344 Albert S. Cook, 



The relation of Pan to the heavenly music has been touched on 

 above (note on 89j. 



The conception of the music of the spheres was seized on by 

 Christian writers, and so has been transmitted to the present, one 

 of the latest authors to make an independent use of it being Goethe, 

 in his ' Prolog im Himmel ' to the drama of Faust. For the whole 

 subject see Piper, Myth, der Christlichen Kuiist 2. 245-276. Christian 

 authors often appealed to Job 38. 37, in the Vulgate : ' Concentiiin 

 cceli quis dormire faciet ? ' 



Dante {Pui'g. 30. 92—3) seems to have been the first to suggest 

 the singing of angels in harmony with the music of thespheres : 

 ' The chanting of those who are ever quiring after the notes of 

 the eternal circles.' Cf. note on host, 21. Dante also refers to 

 the music of the spheres in Par. 1. 78; 6. 125—6. 



Other passages which deal with the subject are such as Rom. de 

 hi Rose 17886-91 (tr. Ellis 17757-62); Boccaccio, Tes. 11. 1. 6-8 (tr. 

 by Chaucer, T. and C. 5. 1811-3) ; Chaucer, Parl.F. 60-63 ; Du Bartas 

 2. 2. 4. 718-727 (Grosart 1. 160; cf. 2. 1. 4. 540-8: Grosart 1. 127); 

 Chapman, Ovid's Banquet, stanzas 21 and 99; Dekker, Westward 

 Ho 4. 2; Shakespeare, M.V. 5. 1. 60-62; A.Y.L. 2.1.Q,; Per. 5. 

 1. 230; Tiv. N. 3. 1. 20-1; A. and C. 5. 2. 83-4; Jonson, Sad 

 Shepherd 3. 2 ; P. Fletcher, P.I. 10. 249-252 ; Davies, Orchestra 19, 

 392-4, 605; Herbert, Artillerie 9-10; Vaughan, Christ's Nativity, 

 and The Morning- Watch ; John Norris of Bemerton, Hynni to Dark- 

 ness ; Dryden, Ode on St. Cecilia's Day ; Ode to Mrs. Anne Killigrew ; 

 Butler, Hudibras 2. 1. 617; Young, Night Thoughts, Bk. 3; Words- 

 worth. Prelude 14. 99 ; Coleridge, Music ; Keble, 5"/. Matthew's 

 Day ; Carlyle, Sartor Resartus 3. 8 ; Rossetti, Blessed Daniozcl (or 

 Job 38. 7) ; Tennyson , Parnassus ; Longfellow , Occultation of 

 Orion. 



Milton has other references: Com. 112, 441—3, 1021; Sol. Mus. 

 2; P.L. 5. 169, 178, 620 ff. 



127. If ye have power. Cicero (Somn. Scip.) explains that our 

 ears are so accustomed to the ' sphery chime ' that we are insensible 

 to the sounds. 



128. silver chime. Does this apply more particularly to the 

 treble? See P.L. 11. 559; Com. 1021. Todd refers to Machin, 

 The Dumb Knight (1608) : 



It was as silver as the chime of spheres. 



129. melodious. Somewhat loosely used : cf. ' melodious tear,' 

 Lye. 14. 



