(2) From these things, therefore, the signs of those that are inspired are multiform. For the inspiration is indicated by the motions of the [whole] body, and of certain parts of it, by the perfect rest of the body, by harmonious orders and dances, and by elegant sounds, or the contraries of these. Either the body, likewise, is seen to be elevated, or increased in bulk, or to be borne along sublimely in the air, or the contraries of these, are seen to take place about it. An equability, also, of voice, according to magnitude, or a great variety of voice after intervals of silence, may be observed. And again, sometimes the sounds have a musical intension and remission, and sometimes they are strained and relaxed after a different manner.

(33) A writer has said of an important fact concerning Rhythm in our emotional states: "Nothing swings beyond the limit of its extremes—nothing can pass beyond its rhythmic limits. Consequently, if a thing swings far in one direction, it swings back equally far in the other. Its reaction is in the measure of its action, though in an opposite direction. If its swing is great, its extremes are widely apart—if the swing is small, then the extremes are close together. The pendulum illustration may be applied to the phenomena on all planes. A short beat of the metronome allows the rod to move only a short distance each way—the long beat admits of a wide swing. And, in the same way, those who suffer keenly also enjoy keenly, while those whose natures admit of but little suffering are also incapable of more than a limited capacity for enjoyment. A pig suffers little, and enjoys but little; while a highly organized, sensitive individual suffers the torments of emotional and mental hell at times, while at others he mounts to the heavenly emotional and mental realms. The pendulum swings as far in one direction as in the other." In some of the higher teachings of the Rosicrucians the student is instructed in the application of the Principle of Rhythm to the mastery of his emotional states and feelings. The essence of this secret teaching is that the wise, perceiving the inevitable reaction following action, the ebb tide following the high tide, manage to escape the consequences of the reaction by rising to their higher realms or planes of consciousness just before the time of the backward swing of the emotional pendulum, thus allowing the reactionary movement to be manifested only on their lower planes of consciousness while the Ego dwells serenely on the upper plane.

(1) The heart of man has been so constituted by the Almighty that, like a flint, it contains a hidden fire which is evoked by music and harmony, and renders man beside himself with ecstasy. These harmonies are echoes of that higher world of beauty which we call the world of spirits; they remind man of his relationship to that world, and produce in him an emotion so deep and strange that he himself is powerless to explain it. The effect of music and dancing is deeper in proportion as the natures on which they act are simple and prone to motion; they fan into a flame whatever love is already dormant in the heart, whether It be earthly and sensual, or divine and spiritual.

(3) But say if him I here behold, who forth Evoked the new-invented rhymes, beginning, 'Ladies, that have intelligence of love?'" And I to him: "One am I, who, whenever Love doth inspire me, note, and in that measure Which he within me dictates, singing go." "O brother, now I see," he said, "the knot Which me, the Notary, and Guittone held Short of the sweet new style that now I hear. I do perceive full clearly how your pens Go closely following after him who dictates, Which with our own forsooth came not to pass; And he who sets himself to go beyond, No difference sees from one style to another;" And as if satisfied, he held his peace. Even as the birds, that winter tow'rds the Nile, Sometimes into a phalanx form themselves, Then fly in greater haste, and go in file; In such wise all the people who were there, Turning their faces, hurried on their steps, Both by their leanness and their wishes light. And as a man, who weary is with trotting, Lets his companions onward go, and walks, Until he vents the panting of his chest;

(47) Timaeus: deficient in grace, which exists in most of us, Rhythm also was bestowed upon us to be our helper by the same deities and for the same ends. The foregoing part of our discourse, save for a small portion, has been an exposition of the operations of Reason; but we must also furnish an account of what comes into existence through Necessity.

(5) The Principle of rhythm is well understood by modern science, and is considered a universal law as applied to material things. But the Hermetists carry the principle much further, and know that its manifestations and influence extend to the mental activities of Man, and that it accounts for the bewildering succession of moods, feelings and other annoying and perplexing changes that we notice in ourselves. But the Hermetists by studying the operations of this Principle have learned to escape some of its activities by Transmutation.

