(147) In this rising up the armies or companies of all the angels of the whole heaven become triumphant and joyful, and that melodious TE DEUM LAUDAMUS (WE PRAISE THEE O GOD) riseth up.

(2) Nor is it without cause the Muses’ choir hath been sent down by Highest Deity unto the host of men; in order that, forsooth, the terrene world should not seem too uncultured, had it lacked the charm of measures, but rather that with songs and praise of men accompanied with music, He might be lauded,—He who alone is all, or is the Sire of all; and so not even on the earths, should there have been an absence of the sweetness of the harmony of heavenly praise.

(17) The edifices raised by the Dionysiac Builders were indeed "sermons in stone." Though unable to comprehend fully the cosmic principles thus embodied in these masterpieces of human ingenuity and industry, even the uninitiated were invariably overwhelmed by the sense of majesty and symmetry resulting from the perfect coordination of pillars, spans, arches, and domes. By variations in the details of size, material, type, arrangement, ornamentation, and color, these inspired builders believed it possible to provoke in the nature of the onlooker certain distinct mental or emotional reactions. Vitruvius, for example, describes the disposition of bronze vases about a room so as to produce certain definite changes in the tone and quality of the human voice. In like manner, each chamber in the Mysteries through which the candidate passed had its own peculiar acoustics. Thus in one chamber the voice of the priest was amplified until his words caused the very room to vibrate, while in another the voice was diminished and softened to such a degree that it sounded like the distant tinkling of silver bells. Again, in some of the underground passageways the candidate was apparently bereft of the power of speech, for though he shouted at the top of his voice not even a whisper was audible to his ears. After progressing a few feet, however, he would discover that his softest sigh would be reechoed a hundred times.

(119) So that the holy angels cannot sufficiently enough rejoice themselves, nor sufficiently enough converse, walk and most lovingly sport therein, nor sufficiently enough sing that beautiful Te Deum Laudamus, We praise thee, O God, as to each quality of the great God, according to his wonderful revelation, and wisdom, and beauty, and fruit, and form.

(85) In such a work also the holy angels exercise themselves; and in the Ternary of God there is a very meek, pleasant, and sweet being, where the spirit always elevateth itself in the tone [melody, music]; and one power moveth the other, as if there were a rising up of lovely song, and play upon stringed instruments.

(47) And we must further a consider, that when the Shriek [or Crack] makes its Dwelling-house, in its strong Breaking-through, out of the Gate of the anxious Darkness, viz. the Tongue, that the Shriek [or Crack] has not then yet seen the Virgin; but when it reflected [or shined] back again into the Heart, into the opened Darkness, and found her so habitable, there then first sprung up its Joy, and Pleasantness, and it became paradisical, and desired not [to go] into the Tongue again, but into the Head, and [desired] there to have its Region out of the Source of the Heart. Therefore the Tongue ought not in all [or altogether] to be believed, for it sits not in the heavenly Region, as the friendly pleasant Virtue [does;] but it has its Region in the Crack and Flash, and the Flash is as near the hellish Region, as the Crack is, for they are both generated in the Sharpness of the Stars, in the Essences, and the Tongue speaks both Lyes and Truth; in which of the two the Spirit arms itself, according to that it speaks: Also it many Times speaks Lies in great Men; when it is armed from the Essences, then it speaks in the Crack, like a Rider in his [haughty, surly, vaunting State,] or high Mindedness. The Life of the Soul. The Gate.

(24) By music we harmoniously relax the excessive tension of gravity. And as those who wish to address the people, do so often by the herald, that what is said may be better heard; so also in this case. For we have the word, that was spoken to many, before the common tradition. Wherefore we must set forth the opinions and utterances which cried individually to them, by which those who hear shall more readily turn.

(47) Timaeus: the perturbable to the imperturbable; and that, through learning and sharing in calculations which are correct by their nature, by imitation of the absolutely unvarying revolutions of the God we might stabilize the variable revolutions within ourselves. Concerning sound also and hearing, once more we make the same declaration, that they were bestowed by the Gods with the same object and for the same reasons; for it was for these same purposes that speech was ordained, and it makes the greatest contribution thereto; music too, in so far as it uses audible sound,

(24) And now when it seeth and heareth the divine tone, tune and sound rise up, which is externally without it, then is its spirit affected and kindled with joy, and elevateth itself in its princely seat, and singeth and ringeth forth very joyful words concerning God's holiness, and concerning the fruit and vegetation of the eternal life.

(35) The second form or property of heaven in the divine pomp or state is Mercurius or the sound, as in the Salitter of the earth there is the sound, whence there grows gold, silver, copper, iron and the like; of which men make all manner of musical instruments for sounding or for mirth, as bells, organpipes and other things that make a sound: There is likewise a sound in all the creatures upon earth, else all would be in stillness and silence.

