(11) principally shown by their sacred ceremonial. For first advances the Singer, bearing some one of the symbols of music. For they say that he must learn two of the books of Hermes, the one of which contains the hymns of the gods, the second the regulations for the king's life. And after the Singer advances the Astrologer, with a horologe in his hand, and a palm, the symbols of astrology. He must have the astrological books of Hermes, which are four in number, always in his mouth. Of these, one is about the order of the fixed stars that are visible, and another about the conjunctions and luminous appearances of the sun and moon; and the rest respecting their risings. Next in order advances the sacred Scribe, with wings on his head, and in his hand a book and rule, in which were writing ink and the reed, with which they write. And he must be acquainted with what are called hieroglyphics, and know about cosmography and geography, the position of the sun and moon, and about the five planets; also the description of Egypt, and the chart of the Nile; and the description of the equipment of the priests and of the place consecrated to them, and about the measures and the things in use in the sacred rites. Then the Stole-keeper follows those previously mentioned, with the cubit of justice and the cup for libations. He is acquainted with all points called Pædeutic (relating to training) and Moschophaltic (sacrificial). There are also ten books which relate to the honour paid by them to their gods, and containing the Egyptian worship; as that relating to sacrifices, first-fruits, hymns, prayers, processions, festivals, and the like. And behind all walks the Prophet, with the water-vase carried openly in his arms; who is followed by those who carry the issue of loaves. He, as being the governor of the temple, learns the ten books called 'Hieratic'; and they contain all about the laws, and the gods, and the whole of the training of the priests. For the Prophet is, among the Egyptians, also over the distribution of the revenues. There are then forty-two books of Hermes indispensably necessary; of which the six-and-thirty containing the whole philosophy of the Egyptians are learned by the forementioned personages; and the other six, which are medical, by the Pastophoroi (image-bearers),--treating of the structure of the body, and of disease, and instruments, and medicines, and about the eyes, and the last about women.

(3) It is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of music from the Egyptians, who, in turn, considered Hermes the founder of the art. According to one legend, this god constructed the first lyre by stretching strings across the concavity of a turtle shell. Both Isis and Osiris were patrons of music and poetry. Plato, in describing the antiquity of these arts among the Egyptians, declared that songs and poetry had existed in Egypt for at least ten thousand years, and that these were of such an exalted and inspiring nature that only gods or godlike men could have composed them. In the Mysteries the lyre was regarded as the secret symbol of the human constitution, the body of the instrument representing the physical form, the strings the nerves, and the musician the spirit. Playing upon the nerves, the spirit thus created the harmonies of normal functioning, which, however, became discords if the nature of man were defiled.

(1) Conceiving, however, that the first attention which should be paid to men, is that which takes place through the senses; as when some one perceives beautiful figures and forms, or hears beautiful rythms and melodies, he established that to be the first erudition which subsists through music, and also through certain melodies and rythms, from which the remedies of human manners and passions are obtained, together with those harmonies of the powers of the soul which it possessed from the first. He likewise devised medicines calculated to repress and expel the diseases both of bodies and souls. And by Jupiter that which deserves to be mentioned above all these particulars is this, that he arranged and adapted for his disciples what are called apparatus and contrectations, divinely contriving mixtures of certain diatonic, chromatic, and euharmonic melodies, through which he easily transferred and circularly led the passions of the soul into a contrary direction, when they had recently and in an irrational and clandestine manner been formed; such as sorrow, rage, and pity, absurd emulation and fear, all-various desires, angers, and appetites, pride, supineness, and vehemence.

For he corrected each of these by the rule of virtue, attempering them through appropriate melodies, as through certain salutary medicines. In the evening, likewise, when his disciples were retiring to sleep, he liberated them by these means from diurnal perturbations and tumults, and purified their intellective power from the influxive and effluxive waves of a corporeal nature; rendered their sleep quiet, and their dreams pleasing and prophetic. But when they again rose from their bed, he freed them from nocturnal heaviness, relaxation and torpor, through certain peculiar songs and modulations, produced either by simply striking the lyre, or employing the voice. Pythagoras, however, did not procure for himself a thing of this kind through instruments or the voice, but employing a certain ineffable divinity, and which it is difficult to apprehend, he extended his ears, and fixed his intellect in the sublime symphonies of the world, he alone hearing and understanding, as it appears, the universal harmony and consonance of the spheres, and the stars that are moved through them, and which produce a fuller and more intense melody than any thing effected by mortal sounds.