(4) followed by a thundering peal, without end and without beginning, now dying, now living, now sinking, now rising, on and on without a moment's break. And so you were afraid. "When I played again, it was the harmony of the Yin and Yang, lighted by the glory of sun and moon; now broken, now prolonged, now gentle, now severe, in one unbroken, unfathomable volume of sound. Filling valley and gorge, stopping the ears and dominating the senses, adapting itself to the capacities of things,—the sound whirled around on all sides, with shrill note and clear. The spirits of darkness kept to their domain. Sun, moon, and stars, pursued their appointed course. When the melody was exhausted I stopped; if the melody did not stop, I went on. You would have sympathised, but you could not understand. You would have looked, but you could not see. You would have pursued, but you could not overtake. You stood dazed in the middle of the wilderness, leaning against a tree and crooning, your eye conscious of exhausted vision, your strength failing for the pursuit, and so unable to overtake me. Your frame was but an empty shell. You were completely at a loss, and so you were amazed. "Then I played in sounds which produce no amazement, the melodious law of spontaneity, springing forth like nature's countless buds, in manifold but formless joy, as though poured forth to the dregs, in deep but soundless bass. Beginning nowhere, the melody rested in void; some would say dead, others alive, others real, others ornamental, as it scattered itself on all sides in never to be anticipated chords.

(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.

(1) Eager already to search in and round The heavenly forest, dense and living-green, Which tempered to the eyes the new-born day, Withouten more delay I left the bank, Taking the level country slowly, slowly Over the soil that everywhere breathes fragrance. A softly-breathing air, that no mutation Had in itself, upon the forehead smote me No heavier blow than of a gentle wind, Whereat the branches, lightly tremulous, Did all of them bow downward toward that side Where its first shadow casts the Holy Mountain; Yet not from their upright direction swayed, So that the little birds upon their tops Should leave the practice of each art of theirs; But with full ravishment the hours of prime, Singing, received they in the midst of leaves, That ever bore a burden to their rhymes, Such as from branch to branch goes gathering on Through the pine forest on the shore of Chiassi, When Eolus unlooses the Sirocco. Already my slow steps had carried me Into the ancient wood so far, that I Could not perceive where I had entered it.

(1) Singing like unto an enamoured lady She, with the ending of her words, continued: "Beati quorum tecta sunt peccata." And even as Nymphs, that wandered all alone Among the sylvan shadows, sedulous One to avoid and one to see the sun, She then against the stream moved onward, going Along the bank, and I abreast of her, Her little steps with little steps attending. Between her steps and mine were not a hundred, When equally the margins gave a turn, In such a way, that to the East I faced. Nor even thus our way continued far Before the lady wholly turned herself Unto me, saying, "Brother, look and listen!" And lo! a sudden lustre ran across On every side athwart the spacious forest, Such that it made me doubt if it were lightning. But since the lightning ceases as it comes, And that continuing brightened more and more, Within my thought I said, "What thing is this?" And a delicious melody there ran Along the luminous air, whence holy zeal Made me rebuke the hardihood of Eve;

(33) The Circuit does not go by chance but under the Reason-Principle of the living whole; therefore there must be a harmony between cause and caused; there must be some order ranging things to each other's purpose, or in due relation to each other: every several configuration within the Circuit must be accompanied by a change in the position and condition of things subordinate to it, which thus by their varied rhythmic movement make up one total dance-play.

In our dance-plays there are outside elements contributing to the total effect- fluting, singing, and other linked accessories- and each of these changes in each new movement: there is no need to dwell on these; their significance is obvious. But besides this there is the fact that the limbs of the dancer cannot possibly keep the same positions in every figure; they adapt themselves to the plan, bending as it dictates, one lowered, another raised, one active, another resting as the set pattern changes. The dancer's mind is on his own purpose; his limbs are submissive to the dance-movement which they accomplish to the end, so that the connoisseur can explain that this or that figure is the motive for the lifting, bending, concealment, effacing, of the various members of the body; and in all this the executant does not choose the particular motions for their own sake; the whole play of the entire person dictates the necessary position to each limb and member as it serves to the plan.

Now this is the mode in which the heavenly beings must be held to be causes wherever they have any action, and, when. they do not act, to indicate.

Or, a better statement: the entire kosmos puts its entire life into act, moving its major members with its own action and unceasingly setting them in new positions; by the relations thus established, of these members to each other and to the whole, and by the different figures they make together, the minor members in turn are brought under the system as in the movements of some one living being, so that they vary according to the relations, positions, configurations: the beings thus co-ordinated are not the causes; the cause is the coordinating All; at the same time it is not to be thought of as seeking to do one thing and actually doing another, for there is nothing external to it since it is the cause by actually being all: on the one side the configurations, on the other the inevitable effects of those configurations upon a living being moving as a unit and, again, upon a living being thus by its nature conjoined and concomitant and, of necessity, at once subject and object to its own activities.

