blown path I control.” 

(I wrote a potential addition to this portion at one point, making the point gratingly clear as a chemistry lesson: “Now the altitude reached by the diamond afloat / Is a state function, neatly defined: / Final height of the kite is the same in both versions / Of story I’ve held in my mind.” I ultimately preferred the simpler phrasing.)

In the decades that pass since that warm summer day, /
Expectations will rarely align /
With reality; little makes narrative sense /
To extent I’ve envisioned in mind.  

These lines extend the mathematical metaphor to the idea of life as a path function that I’ve written about previously.  The path is unexpected and often challenging: expectation and reality can differ sharply; many events can seem bewildering, at best, when experienced in real time. While to look only at the initial and final states is to miss the entire story, the intervening path still might not make a great deal of “narrative sense,” as one walks it.

Recalling today that long-past afternoon— /
Freed kite framed against vivid blue sky— /
Though I mourned in that moment the loss of my toy, /
I’ll remember now letting it fly.  

However, the act of writing about challenges can sometimes reframe and reclaim them, as related in this small-scale example. 

On that day, years ago, I was disappointed to lose my kite. In writing this poem, I “remember[ed]… letting it fly,” a phrase which can refer either to an intentional release of the kite string (as referenced above) or, more generally, to the experience of kite-flying on the day itself.  The former didn’t happen, but through the writing process, I found the latter to be increasingly true.  When I looked back, I could envision the details vividly; I’m not sure I would have been able to, had the string not broken and the kite not departed so notably.

Several interesting tensions exist between this careful reassessment of memory and the “letting go” of the prompt that first inspired the verse.  That’s a balancing act fleetingly noted in the poem’s last few lines– and one that would be useful to revisit in a future essay!

Categories
Science Poetry

Annual Appreciation

“Practical, rational
Findings: week celebrates,
Spotlighting chem work of 
National fame…
Lab-analyzingly,
Goal-synthesizingly: 
Highlight stick-to-it-ive 
Process and aims!”

The 19 October 2020 Twitter poem marked the start of National Chemistry Week 2020.

“Practical, rational /
Findings: week celebrates, /
Spotlighting chem work of /
National fame…”

The first four lines noted the general themes of National Chemistry Week, which celebrates chemistry research across the USA.  The American Chemical Society sponsors related events and campaigns, throughout late October.  Each year involves a different theme highlighting a different aspect of the discipline of chemistry.    

Lab-analyzingly, /
Goal-synthesizingly: /
Highlight stick-to-it-ive /
Process and aims!”

The second four lines of this poem were focused on the 2020 theme for National Chemistry Week, “Sticking with Chemistry,” examining the science behind adhesives.  

Two hyphenated double-dactyl words, “lab-analyzingly” and “goal-synthesizingly,” summarized some of the main ways in which chemists complete their work.  Several types of analysis can be completed on compounds to understand their elemental composition and overall properties.  New chemical species can be synthesized in the lab, putting elements into new combinations. 

The “stick-to-it-ive” phrasing emphasized both adhesives as the subject of the 2020 celebration, specifically, and the determination with which scientists approach their goals, generally!  

This year’s week began on Monday and, for 2021, celebrates a theme related to ideas of chemical kinetics and reaction rates: “Fast or Slow, Chemistry Makes it Go.”  A new round of Twitter poems is thus in progress… which I’ll return to next year, in this space. 

Categories
Science Poetry

Inflection Points

A painting will react within the air,
The timescale long but resolutely strict;
I learn to my chagrin, almost despair,
And note the harm that passing years inflict. 

To H2O and CO2, paints age,
Convert o’er time; their final state is thus
The same as that for any on this stage. 
(See also: “Ash to ash and dust to dust.”)  

A sobering realization in its time;
I find a new perspective eight years on.
From songs and stories, portraits, prose, and rhyme,
The mem’ries of ancestral homes now gone…

I offer what I can the powerful play,
Take up the pen ‘gainst Time, and join the fray.

