That Apollo should be the god both of music and poetry will not appear strange, but that medicine should also be assigned to his province, may. The poet Armstrong, himself a physician, thus accounts for it:
"Music exalts each joy, allays each grief,
Expels diseases, softens every pain;
And hence the wise of ancient days adored
One power of physic, melody, and song."
Not all the Centaurs were like the rude guests of Pirithous. Chiron was instructed by Apollo and Diana, and was renowned for his skill in hunting, medicine, music, and the art of prophecy. The most distinguished heroes of Grecian story were his pupils. Among the rest the infant
Aesculapius was intrusted to his charge by Apollo, his father. When the sage returned to his home bearing the infant, his daughter Ocyrhoe came forth to meet him, and at sight of the child burst forth into a prophetic strain (for she was a prophetess), foretelling the glory that he was to achieve.
Aesculapius when grown up became a renowned physician, and even in one instance succeeded in restoring the dead to life. Pluto resented this, and Jupiter, at his request, struck the bold physician with lightning, and killed him, but after his death received him into the number of the gods.
Chiron was the wisest and justest of all the Centaurs, and at his death Jupiter placed him among the stars as the constellation Sagittarius.
Pythagoras considered numbers as the essence and principle of all things, and attributed to them a real and distinct existence; so that, in his view, they were the elements out of which the universe was constructed. How he conceived this process has never been satisfactorily explained. He traced the various forms and phenomena of the world to numbers as their basis and essence. The "Monad" or unit he regarded as the source of all numbers. The number Two was imperfect, and the cause of increase and division. Three was called the number of the whole because it had a beginning, middle, and end. Four, representing the square, is in the highest degree perfect; and Ten, as it contains the sum of the four prime numbers, comprehends all musical and arithmetical proportions, and denotes the system of the world.
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The relation of the notes of the musical scale to numbers, whereby harmony results from vibrations in equal times, and discord from the reverse, led Pythagoras to apply the word "harmony" to the visible creation, meaning by it the just adaptation of parts to each other. This is the idea which Dryden expresses in the beginning of his "Song for St. Cecilia's Day":
"From harmony, from heavenly harmony
This everlasting frame began;
From harmony to harmony
Through all the compass of the notes it ran,
The Diapason closing full in Man."
In the centre of the universe (he taught) there was a central fire, the principle of life. The central fire was surrounded by the earth, the moon, the sun, and the five planets. The distances of the various heavenly bodies from one another were conceived to correspond to the proportions of the musical scale. The heavenly bodies, with the gods who inhabited them, were supposed to perform a choral dance round the central fire, "not without song." It is this doctrine which Shakespeare alludes to when he makes Lorenzo teach astronomy to Jessica in this fashion:
"Look, Jessica, see how the floor of heaven
Is thick inlaid with patines of bright gold!
There's not the smallest orb that thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubim;
Such harmony is in immortal souls!
But whilst this muddy vesture of decay
Doth grossly close it in we cannot hear it."
Merchant of Venice.
The spheres were conceived to be crystalline or glassy fabrics arranged over one another like a nest of bowls reversed. In the substance of each sphere one or more of the heavenly bodies was supposed to be fixed, so as to move with it. As the spheres are transparent we look through them and see the heavenly bodies which they contain and carry round with them. But as these spheres cannot move on one another without friction, a sound is thereby produced which is of exquisite harmony, too fine for mortal ears to recognize. Milton, in his "Hymn on the Nativity," thus alludes to the music of the spheres:
"Ring out, ye crystal spheres!
Once bless our human ears
(If ye have power to charm our senses so);
And let your silver chime
Move in melodious time;
And let the bass of Heaven's deep organ blow;
And with your ninefold harmony
Make up full concert to the angelic symphony."
Pythagoras is said to have invented the lyre. Our own poet Longfellow, in "Verses to a Child," thus relates the story:
"As great Pythagoras of yore,
Standing beside the blacksmith's door,
And hearing the hammers as they smote
The anvils with a different note,
Stole from the varying tones that hung
Vibrant on every iron tongue,
The secret of the sounding wire,
And formed the seven-chorded lyre."
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