'The Temple of Music' by Robert Fludd

Peter Hauge

• Publisher: Routledge
• Year: 2017
• ISBN:
  9781317014379
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Music

Robert Fludd (1574-1637) is well known among historians of science and philosophy for his intriguing work, The Metaphysical, Physical and Technical History of both Major and Minor Worlds, in which music plays an important role in his system of neoplatonic correspondences: the harmony of the universe (macrocosm) as well as the harmony of man (microcosm). 'The Temple of Music' (1617-18) is one section of this work, and deals with music theory, practice and organology. Many musicologists today have dismissed his musical ideas as conservative and outmoded or mainly based on fantasy; only the chapters on instruments have received some attention. However, reading Fludd's work on music theory and practice in the context of his own time and comparing it with other contemporary treatises, it is apparent that much of it contains highly original ideas and cannot be considered old fashioned or conservative. It is evident that Fludd's music philosophy influenced and provoked contemporary natural philosophers such as Marin Mersenne and Johannes Kepler. Less well known is the fact that Fludd's music theory reveals aspects of the development of new concepts that appear to reflect contemporary writers on music such as John Coprario and Thomas Campion. Before now, 'The Temple of Music' has not been easily accessible or available, and the fact that Fludd wrote in Latin has also been prohibitive. This critical edition provides the original Latin, an English translation and essential illustrations. The book will therefore be a useful tool for understanding the position of English music theory around 1600.

The ‘Temple of Music’

[p. 161, recte 160]

[Plate I.1:]

[p. 159]

TRACTATVS

SECUNDI

PARS II.

De Templo Musicae;

in quo

Musica universalis tanquam in speculo conspicitur:

in

LIBROS SEPTEM DIVISA.

[Frontispiece: Apollo with the lyre surrounded by the nine Muses with various musical instruments on Mount Parnassus.]

[p. 161, recte 160]

[Plate I.1: see p. 31]

[p. 161]

LVCVLENTISSIMA

TEMPLI PRAEFIGURATI

DESCRIPTIO.

DE hujus templi structura & situ mira canerent Poëtae, quorum intentiones circa fabulas & figmenta assiduè versari solent; imò hoc subjectum multò avidiùs persequerentur, cùm ab eorum Deabus, nempe Musis, nomen suum Musica derivarit, prout in ejus Etymologia habetur. Veniam igitur ab illis peto, si poëtici furoris stimulo & inventione, quamvis non mensurâ in hujus templi descriptione me duci permittam. Templum igitur hoc Musicum in montis Parnassi, Musarum sedis, summitate fabrefactum imaginemur, ex omni parte nemoribus campísque sempiterna viriditate forescentibus, decoratum; & fontibus cristallinis suaviter huc atque illuc dimanantibus circumdatum; quorum murmure somnum placidum praetereuntibus saepè inducente, aviculae illas partes frequentantes, nemoráque incolentes basim sive fundamentum suis cantilenis acutioribus (quò magis symphonicè consonantias sonorum diversas effundant) diligenter supponere videntur, quarum melodiâ ipsae Nymphae circa templum, Satyri à Sylvano ducti per ejus nemora, Pastores (Pane eorum duce) per campos choreas ducere commoventur. Inter has igitur delitias divinum illud Apollinis donum instituitur, conservatur, imò & omnium animarum adoratione colitur; cujus omnes partes constituentes, paci & concordiae deditae, harmoniae & symphoniae mysteriis, coeli & elementorum concordantias includentibus, ita ad invicem alligantur, ut totum universum perire

[p. 159]

SECOND

TRACT

PART II:

On the Temple of Music

in which

universal music is perceived as in a mirror

DIVIDED INTO SEVEN BOOKS

[Frontispiece]

[p. 160]

[See Plate I.1]¹

[p. 161]

A MOST ILLUMINATING

DESCRIPTION OF THE

TEMPLE DEPICTED ABOVE

The poets, whose attentions are accustomed to be engaged constantly with fables and images, would sing about the structure and wonderful place of this temple. Indeed, they would pursue this subject more eagerly, for music has derived its name from their² goddesses, that is, the Muses, as is considered according to its etymology. Hence, I beg their pardon, if–by the stirring and invention of the poetical furor³ – I, although without measure, permit myself to be led in the description of this temple. Let us therefore imagine this musical temple constructed on the top of Mount Parnassus, the seat of the Muses, and decorated in every part with eternally green and fowering woods and fields, and here and there sweetly surrounded by crystal fountains flowing diversely, whose murmur often induces a peaceful sleep in passers-by. The small birds, frequenting those parts and inhabiting the woods, seem to support the base or foundation diligently with their more piercing songs (wherefore they lavish different consonances of sound in greater harmony). By their melody, the Nymphs themselves around the temple, the Satyrs led by Sylvanus through his woods, and the shepherds through the fields by Pan, their leader, are all stirred to conduct round dances.⁴ Among these pleasures, therefore, the divine gift of Apollo is established, kept and indeed fostered by the adoration of all souls. All of its constituent parts – devoted to peace and concord by the

necesse sit, & ad nihilum discordiae litibus redigi, priusquam ejus consonantiae aut deficiant aut corrumpantur.

[p. 162]

Hujus templi igitur Praeses sive Dea est Concordia, ineffabilis Concordia, Entis Entium magna proles, cujus adoratione parvae res crescunt, ejúsque contemptu magna dilabuntur. Custos ejus sive sacerdos est Thalia novem Musarum suavissima; cujus documentis concordiae mysteria occulta peregrinantibus supplicitérque ejus Oracula petentibus explicantur.

Cupidis ergo oculis animadvertet scientificus quamlibet hujus structurae partem, nec ejus minimam portiunculam contemnet, quia tam in qualibet parte, quàm in ejus toto movetur anima illa Apollinis harmonica, & spiritus ille Musicae, animalium animas suaviter permulcens & laetificans per omnes hujus structurae nervos more Zephyri solitus est affare rapiens secum hominis cupiditates, Daemonúmque malignorum rabiem sua suavitate compescens, ipsos quasi humanitate quadam imbuens: A vidè, inquam, intuearis majoris templi turris spiralem revolutionem, quae denotat aëris motum, postquam sono vel voce repercutitur. Duae januae aures, auditus organa, significant, sine quibus sonus editus non percipitur; nec in hoc templum fit ingressio, nisi per ipsas. Secundo loco observabis tres ejus turres minores, notarum, b rotundi, ♮^a quadrati, & naturalis^b dispositiones repraesentantes; Et cum harum observatione parallelogramma tria acutè inspicienda sunt, (quodlibet sub qualibet turri, sibi naturaliter relata aedificatur) diversas praedictarum notarum naturas, appellationes, & locos in systemate demonstrantia: Horum autem parallelorum fistulae seu organa in eorum summitate expressae vocum & sonorum cujuslibet parallelogrammi differentias denotant. Nec contemnenda est columnae hujus templi divisio, cùm monochordi proportiones veras consonantiarúmque species diversas delineabit. Horologium etiam sedulò est ponderandum, ne tempus inopinatò labatur, aut pede nimis t...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Table of Contents
• List of Plates
• List of Figures and Table
• List of Abbreviations
• Series Editor’s Preface
• Preface
• Introduction
• The ‘Temple of Music’
• Endnotes
• Bibliography
• Index