This is a non-Twitter poem, and it was a first poetic effort after many years of academic-only writing, as part of a creative writing course I was fortunate to find in Summer 2018.  The course involved daily writing prompts ranging from non-fiction to fiction and finally to poetry.  

In this particular day’s prompt, we were asked to rewrite a Shakespearean sonnet.  I found that reading a few of them and considering the strict rules of their structure helped me to frame an interesting image I’d encountered in a teaching workshop several years before. 

A painting will react within the air, /
The timescale long but resolutely strict, /
I learn to my chagrin, almost despair, /
And note the harm that passing years inflict.  

To H2O and CO2, paints age, /
Convert o’er time; their final state is thus /
The same as that for any on this stage. /
(See also: “Ash to ash and dust to dust.”)   

The poem, drafted in a creative writing class, references another welcome educational opportunity.  

Days after my first year of tenure-track teaching ended in 2010, I flew across the country to a wonderful workshop on Chemistry and Art, held that year in the state of Washington.  It turned out to be the restorative week I needed after the utter exhaustion of that first year.  Working with other scientists and artists, I listened to lectures and completed projects in which I considered the interdisciplinary overlap of chemistry and art more directly than I ever had before: synthesizing a solid pigment as an example of a precipitation reaction; dyeing a fabric to demonstrate interactions between the molecules of the fabric and the molecules of the dye.     

This poem originated from one particularly vivid takeaway point from an art conservation lecture: “[a] painting will react within the air.”  Any painting hanging on a museum wall is hanging in a reactive environment, since the oxygen in the air will cause oxidation reactions to occur.   (Important artifacts are sometimes displayed under inert atmospheres, to avoid these unwanted chemical reactions; certainly, factors such as temperature, lighting, and humidity are carefully controlled in a museum setting more generally.)  

When an organic compound undergoes a combustion reaction (oxidation), it is converted to water and to carbon dioxide.  The binders in oil paints are mixtures of organic compounds (containing carbon, hydrogen, and oxygen).  I had known both of these points, detachedly, for years, and yet I could point to the seat in the classroom where I was sitting when the implication truly clicked.  

The end products of a such a compound’s combustion reaction, even if that reaction doesn’t end for hundreds of years, will be water (H2O) and carbon dioxide (CO2), in terms of the molecular formulas of the thermodynamically stable, final compounds.  “[T]he timeline [is] long,” but the reaction pathway is “resolutely strict.”  In other words, the final state of a painting is not the painting… but these ephemeral reaction products, easily borne away on the air.  

I found this idea reminiscent of the “ashes to ashes, dust to dust” phrase found in religious texts and framed it here as an academic note, via the “see also” directive.  

A sobering realization in its time; /
I find a new perspective eight years on. /
From songs and stories, portraits, prose, and rhyme, /
The mem’ries of ancestral homes now gone…

An inflection point, in computational chemistry (or mathematics generally), is where the curve of the mathematical function of interest changes sign.  An inflection point, in a story, is where the plot changes direction.  These lines mark an “intra-poem” inflection point, as I shift here from my chemistry discussion to a line of thought it helped inspire.   

The Chemistry and Art workshop was in Summer 2010.  “[E]ight years on,” at the time of my 2018 writing course, I was dealing with several recent losses within my immediate and extended family.  I had found myself unable in the time immediately afterward to consider any of the family memories that had once meant so much, via so many different media: music, stories, photographs.  Meanwhile, my writing had calcified into an academic, disciplinary-jargon-informed voice in the years after college.  

This writing exercise was thus an inflection point of its own, as I found that I had finally achieved enough fluency with chemistry material to be able to write about it in a more creative way.   This in turn led easily to the more personal reflection, supported by the structure of the sonnet form.

I offer what I can the powerful play, /
Take up the pen ‘gainst Time, and join the fray.  

