The Proscenium of Truth

HEADER: TO THE KEPLERIAN APPENDIX.

...it is done: for the sterility of the field or area in the subject of his Appendix dictates it: therefore, let his will stand for reason. He seems to divide this text into two small portions; namely, into a comparison of my Artificial Music original: "Musicæ artificialis"; Fludd refers to the human-made art of musical composition and theory with the third book of his own Harmony, which he graciously acknowledges agrees to some extent with his own purpose; and into the investigation of my Mundane Music original: "Musicæ mundanæ"; the "music of the spheres" or the harmonic proportions of the universe. In this part of his text, he seems to indicate in a way that I gave the same title to the third book of my Physics as he gave to his entire treatise. For this reason, he used the word "usurpation" not only in the context of this passage, but also in other places of his Appendix. This word is usually taken in a negative sense—specifically, when someone unworthily attempts to attribute and assign to themselves the title of another's dignity and honor. But I shall bring it about, I hope, that the author, puffed up by his own self-love, understands that this title belongs and is due to me just as much as to him, and by at least equal right.

As for the first part, where he teaches that my Artificial Music embraces the material or subject of his third book, we say that it includes and comprehends not only the force of that third book, but also the entire power or essence of the science of Music in the abstract, as well as both its theory and practice. Therefore, in his third book, he first seems to treat the discovery of Music from the striking of hammers A reference to the legend of Pythagoras discovering musical proportions by listening to blacksmiths, and then from the proportion of strings in a certain way. I also showed this briefly in the sixth book of my Arithmetic, where in chapters 1 and 2 I discussed the division of the monochord string term: monochord; a single-stringed instrument used to demonstrate mathematical ratios in music and dealt with the proportion of consonant hammers. He himself, in the same book, chapter 2, made mention of the harmonic section of the string and of many proportions, using far too many words. I, however, have revealed all of this and infinite other mysteries of string division in the column of my Temple of Music in a hieroglyphic Fludd uses "hieroglyphic" to mean symbolic or emblematic illustrations manner, and explained it in few words in the third book of that same treatise. As for the harmonic means original: "Medietates harmonicas"; mathematical ratios that determine musical intervals and their reasoning, which he treats only superficially in his chapter 3, I have treated them most copiously both in that book of mine and in the fifth, though in more elegant words.

As for the judgment regarding the origin of consonant intervals, which I called simple and harmonious—about which he speaks in book 3, chapter 4, and I in my third book, chapters 4, 2, and 3—the matter is still before the judge A Latin idiom meaning the case is undecided. Therefore, we will discuss the cause of this matter in its proper place below. He also thinks he can express the marrow of consonant intervals and attempts to divide them into more graceful intervals in his chapter 5. We, however, have done this same thing completely in chapters 4, 5, and 6 of the same book, and—what is more—we have shown the most certain method of finding them from the examination of the monochord string, just as we have proved most exactly by practice and experience. There we also explained the entire force of his chapter 7, where the section of the Octave original: "Octauæ" in both types of song is discussed, as well as the number and order of the smallest intervals of one Diapason term: Diapason; the Greek term for an octave, which is the subject of his chapter 8; about which I likewise spoke in rule 5, chapter 1 of my 3rd book, together with the true discovery of the Diapason on the monochord, which he treated only obscurely in the section of the string.

We also fully constructed the monochord in its proportions and consonances, expressing this in various ways in the same book. In this operation, we also condensed the force of his chapter 9, which deals with the Diagram—the modern notation of strings or voices through letters of the alphabet and lines—where he also introduces musical notes together with the system. He delivers all these things with much talk, many pages, and in a rather confused manner; I, however, have reduced them to a small space, casting them as if into a most polished mirror, in which one may see and contemplate the entire method of musical intervals, consonances, and proportions with open eyes.

Regarding the use of syllables solmization syllables like Ut, Re, Mi, etc., which he mentioned in chapter 10 of that book, we have explained them in the clearest words in book 2 on the same subject, and demonstrated their reasoning with a diagram that is not to be despised. The entire composition of the System, which he discusses in chapter 11, I have most brilliantly extracted from the architecture of my Temple in the aforementioned place; I have delineated its formula diagrammatically in a far from contemptible form in chapter 1, book 2. You will find there also the Scale, both "hard" and "soft" referring to hexachordum durum and molle, related to B-natural and B-flat, with keys both high and low, and with the application of the voice to one or the other. Simultaneously, you will find the most exact discovery of B-square and B-round note: B-flat and B-natural on the monochord, and indeed a clearer one than we find in his work. The reasoning for Natural Song (of which he speaks in chapter 13) is also found in my same little book, which we have clearly depicted in a hieroglyphic manner under the sharp tower in the structure of my Temple. Regarding the modes of melodies, he made mention in his own way in chapters 14 and 15; I wrote of them in my book 4, chapter 8. He teaches the harmony of song in chapter 16 and similarly deals with the three means in song; I show all of this from its effect throughout almost the entire 5th book.

Therefore, what he expressed with many words and a long oration, I have contracted into brief points and explained with hieroglyphic and highly significant figures. I did this not because I delight in pictures (as he says elsewhere), but because I had decided to gather many things into a few, and—in the manner of Chemists original: "Chymicorum"; Alchemists (since he seems to imply below that I associate with Chemists and Hermeticists) —to collect the extracted essence, while rejecting the dross-filled substance, and to place what is good in its own proper vessel. Thus, once the secret of the science was uncovered, what was hidden would be made manifest; and the internal nature of the thing, having been stripped of its clothing like a precious gem set in a golden ring, would be more aptly enclosed in the figure of its own nature. In this figure, its appearance could be beheld by the eye and mind as if in a mirror, without the wandering of too many words. Furthermore, the necessity of the subject, requiring that I write about any science strictly and succinctly, commanded and persuaded this reasoning. These things having been collected together, it is manifest that the subject of my Artificial Music extends its borders wider...