OF SIX MEDIEVAL WOMEN 



but only by the right adjustment of those which 

 are dissimilar. This discussion on harmony 

 naturally leads to one on music, which is divided, 

 according to the then received writers on the 

 subject, into three kinds celestial, human, and 

 instrumental. Music, in the Middle Ages, was, 

 for dialectical purposes, treated in accordance 

 with the Pythagorean theory as interpreted by 

 Cicero in his Somnium Scipionis, who represented 

 the eight revolving spheres of heaven the 

 Earth being fixed as forming a complete 

 musical octave. Such celestial music forms the 

 subject of the argument in Roswitha's play, the 

 music of Earth being merely touched upon. 

 Why, it is asked, do we not hear this music of 

 the spheres if it exists ? To this comes the 

 answer that some think it is because of its con- 

 tinuity, others because of the density of the 

 atmosphere, and others again because the volume 

 of sound cannot penetrate the narrow passage of 

 the human ear. And so with subtle argument, 

 the music of Heaven was often drowned in the 

 din of Earth. Dante, in the Paradiso^ lifted the 

 idea once more from Earth to Heaven, and 

 clothed it in a wealth of gorgeous imagery. 

 But it is Shakespeare who, with the magic of a 

 few words, has given the thought immortality. 



There's not the smallest orb which thou behold'st 

 But in his motion like an angel sings, 



Such harmony is in immortal souls ; 

 But whilst this muddy vesture of decay 

 Doth grossly close it in, we cannot hear it. 

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