This melody also was the result of dissimilar and variously differing sounds, celerities, magnitudes, and intervals, arranged with reference to each other in a certain most musical ratio, and thus producing a most gentle, and at the same time variously beautiful motion and convolution. Being therefore irrigated as it were with this melody, having the reason of his intellect well arranged through it, and as I may say, exercised, he determined to exhibit certain images of these things to his disciples as much as possible, especially producing an imitation of them through instruments, and through the mere voice alone. For he conceived that by him alone, of all the inhabitants of the earth, the mundane sounds were understood and heard, and this from a natural fountain itself and root.

He therefore thought himself worthy to be taught, and to learn something about the celestial orbs, and to be assimilated to them by desire and imitation, as being the only one on the earth adapted to this by the conformation of his body, through the dæmoniacal power that inspired him. But he apprehended that other men ought to be satisfied in looking to him, and the gifts he possessed, and in being benefited and corrected through images and examples, in consequence of their inability to comprehend truly the first and genuine archetypes of things. Just, indeed, as to those who are incapable of looking intently at the sun, through the transcendent splendor of his rays, we contrive to exhibit the eclipses of that luminary, either in the profundity of still water, or through melted pitch, or through some darkly-splendid mirror; sparing the imbecility of their eyes, and devising a method of representing a certain repercussive light, though less intense than its archetype, to those who are delighted with a thing of this kind. Empedocles also appears to have obscurely signified this about Pythagoras, and the illustrious and divinely-gifted conformation of his body above that of other men, when he says:

(2) Iamblichus averred that Hermes was the author of twenty thousand books; Manetho increased the number to more than thirty-six thousand (see James Gardner)--figures which make it evident that a solitary individual, even though he be overshadowed by divine prerogative, could scarcely have accomplished such a monumental labor. Among the arts and sciences which it is affirmed Hermes revealed to mankind were medicine, chemistry, law, arc, astrology, music, rhetoric, Magic, philosophy, geography, mathematics (especially geometry), anatomy, and oratory. Orpheus was similarly acclaimed by the Greeks.

(15) Tat: I would, O father, hear the Praise-giving with hymn which thou didst say thou heardest then when thou wert at the Eight [the Ogdoad] of Powers Hermes: Just as the Shepherd did foretell [I should], my son, [when I came to] the Eight. Well dost thou haste to "strike thy tent" , for thou hast been made pure. The Shepherd, Mind of all masterhood, hath not passed on to me more than hath been written down, for full well did he know that I should of myself be able to learn all, and hear what I should wish, and see all things. He left to me the making of fair things; wherefore the Powers within me. e'en as they are in all, break into song.

(16) Tat: Father, I wish to hear; I long to know these things. Hermes: Be still, my son; hear the Praise-giving now that keeps [the soul] in tune, Hymn of Re-birth - a hymn I would not have thought fit so readily to tell, had'st thou not reached the end of all. Wherefore this is not taught, but is kept hid in silence. Thus then, my son, stand in a place uncovered to the sky, facing the southern wind, about the sinking of the setting sun, and make thy worship; so in like manner too when he doth rise, with face to the east wind. Now, son, be still! The Secret Hymnody

(5) In the Egyptian drawings of him, Thoth carries a waxen writing tablet and serves as the recorder during the weighing of the souls of the dead in the judgment Hall of Osiris--a ritual of great significance. Hermes is of first importance to Masonic scholars, because he was the author of the Masonic initiatory rituals, which were borrowed from the Mysteries established by Hermes. Nearly all of the Masonic symbols are Hermetic in character. Pythagoras studied mathematics with the Egyptians and from them gained his knowledge of the symbolic geometric solids. Hermes is also revered for his reformation of the calendar system. He increased the year from 360 to 365 days, thus establishing a precedent which still prevails. The appellation "Thrice Greatest" was given to Hermes because he was considered the greatest of all philosophers, the greatest of all priests, and the greatest of all kings. It is worthy of note that the last poem of America's beloved poet, Henry Wadsworth Longfellow, was a lyric ode to Hermes. (See Chambers' Encyclopædia.)

