Good Luck Finding that First Premise

Recently a friend sent me a composite photograph of the planet Mercury. Even as a composite, grossly disfigured to accommodate our strategies of perception, it had about it the great calm and sufficiency the ancients attributed to the spheres. The innumerable scars of eons of local cataclysm were only proof of its indomitability. Someone has named the more visible of these scars. The largest, a gigantic bloom of relative brightness, is Debussy. Machaut, Vivaldi and Rachmaninoff have their craters, as do Rembrandt, Matisse and Derain. And there is a fosse, a trench, called Pantheon, which I take to be a shrine to the unknown, or in any case the unnamed, cultural gods. I like the eccentricity of the choices, which suggests that personal preferences are reflected in them. There is an astronomer somewhere who loves Machaut and Derain. So a record of his or her quietest human pleasures is inscribed, not on the planet, of course, but on its image. More detail has been added to our universe, to the map of what we know in the very human ways we can know it.