The metaphysics of the Music, part 4
Although Aristotle was somewhat dismissive of the idea of the music of the spheres, his teacher Plato’s attraction to the notion is evident in the Timaeus, a work that, as I have argued at some length previously, Tolkien certainly had in mind in the development of his creation-myth. In one of the more challenging passages of the dialogue, the eponymous Timaeus, himself a Pythagorean mathematician and philosopher, alludes to the notion of the music of the spheres when he suggests that an analogous structure was placed by the demiurge in the World Soul: “Now while the body of the heavens had come to be as a visible thing, the soul was invisible. But even so, because it shares in reason and harmony, the soul came to be as the most excellent of all the things begotten by him who is himself most excellent of all that is intelligible and eternal” (Plato, Timaeus 36e-37a, trans. Zeyl). In addition, the way in which the Ainur’s Music antedates and pre-contains the entire history of the world resembles Plato’s famous realm of the forms, in which the physical world of sensible things participates, or, as the Timaeus has it, the eternal model according to which the demiurge-creator has fashioned the material world. As Plato’s disciple Plotinus applied the master’s theory to music some six-hundred years later, “certainly all music, since the ideas which it has are concerned with rhythm and melody, would be of the same kind, just like the art which is concerned with intelligible number,” and thus like the other arts would have “its principles from the intelligible world…” (Plotinus, Enneads 5.9.11, trans. Armstrong).