(398) our souls’ health the rougher and severer poet or story-teller, who will imitate the style of the virtuous only, and will follow those models which we prescribed at first when we began the education of our soldiers. We certainly will, he said, if we have the power. Then now, my friend, I said, that part of music or literary education which relates to the story or myth may be considered to be finished; for the matter and manner have both been discussed. I think so too, he said. Next in order will follow melody and song. That is obvious. Every one can see already what we ought to say about them, if we are to be consistent with ourselves. I fear, said Glaucon, laughing, that the word ‘every one’ hardly includes me, for I cannot at the moment say what they should be; though I may guess. At any rate you can tell that a song or ode has three parts—the words, the melody, and the rhythm; that degree of knowledge I may presuppose? Yes, he said; so much as that you may. And as for the words, there will surely be no difference between words which are and which are not set to music; both will conform to the same laws, and these have been already determined by us? Yes. And the melody and rhythm will depend upon the words? Certainly. We were saying, when we spoke of the subject-matter, that we had no need of lamentation and strains of sorrow? True.

(1) The mode however of teaching through symbols, was considered by Pythagoras as most necessary. For this form of erudition was cultivated by nearly all the Greeks, as being most ancient. But it was transcendently honored by the Egyptians, and adopted by them in the most diversified manner. Conformably to this, therefore, it will be found, that great attention was paid to it by Pythagoras, if any one clearly unfolds the significations and arcane conceptions of the Pythagoric symbols, and thus developes the great rectitude and truth they contain, and liberates them from their enigmatic form. For they are adapted according to a simple and uniform doctrine, to the great geniuses of these philosophers, and deify in a manner which surpasses human conception.

For those who came from this school, and especially the most ancient Pythagoreans, and also those young men who were the disciples of Pythagoras when he was an old man, viz. Philolaus and Eurytus, Charondas and Zaleucus, and Brysson, the elder Archytas also, and Aristæus, Lysis and Empedocles, Zanolxis and Epimenides, Milo and Leucippus, Alcmæon, Hippasus and Thymaridas, and all of that age, consisting of a multitude of learned men, and who were above measure excellent,—all these adopted this mode of teaching, in their discourses with each other, and in their commentaries and annotations. Their writings also, and all the books which they published, most of which have been preserved even to our time , were not composed by them in a popular and vulgar diction, and in a manner usual with all other writers, so as to be immediately understood, but in such a way as not to be easily apprehended by those that read them.

For they adopted that taciturnity which was instituted by Pythagoras as a law, in concealing after an arcane mode, divine mysteries from the uninitiated, and obscuring their writings and conferences with each other. Hence he who selecting these symbols does not unfold their meaning by an apposite exposition, will cause those who may happen to meet with them to consider them as ridiculous and inane, and as full of nugacity and garrulity. When, however, they are unfolded in a way conformable to these symbols, and become obvious and clear even to the multitude, instead of being obscure and dark, then they will be found to be analogous to prophetic sayings, and to the oracles of the Pythian Apollo. They will then also exhibit an admirable meaning, and will produce a divine afflatus in those who unite intellect with erudition.

Nor will it be improper to mention a few of them, in order that this mode of discipline may become more perspicuous: Enter not into a temple negligently, nor in short adore carelessly, not even though you should stand at the very doors themselves . Sacrifice and adore unshod. Declining from the public ways, walk in unfrequented paths. Speak not about Pythagoric concerns without light. And such are the outlines of the mode adopted by Pythagoras of teaching through symbols.

(16) Pythagoras cured many ailments of the spirit, soul, and body by having certain specially prepared musical compositions played in the presence of the sufferer or by personally reciting short selections from such early poets as Hesiod and Homer. In his university at Crotona it was customary for the Pythagoreans to open and to close each day with songs--those in the morning calculated to clear the mind from sleep and inspire it to the activities of the coming day; those in the evening of a mode soothing, relaxing, and conducive to rest. At the vernal equinox, Pythagoras caused his disciples to gather in a circle around one of their number who led them in song and played their accompaniment upon a lyre.