(5) Sometimes an animal, when covered, struggles So that his impulse needs must be apparent, By reason of the wrappage following it; And in like manner the primeval soul Made clear to me athwart its covering How jubilant it was to give me pleasure. Then breathed: "Without thy uttering it to me, Thine inclination better I discern Than thou whatever thing is surest to thee; For I behold it in the truthful mirror, That of Himself all things parhelion makes, And none makes Him parhelion of itself. Thou fain wouldst hear how long ago God placed me Within the lofty garden, where this Lady Unto so long a stairway thee disposed. And how long to mine eyes it was a pleasure, And of the great disdain the proper cause, And the language that I used and that I made. Now, son of mine, the tasting of the tree Not in itself was cause of so great exile, But solely the o'erstepping of the bounds. There, whence thy Lady moved Virgilius, Four thousand and three hundred and two circuits Made by the sun, this Council I desired;

(2) I've set before thee; henceforth feed thyself, For to itself diverteth all my care That theme whereof I have been made the scribe. The greatest of the ministers of nature, Who with the power of heaven the world imprints And measures with his light the time for us, With that part which above is called to mind Conjoined, along the spirals was revolving, Where each time earlier he presents himself; And I was with him; but of the ascending I was not conscious, saving as a man Of a first thought is conscious ere it come; And Beatrice, she who is seen to pass From good to better, and so suddenly That not by time her action is expressed, How lucent in herself must she have been! And what was in the sun, wherein I entered, Apparent not by colour but by light, I, though I call on genius, art, and practice, Cannot so tell that it could be imagined; Believe one can, and let him long to see it. And if our fantasies too lowly are For altitude so great, it is no marvel, Since o'er the sun was never eye could go.

(32) By the Principle of Rhythm day is followed by night, and night by day. Summer and winter alternate in their appearance. Sleeping and waking alternate. Work and rest exchange places. Involution is followed by evolution, and evolution by involution. All changes proceed according to rhythmic order and sequence. The conduct of mankind is regulated by Rhythm. Fashions in dress, in taste, and in feeling, all come and go, and come again. Everything "comes back" in time. Races rise and fall, and then rise again, again to fall. The course of empire wends its way in cyclic procession around the earth. History repeats itself. Even our emotions have their tidal movements.

(2) When they became aware I gave no place For passage of the sunshine through my body, They changed their song into a long, hoarse "Oh!" And two of them, in form of messengers, Ran forth to meet us, and demanded of us, "Of your condition make us cognisant." And said my Master: "Ye can go your way And carry back again to those who sent you, That this one's body is of very flesh. If they stood still because they saw his shadow, As I suppose, enough is answered them; Him let them honour, it may profit them." Vapours enkindled saw I ne'er so swiftly At early nightfall cleave the air serene, Nor, at the set of sun, the clouds of August, But upward they returned in briefer time, And, on arriving, with the others wheeled Tow'rds us, like troops that run without a rein. "This folk that presses unto us is great, And cometh to implore thee," said the Poet; "So still go onward, and in going listen." "O soul that goest to beatitude With the same members wherewith thou wast born," Shouting they came, "a little stay thy steps,

(3) Since however, the virtue of manners is conversant with the passions, but of the passions pleasure and pain are supreme, it is evident that virtue does not consist in extirpating the passions of the soul, pleasure and pain, but in co-harmonizing them. For neither does health, which is a certain apt mixture of the powers of the body, consist in expelling the cold and the hot, the moist and the dry; but in these being [appropriately] mingled together. For it is as it were, a certain symmetry of these. Thus too, in music, concord does not consist in expelling the sharp and the flat; but when these are co-harmonized, then concord is produced, and dissonance is exterminated. In a similar manner, the hot and the cold, the moist and the dry, being harmoniously mingled together, health is produced, and disease destroyed.