The closing couplet provides an homage to Walt Whitman and William Shakespeare.  Whitman’s “O Me! O Life!” famously queries and responds: “The question, O me! so sad, recurring—What good amid these, O me, O life? /  Answer. / That you are here—that life exists and identity, / That the powerful play goes on, and you may contribute a verse.” Shakespeare’s Sonnet 15 addresses the inevitability of Time’s arrow and the writer’s resolute effort against it: “And all in war with Time for love of you, / As he takes from you, I engraft you new.”     

I remember where I sat at the workshop when I first connected the dots about the finite lifetime of a work of art.  I remember a morning in my living room years later, as these allusions fell into systematic syllabic place alongside those images from chemistry and, finally, a tribute to my family: the strict rules of the sonnet fit the myriad puzzle pieces into a coherent image. The pertinent turn back towards creative writing has led to a rewarding routine in the years since, including the regular use of this website space.  

Categories
Science Poetry

Process Poem

“Start by observing, then
Ask informed question and
State a hypothesis;
Then test away,
Experimentally.
Findings might verify
(Or ‘back to drawing board’
Also might say…).”

I’ll return here in the autumn semester to the routine of weekly posts in which I provide additional context (“translations”) for the poems I’ve posted on Twitter in previous months. The 31 August 2020 poem summarized the scientific method in double dactylic rhythm.   

“Start by observing, then /
Ask informed question and /
State a hypothesis; /
Then test away, /
Experimentally…”

The specific details of the scientific method are listed in different ways by different sources, but major commonalities persist.  The method is driven by observations, which lead to posing a question with a tentative explanatory answer called a hypothesis.  That hypothesis can predict findings; those predictions can be tested via experiments.  (The presence of “experimentally” on a list of double-dactyl-friendly, six-syllable words prompted this particular poetic endeavor.)  

“Findings might verify /
(Or ‘back to drawing board’ /
Also might say…).”

The final few lines emphasize another aspect of the scientific method: its iterative nature.  Experiments can provide evidence (data, results, conclusions) in support of a hypothesis’s predictions (“findings might verify”), or they can provide evidence that does not support those predictions. In the latter case, a scientist would refine the hypothesis, design a new experiment, and try again: “back to [the] drawing board.”  

As a sidenote, another vocabulary term often introduced alongside the scientific method is “theory.”  A scientific theory is a explanation that has withstood many instances of rigorous testing from the scientific community; the scientific definition of “theory” is different than the everyday definition.  (One valuable metaphor I’ve heard used is that of a map: a theory connects complex information in our understanding of a particular subject into an organized format. The merit of the theory can be evaluated on the basis of the “geographical information” it provides.)

The resources linked herein provide much more detailed and informative discussions of the nature and history of the scientific method!  However, this does seem a fitting topic for the first poem “translation” of this new semester.  

Categories
Science Poetry

Painstaking Attention

Near 1920,
STEM questions aplenty.
Scientists seek for the sun in the sky
A chemical make-up.  

To do this, they take up
Their spectroscopes, which will allow them to spy
At the atomic
Scale, info re: cosmos,
Deduced from a pattern of typical lines.  
Each element will show
Fingerprint pattern, so
From scope’s results, find the source of sun’s shine.  

Opinion popular
For data ocular:
Iron composes the overhead sun.  

“Ihron?” “Yes, irhon.”
“Iht’s chlearly juhst ironh;
Whe loohked aht khey lhines frohm hour spechtroscope’s rhun!”     

Enter Payne, student,
First viewed as imprudent
For noting the excess of H in these lines.  
“Hydrogen fits
Pattern known.  It’s 
The likeliest culprit– not iron– for these spectral signs.”  

Solved, central mystery?  
Payne’s place in history
Set by the finding?  Two obvious “Yesses”?  

No!  The reception
Is cold; no exceptions.  
Some years will pass, ‘ere both are deemed as successes.  

