The Proscenium of Truth

ON THE KEPLERIAN APPENDIX.

TEXT VII.

The remaining four books of the author contain the practice of the art, which I do not even touch upon. For in the fourth book, regarding the measurement of the tactusThe "tactus" was the basic unit of time or beat in Renaissance music, similar to a modern conductor's downbeat, its various modes, and the value of notes through them, he gives instructions; concerning which I said very little in Book III, Chapter XV, and Book IV, Chapter III.

ANALYSIS.

But who can be well-versed in Theory when both his own confession and the very marks of his works confirm that he is ignorant of practice? For according to the sentiment of the ancient Sages, The truth of practice ought to confirm the truth of Theory. Next, he says that he dealt briefly with the measurement of the beat, its various modes, and the value of small notes in Chapter 15 of his third book and Chapter 3 of his fourth. Having read these thoroughly, I found very little on this subject, and almost nothing relevant to the matter at hand. But even if this were true, why does he say—contradicting himself in this Fifth Text—that he said nothing at all about "Times," or the length and brevity of sounds? Nor have I observed anything regarding temporal notes throughout the entire thread of his Harmony except for the single SemibreveIn this period, the semibreve was the standard whole-note; Fludd is mocking Kepler for only using one type of note and ignoring the rhythmic variety of real music. From this it is clear that he has utterly omitted all proportions of temporal measure, which were indeed highly necessary to the very marrow of the work itself.

TEXT VIII.

He provides compositional precepts for figured songAlso known as polyphony, where multiple independent melodies are sung at once, as opposed to simple plainchant, an art which I do not profess. In the sixth book, he even wanders into various musical instruments, about which I have not even thought. Finally, in the seventh, he reveals a new instrument himself.

ANALYSIS.

I have said before that this figured song and its composition are like an idea and image of the superior harmony of both the first and second genus. This we have confirmed with the words of the most wise IamblichusA Syrian Neoplatonist philosopher who believed music could heal the soul and reflect divine order, and we can prove it from many passages of Holy Scripture: namely, how on account of its proximity to the Archetypal and Ideal HarmonyThe perfect, original music in the mind of God, that music composed by David was not only pleasing and acceptable to the Creator himself, but was even able to mitigate the rage and fury of cruel demons. Everywhere in the Divine Bible, it is found how much concord such music produces in the souls of men. Furthermore, as pertains to the agreement of celestial music with the terrestrial, we are taught by that perfection attributed to Apollo; by the song with which Mercury, by means of his pipe, subdued the monstrous Argus to sleep; and by Medea, who with a "physical symphony" of herbs lulled the most vigilant Dragon to sleep.

But it is not granted to common astronomers to understand musical species of this kind. Thus, it is no wonder if they lack the faculty for composing these formal and essential melodies—especially those who, leaning only on their own opinions, believe everything that seems to be to them, but is not. Yet those things which are, but are not seen, they repudiate as impossible, deride, and hold as nothing. In this way, they choose the shadow like Aesop's dog, neglecting the substance; they take the color, I say, for the substance, and are deceived.

TEXT IX.

In these four last books, therefore, he differs from me as a Practitioner from a Theorist: for whereas he teaches about instruments, I inquire into the causes of things or consonances; and whereas he teaches how to compose a melody of several voices, I arrange mathematical demonstrations of most things that are naturally present in both Choral and Figured song.

ANALYSIS.

And yet, nonetheless, in the preceding books, he confessed in Text 3 that he agreed with me on the bond of Theory—namely, in the scientific progression of finding consonances. Whence he seems to acknowledge that I am as powerful in Theory as I am in Practice. It will be no disgrace to me to be well-versed in both parts of musical science. Consequently, it is certain that he who is so disposed is as many degrees more excellent than one imbued only with Theory as the whole is greater than its half. For, as we said before, Truth