Works
- Mysterium cosmographicum (The Sacred Mystery of the Cosmos) (1596)
- De Fundamentis Astrologiae Certioribus On Firmer Fundaments of Astrology (1601)
- Astronomiae Pars Optica (The Optical Part of Astronomy) (1604)
- De Stella nova in pede Serpentarii (On the New Star in Ophiuchus's Foot) (1604)
- Astronomia nova (New Astronomy) (1609)
- Tertius Interveniens (Third-party Interventions) (1610)
- Dissertatio cum Nuncio Sidereo (Conversation with the Starry Messenger) (1610)
- Dioptrice (1611)
- De nive sexangula (On the Six-Cornered Snowflake) (1611)
- De vero Anno, quo aeternus Dei Filius humanam naturam in Utero benedictae Virginis Mariae assumpsit (1613)
- Eclogae Chronicae (1615, published with Dissertatio cum Nuncio Sidereo)
- Nova stereometria doliorum vinariorum (New Stereometry of Wine Barrels) (1615)
- Epitome astronomiae Copernicanae (Epitome of Copernican Astronomy) (published in three parts from 1618–1621)
- Harmonice Mundi (Harmony of the Worlds) (1619)
- Mysterium cosmographicum (The Sacred Mystery of the Cosmos) 2nd Edition (1621)
- Tabulae Rudolphinae (Rudolphine Tables) (1627)
- Somnium (The Dream) (1634)
Read more about this topic: Johannes Kepler
Famous quotes containing the word works:
“His works are not to be studied, but read with a swift satisfaction. Their flavor and gust is like what poets tell of the froth of wine, which can only be tasted once and hastily.”
—Henry David Thoreau (1817–1862)
“Now they express
All that’s content to wear a worn-out coat,
All actions done in patient hopelessness,
All that ignores the silences of death,
Thinking no further than the hand can hold,
All that grows old,
Yet works on uselessly with shortened breath.”
—Philip Larkin (1922–1986)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)