(1) What art is there, what method, what discipline to bring us there where we must go?

The Term at which we must arrive we may take as agreed: we have established elsewhere, by many considerations, that our journey is to the Good, to the Primal-Principle; and, indeed, the very reasoning which discovered the Term was itself something like an initiation.

But what order of beings will attain the Term?

Surely, as we read, those that have already seen all or most things, those who at their first birth have entered into the life-germ from which is to spring a metaphysician, a musician or a born lover, the metaphysician taking to the path by instinct, the musician and the nature peculiarly susceptible to love needing outside guidance.

But how lies the course? Is it alike for all, or is there a distinct method for each class of temperament?

For all there are two stages of the path, as they are making upwards or have already gained the upper sphere.

The first degree is the conversion from the lower life; the second- held by those that have already made their way to the sphere of the Intelligibles, have set as it were a footprint there but must still advance within the realm- lasts until they reach the extreme hold of the place, the Term attained when the topmost peak of the Intellectual realm is won.

But this highest degree must bide its time: let us first try to speak of the initial process of conversion.

We must begin by distinguishing the three types. Let us take the musician first and indicate his temperamental equipment for the task.

The musician we may think of as being exceedingly quick to beauty, drawn in a very rapture to it: somewhat slow to stir of his own impulse, he answers at once to the outer stimulus: as the timid are sensitive to noise so he to tones and the beauty they convey; all that offends against unison or harmony in melodies and rhythms repels him; he longs for measure and shapely pattern.

This natural tendency must be made the starting-point to such a man; he must be drawn by the tone, rhythm and design in things of sense: he must learn to distinguish the material forms from the Authentic-Existent which is the source of all these correspondences and of the entire reasoned scheme in the work of art: he must be led to the Beauty that manifests itself through these forms; he must be shown that what ravished him was no other than the Harmony of the Intellectual world and the Beauty in that sphere, not some one shape of beauty but the All-Beauty, the Absolute Beauty; and the truths of philosophy must be implanted in him to lead him to faith in that which, unknowing it, he possesses within himself. What these truths are we will show later.

(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

(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.

(38) Orpheus has long been sung as the patron of music. On his seven-stringed lyre he played such perfect harmonies that the gods themselves were moved to acclaim his power. When he touched the strings of his instrument the birds and beasts gathered about him, and as he wandered through the forests his enchanting melodies caused even the ancient trees with mighty effort to draw their gnarled roots from out the earth and follow him. Orpheus is one of the many Immortals who have sacrificed themselves that mankind might have the wisdom of the gods. By the symbolism of his music he communicated the divine secrets to humanity, and several authors have declared that the gods, though loving him, feared that he would overthrow their kingdom and therefore reluctantly encompassed his destruction.

(531) their ears before their understanding. You mean, I said, those gentlemen who tease and torture the strings and rack them on the pegs of the instrument: I might carry on the metaphor and speak after their manner of the blows which the plectrum gives, and make accusations against the strings, both of backwardness and forwardness to sound; but this would be tedious, and therefore I will only say that these are not the men, and that I am referring to the Pythagoreans, of whom I was just now proposing to enquire about harmony. For they too are in error, like the astronomers; they investigate the numbers of the harmonies which are heard, but they never attain to problems—that is to say, they never reach the natural harmonies of number, or reflect why some numbers are harmonious and others not. That, he said, is a thing of more than mortal knowledge. A thing, I replied, which I would rather call useful; that is, if sought after with a view to the beautiful and good; but if pursued in any other spirit, useless. Very true, he said. Now, when all these studies reach the point of inter-communion and connection with one another, and come to be considered in their mutual affinities, then, I think, but not till then, will the pursuit of them have a value for our objects; otherwise there is no profit in them. I suspect so; but you are speaking, Socrates, of a vast work. What do you mean? I said; the prelude or what? Do you not know that all this is but the prelude to the actual strain which we have to learn? For you surely would not