Hydrogen’s place in the
Realms of astronomy,
Now well-established: identity main
As stars’ key constituent.  

No more diminuent 
Should be her story: Cecilia Payne.  

***

As with last week’s essay, this is a longer poem that tells one of my favorite stories from scientific history.  Cecilia Payne-Gaposchkin was an astronomer who lived from 1900-1979, and one of her stories is wonderfully told in David Bodanis’s phenomenal book E=mc2, the prose of which inspired this particular poem.  Despite studying science for all of my post-college academic path, it was not until my teaching career that I encountered Payne’s name (thanks to Bodanis’s book).  

Near 1920, /
STEM questions aplenty. /
Scientists seek for the sun in the sky /
A chemical make-up.  

Cecilia Payne pursued her doctoral degree at Harvard in the early 1920s, during a time when the theory of quantum mechanics was overturning scientists’ understanding of matter and energy.  “STEM questions aplenty” were thus under investigation in various labs and universities.   One such question involved the chemical composition of the sun (which elements were present?).

To do this, they take up /
Their spectroscopes, which will allow them to spy /
At the atomic /
Scale, info re: cosmos, /
Deduced from a pattern of typical lines. /  
Each element will show /
Fingerprint pattern, so /
From scope’s results, find the source of sun’s shine.  

Several experiments around this time revolutionized scientists’ understanding of the quantum behavior of matter.  One key instrument was the spectroscope; Robert Bunsen (of “Bunsen burner” fame) and Gustav Kirchoff had shown a few decades earlier how it could be used to explore the line spectrum of a given element. 

Spectroscopes reveal the particular wavelengths (and thus energies) of light absorbed or emitted by an element; the “lines” of line spectra refer to the wavelengths in question at which they are seen.  These data in turn rely on the electronic structure of each element: its number and arrangement of electrons.   

When I teach the topic of line spectra in General Chemistry, we look at the hydrogen atom’s line spectrum in detail.  Any time a sample of hydrogen is caused to emit (release) energy, the four lines in the visible region of the electromagnetic spectrum (the colors we can see with our own eyes, rather than light that requires using a laboratory  instrument) will be at the same four wavelengths: 410 nanometers, or nm (violet), 434 nm (blue), 486 nm (indigo), and 656 nm (red).  (In teaching, I contrast this quantization with the “continuous” spectrum of white light, the ROYGBIV rainbow,  so we have a sense of why these findings would’ve been so unusual to scientists at the turn of the twentieth century.)  Each element behaves differently, so that a characteristic line spectrum becomes a fingerprint for the element in question, just as these four lines are the fingerprint for hydrogen.  

For the scientists who were interested in understanding the sun’s chemical makeup and behavior, observing the sun through a spectroscope would reveal a particular line pattern and thus the elements involved: the “source of sun’s shine.”  They were interested in the spectroscopic behavior of the elements that were causing this astronomical behavior: “at the atomic/ [s]cale, info re: cosmos.”  

Opinion popular /
For data ocular: /
Iron composes the overhead sun.  

At the time of these studies, the prevailing theory was that the sun was composed in large part of iron.  From the data that scientists could observe in the visible spectrum (“data ocular”— a bit of a stretch to serve the rhyme), they discerned lines that they attributed primarily to iron, in adherence with the theory.  

“Ihron?” “Yes, irhon.” /
“Iht’s chlearly juhst ironh; /
Whe loohked aht khey lhines frohm hour spechtroscope’s rhun!”     

These lines highlight the ingenious way that Bodanis contextualized Payne’s story, by presenting spectroscopic information as different series of letters and words and showing the reader how it would be possible to misinterpret them, if you were already sure of what you expected to see.  

In the chapter of E = mc2 entitled “The Fires of the Sun,” which tells Payne’s story in the most detail, Bodanis writes

“An analogy can show what Payne did… If [the lines] came out, for example, as: ‘theysaidironagaien,’ you’d parse it to read ‘theysaidironagaien’ and there’d be no need to worry too much about the odd spelling of agaien

But Payne kept an open mind.  What if it was really trying to communicate tHeysaidironagaien [?]” 