But when anger, and desire are co-harmonized, the vices and the [other] passions are extirpated, and the virtues and manners are ingenerated. Deliberate choice however, in beautiful conduct, is the greatest peculiarity of the virtue of manners. For it is possible to use reason and power without virtue; but it is not possible to use deliberate choice without it. For deliberate choice indicates the dignity of manners. Hence also, the reasoning power subduing by force anger and desire, produces continence and endurance. And again, when the reasoning power is violently dethroned by the irrational parts, then incontinence and effeminacy are produced. Such dispositions however, of the soul as these, are half-perfect virtues, and half-perfect vices. For the reasoning power of the soul is [according to its natural subsistence] in a healthy, but the irrational parts are in a diseased condition.

And so far indeed, as anger and desire are governed and led by the rational part of the soul, continence and endurance become virtues; but so far as this is effected by violence, and not voluntarily, they become vices. For it is necessary that virtue should perform such things as are fit, not with pain, but with pleasure. Again, so far as anger and desire govern the reasoning power, effeminacy and incontinence are produced, which are certain vices. But so far, as they gratify the passions with pain, knowing that they are erroneous, in consequence of the eye of the soul being sane,—so far as this is the case, they are not vices. Hence, it is evident that virtue must necessarily perform what is fit voluntarily; that which is involuntary indeed, not being without pain and fear; and that which is voluntary, not subsisting without pleasure and delight.

(1) As came to Clymene, to be made certain Of that which he had heard against himself, He who makes fathers chary still to children, Even such was I, and such was I perceived By Beatrice and by the holy light That first on my account had changed its place. Therefore my Lady said to me: "Send forth The flame of thy desire, so that it issue Imprinted well with the internal stamp; Not that our knowledge may be greater made By speech of thine, but to accustom thee To tell thy thirst, that we may give thee drink." "O my beloved tree, (that so dost lift thee, That even as minds terrestrial perceive No triangle containeth two obtuse, So thou beholdest the contingent things Ere in themselves they are, fixing thine eyes Upon the point in which all times are present,) While I was with Virgilius conjoined Upon the mountain that the souls doth heal, And when descending into the dead world, Were spoken to me of my future life Some grievous words; although I feel myself In sooth foursquare against the blows of chance.

(1) From centre unto rim, from rim to centre, In a round vase the water moves itself, As from without 'tis struck or from within. Into my mind upon a sudden dropped What I am saying, at the moment when Silent became the glorious life of Thomas, Because of the resemblance that was born Of his discourse and that of Beatrice, Whom, after him, it pleased thus to begin: "This man has need (and does not tell you so, Nor with the voice, nor even in his thought) Of going to the root of one truth more. Declare unto him if the light wherewith Blossoms your substance shall remain with you Eternally the same that it is now; And if it do remain, say in what manner, After ye are again made visible, It can be that it injure not your sight." As by a greater gladness urged and drawn They who are dancing in a ring sometimes Uplift their voices and their motions quicken; So, at that orison devout and prompt, The holy circles a new joy displayed In their revolving and their wondrous song.

(2) The born lover, to whose degree the musician also may attain- and then either come to a stand or pass beyond- has a certain memory of beauty but, severed from it now, he no longer comprehends it: spellbound by visible loveliness he clings amazed about that. His lesson must be to fall down no longer in bewildered delight before some, one embodied form; he must be led, under a system of mental discipline, to beauty everywhere and made to discern the One Principle underlying all, a Principle apart from the material forms, springing from another source, and elsewhere more truly present. The beauty, for example, in a noble course of life and in an admirably organized social system may be pointed out to him- a first training this in the loveliness of the immaterial- he must learn to recognise the beauty in the arts, sciences, virtues; then these severed and particular forms must be brought under the one principle by the explanation of their origin. From the virtues he is to be led to the Intellectual-Principle, to the Authentic-Existent; thence onward, he treads the upward way.

(1) "O company elect to the great supper Of the Lamb benedight, who feedeth you So that for ever full is your desire, If by the grace of God this man foretaste Something of that which falleth from your table, Or ever death prescribe to him the time, Direct your mind to his immense desire, And him somewhat bedew; ye drinking are For ever at the fount whence comes his thought." Thus Beatrice; and those souls beatified Transformed themselves to spheres on steadfast poles, Flaming intensely in the guise of comets. And as the wheels in works of horologes Revolve so that the first to the beholder Motionless seems, and the last one to fly, So in like manner did those carols, dancing In different measure, of their affluence Give me the gauge, as they were swift or slow. From that one which I noted of most beauty Beheld I issue forth a fire so happy That none it left there of a greater brightness; And around Beatrice three several times It whirled itself with so divine a song, My fantasy repeats it not to me;