(2) We must rather, therefore, say, that sounds and melodies are appropriately consecrated to the Gods. There is, also, an alliance in these sounds and melodies to the proper orders and powers of the several Gods, to the motions in the universe itself, and to the harmonious sounds which proceed from the motions. Conformably, therefore, to such like adaptations of melodies to the Gods, the Gods themselves become present. For there is not any thing which intercepts; so that whatever has but a casual similitude to, directly participates of, them . A perfect possession, likewise, immediately takes place, and a plenitude of a more excellent essence and power. Not that the body and the soul are in each other, and sympathize, and are copassive with the melodies; but because the inspiration of the Gods is not separated from divine harmony, but is originally adapted and allied to it, on this account it is participated by it in appropriate measures. Hence also, it is excited and restrained according to the several orders of the Gods. But this inspiration must by no means be called an ablation, purgation, or medicine. For it is not primarily implanted in us from a certain disease, or excess, or redundance; but the whole principle and participation of it are supernally derived from the Gods.

(3) O thou who art called aloud, thou who art called aloud, thou the lamented, thou art glorified, thou art exalted, thou art glorious, thou art strong

(1) What you afterwards say is as follows: “ That some of those who suffer a mental alienation, energize enthusiastically on hearing cymbals or drums, or a certain modulated sound, such as those who are Corybantically inspired, those who are possessed by Sabazius, and those who are inspired by the mother of the Gods .” It is necessary, therefore, to discuss the causes of these things, and to show how they are definitely produced. That music, therefore, is of a motive nature, and is adapted to excite the affections, and that the melody of pipes produces or heals the disordered passions of the soul, changes the temperaments or dispositions of the body, and by some melodies causes a Bacchic fury, but by others occasions this fury to cease; and, likewise, how the differences of these accord with the several dispositions of the soul, and that an unstable and variable melody is adapted to ecstasies, such as are the melodies of Olympus, and others of the like kind; all these appear to me to be adduced in a way foreign to enthusiasm. For they are physical and human, and the work of our art; but nothing whatever of a divine nature in them presents itself to the view.

(2) Come, then, since we have viewed the exterior comeliness of the entirely beautiful ministration, let us now look away to its more godly beauty (whilst itself, by itself, has uncovered the veils), gazing upon its blessed radiance, shedding its bright beams openly around, and filling us with the fragrance unveiled to the contemplators. For the visible consecration of the Muron is neither uncommunicated in, or unseen by those who surround the Hierarch, but, on the contrary, by passing through to them, and fixing the contemplation above the many, is reverently covered by them, and by Hierarchical direction kept from the multitude. For the splendour of things all holy, by shedding its light clearly and without symbol to men inspired, as being congenial to the thing contemplated, and perfuming their contemplating perceptions without; concealment, advances not yet in the same way to the inferior, but by them as deep contemplators of the thing contemplated is concealed under the enigmas of the wings, without ostentation, so that it may not be defiled by the dissimilar; through which sacred enigmas the well-ordered Ranks of the subordinate are conducted to the degree of holiness compatible with their powers.

(36) By that sound all powers are moved in heaven, so that all things grow joyfully, and generate very beautifully: And as the divine power is manifold and various, so also the sound or Mercurius is manifold and various.

(54) This signifieth now, that the sound [voice of God] went forth from the heart of God, and encompassed the whole place or extent of this world; but when it [the place] was found to be evil, then the sound returned again into its own place.

(34) This is heavenly music, for here every one singeth according to the voice of his quality, and the prince leadeth the choir or chorus, as a chanter or singing-master with his scholars; and the king rejoiceth and jubilateth with his angels, to the honour of the great God, and to the increasing and multiplying of the heavenly joys, and that is in the heart of God as a holy sport or scene; and to that end also are they created for the joy and honour of God.

(36) Now, that qualifying or fountain spirit in the Deity which does shew itself then specially or more distinctly with its rising up and love-wrestling, as if it had become the prince or chief of them, that very angelprince belonging to it beginneth instantly his heavenly music with his own legions, according to his quality, with singing, ringing forth piping melody, and in all the manners of heavenly skill and art, which riseth up in the spirits of God.

(399) under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave. And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking. Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale? I suppose not. Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments? Certainly not. But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute? Clearly not. There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country. That is surely the conclusion to be drawn from the argument. The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said. Not at all, he replied. And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious. And we have done wisely, he replied. Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of

(45) Seeing then that the Shriek of the Joy in the Virtue of God (which breaks the Doors of the deep Darkness) thus springs up in the Heart, and flies with its Glimpse [or Sparkling] into the Head, then the Virtue of the Joy sets itself above, as being the strongest, and the Flash [or Glance] beneath, as being the weakest; and so when the Flash [or Glance] comes into the Head into its Seat, then it makes itself two open Gates. For it has broken the Doors of the deep Darkness, and therefore it continues no more in the Darkness, but it must be free as a victorious Prince [or Conqueror,] and will not be held captive. And this signifies to us the Resurrection of Christ from the dead, who is now free, and will not be held [therein,] which in its due Place shall be very deeply described. And those Gates which the Glance holds open, they are the Eyes, and the Spirit of Joy is their Root, which [Spirit] springs up at first in the Kindling of the Life.