From David Bodanis’s E = mc2 ; note the letters in bold in each interpretation!

I built on Bodanis’s method for showing these spectroscopic anomalies in drafting this poem.  Here, I took particular advantage of the letter h: its ability to be silent or to have only a minor effect on pronunciation,  depending on where it shows up in a word.  These lines emphasize that in this hypothetical conversation among hypothetical scientists at the time, if they were determined not to observe “h,” they could’ve plausibly denied it (the “resolved” conversation would read as: “Iron?” “Yes, iron.” / “It’s clearly just iron; / We looked at key lines from our spectroscope’s run!”).   

It does indeed take some considerable imagination to ignore the strange spellings and odd pronunciations… but that is part of this story.  As the previous post used a break in a rhyme scheme to note Perkin’s findings, the unexpected and incorrect spellings here are intended to emphasize a moment of anomaly in scientific history: something is clearly amiss, and it requires some contemplation to process and understand.

Payne carefully considered the data and proposed that, instead, the element hydrogen was responsible for these main experimental findings.

Enter Payne, student, /
First viewed as imprudent /
For noting the excess of H in these signs. /  
“Hydrogen fits /
Pattern known.  It’s / 
The likeliest culprit– not iron– for these spectral lines.”  

Over the next portion of the poem, the excess of the letter h is directly tied to the excess of the element hydrogen, represented via the chemical symbol H. 

Scientists were likewise determined not to see “H” (the chemical element H, hydrogen),  despite the evidence that Cecilia Payne presented for hydrogen’s existence in these solar spectra. 

Payne was a student at the time; it was and is particularly challenging in the structure of scientific graduate education to defy existing knowledge without the support of one’s advisor and other renowned scientists in the field.  She was “viewed as imprudent” for not adhering to the status quo, the prevailing theory of the time, in “noting the excess of [hydrogen]” in her data.

Solved, central mystery? /
Payne’s place in history /
Set by the finding?  Two obvious “Yesses”?  

The poem first optimistically queries whether Payne’s innovative findings were celebrated and her place set in scientific history: do the two specific questions of interest merit answers of “yes” ?

No!  The reception /
Is cold; no exceptions. / 
Some years will pass ere both are deemed as successes.  

As stated above, Payne’s findings were initially, frustratingly dismissed: “The reception/ [i]s cold: no exceptions.” 

In his book, Bodanis points out that Payne had to deny her key insights to complete her graduate work; he writes,

“In her own published thesis she had to insert the humiliating line: ‘The enormous abundance [of hydrogen]… is almost certainly not real.’” 

From David Bodanis’s E = mc2

It was not until years later that Payne and her insights were afforded the deserved recognition.  

Hydrogen’s place in the /
Realms of astronomy, /
Now well-established: identity main /
As stars’ key constituent. / 
No more diminuent /
Should be her story: Cecilia Payne.  

Hydrogen’s identity as a key component of stellar chemistry is now well established, as “identity main” (most abundant) for the sun and other stars.        

In 1925, Payne earned her doctoral degree in astronomy from Radcliffe College of Harvard University, as the first person to do so.  One hundred years later, Payne’s doctoral thesis is recognized as the significant insight that it was; her subsequent career was likewise inspiring and fascinating.  

However, I note that it wasn’t until I looked beyond my own STEM curriculum and textbooks that I ever heard her name.  While I can attribute that in part to my taking a chemistry-centered path, versus an astronomy-focused one, spectroscopy has still been a key topic in many of my courses, and Payne’s discovery is a compelling and dramatic illustration of the importance of spectroscopic data. 

“No more diminuent/ Should be her story”: I hope to remember this in my classrooms this autumn; rather than a “diminuent” (lessening) effect, I plan to include a focus on Payne’s inspiring discovery.