“Nature, which is never not lavish of herself, after a lying-in of two thousand years, has finally brought you forth in these last generations, the first true images of the universe. By means of your concords of various voices, and through your ears, she has whispered to the human mind, the favorite daughter of God the Creator, how she exists in the innermost bosom”
Johannes Kepler published Harmonies of the World in 1619. This was the summation of his theories about celestial correspondences, and ties together the ratios of the planetary orbits, musical theory, and the Platonic solids. Kepler’s speculations are long discredited. However, this work stands as a bridge between the Hermetic philosophy of the Renaissance, which sought systems of symbolic correspondences in the fabric of nature, and modern science. And today, we finally have heard the music of the spheres: data from outer system probes have been translated into acoustic form, and we can listen to strange clicks and moans from Jupiter’s magnetosphere.
Towards the end of Harmonies Kepler expressed a startling idea,–one which Giordiano Bruno had been persecuted for, two decades before–the plurality of inhabited worlds. He muses on the diversity of life on Earth, and how it was inconceivable that the other planets would be devoid of life, that God had “adorned[ed] the other globes too with their fitting creatures”. [pp. 1084–1085]
While medieval philosophers spoke metaphorically of the “music of the spheres“, Kepler discovered physical harmonies in planetary motion.
Kepler explains the reason for the Earth’s small harmonic range:
- The Earth sings Mi, Fa, Mi: you may infer even from the syllables that in this our home misery and famine hold sway.
At very rare intervals all of the planets would sing together in “perfect concord”: Kepler proposed that this may have happened only once in history, perhaps at the time of creation.