Concerning the procreation of the soul as discoursed in Timaeus (31-33)

But neither doth this pleasant conceit of the latter come near the truth, neither do the former attain perfect accuracy. However, they who will not allow the latter to depend upon Plato’s sentiments will yet grant the former to partake of musical proportions; so that, there being five tetrachords, called ὑπάτων, μέσων, συνημμένων, διεζευγμένων, and ὑπερβολαίων, in these five distances they place all the planets; making the first tetrachord from the Moon to the Sun and the planets which move with the Sun, that is, Mercury and Venus; the next from the Sun to the fiery planet of Mars; the third between this and Jupiter; the fourth from thence to Saturn; and the fifth from Saturn to the sphere of the fixed stars. So that the sounds and notes which bound the five tetrachords bear the same proportion with the intervals

of the planets. Still further, we know that the ancient musicians had two notes called hypate, three called nete, one mese, and one paramese, thus confining their scale to seven standing notes, equal in number to the number of the planets. But the moderns, adding the proslambanomenos, which is a full tone in descent from hypate, have multiplied the scheme into the double diapason, and thereby confounded the natural order of the concords; for the diapente happens to be before the diatessaron, with the addition of the whole tone in the bass. Whereas Plato makes his addition in the upper part; for in his Republic[*] he says, that every one of the eight spheres rolls about a Siren which is fixed upon each of the tuneful globes, and that they all sing one counterpoint without diversity of modulation, taking every one their peculiar concords, which together complete a melodious consort.

These Sirens sing for their pleasure divine and heavenly tunes, and accompany their sacred circuit and dance with an harmonious song of eight notes. Nor was there necessity of a fuller chorus, in regard that within the confines of eight notes lay the first bounds and limits of all duple and triple proportions; the unit being added to both the even and odd numbers. And certainly from hence it was that the ancients raised their invention of nine Muses; of which eight were employed in celestial affairs, as Plato said; the ninth was to take care of things terrestrial, and to reduce and reform the inequality and confusion of error and jarring variance.

Now then consider whether the soul does not roll and turn and manage the heavens and the celestial bodies by means of those harmonious concords and equal motions that are wrought and fermented within her, being herself most wise and most just. And such she became by virtue of harmonical proportions, whose images representing

things incorporeal are imprinted into the discernible and visible parts and bodies of the world. But the chief and most predominating power is visibly mixed in the soul, which renders her harmonious and obedient to herself, the other parts unanimously yielding to her as the most supreme and the divinest part of all. For the Sovereign Artificer and Creator finding a strange disorder and erroneous confusion in the motions of the decomposed and unruly soul, which was still at variance with herself, some things he divided and separated, others he brought together and reconciled to a mutual sympathy, making use of harmony and numbers. By virtue of which, the slightest and meanest of insensible substances, even stocks and stones, the rinds of trees, and sometimes even the rennets of beasts, by various mixtures, compositions, and temperatures, may become the charming objects of the sight, or afford most pleasing perfumes and wholesome medicaments for the relief of mankind, or be wrought and hollowed to send forth pleasing musical sounds. And for this reason it was that Zeno of Citium encouraged and persuaded youth to frequent the theatres, there to observe the variety of melodious sounds that proceeded from horns or cornets, wooden hautboys, flutes and reeds, or any other musical instruments to which the contrivance of art had rightly applied the reason of number and proportion. Not that we will here maintain, with the Pythagoreans, that all things resemble number, for that requires a long discourse to prove it. But where mutual society and sympathy arise out of discord and dissimilitude, that the cause of this is moderation and order, produced by the power of harmony and number, was a thing not concealed even from the poets. And these give to what is friendly and kind the epithet evenly fitted; while, on the other side, men of rugged and malicious dispositions they called unevenly tempered, as if enmity and discord were nothing but a sort of a disproportion. For this reason, he who writes Pindar’s elegy gives him this encomium,

To foreigners agreeable, to citizens a friend;[*]

the poet plainly inferring complacency of humor and the aptitude of a person to fit himself to all tempers to be an excellency aspiring to virtue itself. Which Pindar himself also testifies, saying of Cadmus, that he listened to true music from Apollo himself.[*] Nor must we believe that the theologists, who were the most ancient philosophers, ordered the pictures and statues of the Gods to be made with musical instruments in their hands because they thought the Gods no better than pipers or harpers, but to signify that no work was so becoming to the Gods as accord and harmony.

Now then, as it would be absurd and ridiculous for any man to search for sesquiterces, sesquialters, and duples in the neck, or belly, or sides of a lute or harp,—though every one of these must also be allowed their symmetry of length and thickness,—the harmony and proportion of concords being to be sought for in the sound; so it is most probable that the bodies of the stars, the distances of spheres, and the swiftness of the motions and revolutions, have their sundry proportions, as well one to another as to the whole fabric, like instruments of music well set and tuned, though the measure of the quantity be unknown to us. However, we are to imagine that the principal effect and efficacy of these numbers and proportions, which the Supreme Architect made use of, is that same agreement, harmony, and consent of the soul with itself, by means of which she replenished the heavens themselves, when she came to actuate and perform her office there, with so

many infinite beauties, and by which she governs the earth by virtue of the several seasons, and other alterations wisely and artificially measured and varied as well for the generation as preservation of all terrestrial productions.