(530) them are obvious enough even to wits no better than ours; and there are others, as I imagine, which may be left to wiser persons. But where are the two? There is a second, I said, which is the counterpart of the one already named. And what may that be? The second, I said, would seem relatively to the ears to be what the first is to the eyes; for I conceive that as the eyes are designed to look up at the stars, so are the ears to hear harmonious motions; and these are sister sciences—as the Pythagoreans say, and we, Glaucon, agree with them? Yes, he replied. But this, I said, is a laborious study, and therefore we had better go and learn of them; and they will tell us whether there are any other applications of these sciences. At the same time, we must not lose sight of our own higher object. What is that? There is a perfection which all knowledge ought to reach, and which our pupils ought also to attain, and not to fall short of, as I was saying that they did in astronomy. For in the science of harmony, as you probably know, the same thing happens. The teachers of harmony compare the sounds and consonances which are heard only, and their labour, like that of the astronomers, is in vain. Yes, by heaven! he said; and ’tis as good as a play to hear them talking about their condensed notes, as they call them; they put their ears close alongside of the strings like persons catching a sound from their neighbour’s wall 5 —one set of them declaring that they distinguish an intermediate note and have found the least interval which should be the unit of measurement; the others insisting that the two sounds have passed into the same—either party setting

(364) sins by sacrifices or charms, with rejoicings and feasts; and they promise to harm an enemy, whether just or unjust, at a small cost; with magic arts and incantations binding heaven, as they say, to execute their will. And the poets are the authorities to whom they appeal, now smoothing the path of vice with the words of Hesiod;— ‘Vice may be had in abundance without trouble; the way is smooth and her dwelling-place is near. But before virtue the gods have set toil 6 ,’ and a tedious and uphill road: then citing Homer as a witness that the gods may be influenced by men; for he also says:— ‘The gods, too, may be turned from their purpose; and men pray to them and avert their wrath by sacrifices and soothing entreaties, and by libations and the odour of fat, when they have sinned and transgressed 7 .’ And they produce a host of books written by Musaeus and Orpheus, who were children of the Moon and the Muses—that is what they say—according to which they perform their ritual, and persuade not only individuals, but whole cities, that expiations and atonements for sin may be made by sacrifices and amusements which fill a vacant hour, and are equally at the service of the living and the dead; the latter

(412) two principles (like the strings of an instrument) may be relaxed or drawn tighter until they are duly harmonized. That appears to be the intention. And he who mingles music with gymnastic in the fairest proportions, and best attempers them to the soul, may be rightly called the true musician and harmonist in a far higher sense than the tuner of the strings. You are quite right, Socrates. And such a presiding genius will be always required in our State if the government is to last. Yes, he will be absolutely necessary. Such, then, are our principles of nurture and education: Where would be the use of going into further details about the dances of our citizens, or about their hunting and coursing, their gymnastic and equestrian contests? For these all follow the general principle, and having found that, we shall have no difficulty in discovering them. I dare say that there will be no difficulty. Very good, I said; then what is the next question? Must we not ask who are to be rulers and who subjects? Certainly. There can be no doubt that the elder must rule the younger. Clearly. And that the best of these must rule. That is also clear. Now, are not the best husbandmen those who are most devoted to husbandry? Yes. And as we are to have the best of guardians for our city, must they not be those who have most the character of guardians? Yes. And to this end they ought to be wise and efficient, and to have a special care of the State?

(1) Here then, too, O excellent son, after the images, I come in due order and reverence to the Godlike reality of the archetypes, saying here to those yet being initiated, for the harmonious guidance of their souls, that the varied and sacred composition of the symbols is not without spiritual contemplation for them, as merely presented superficially. For the most sacred chants and readings of the Oracles teach them a discipline of a virtuous life, and previous to this, the, complete purification from destructive evil; and the most Divine, and common, and peaceful distribution of one and the same, both Bread and Cup, enjoins upon them a godly fellowship in character, as having a fellowship in food, and recalls to their memory the most Divine Supper, and arch-symbol of the rites performed, agreeably with which the Founder of the symbols Himself excludes, most justly, him who had supped with Him on the holy things, not piously and in a manner suitable to his character; teaching at once, clearly and Divinely, that the approach to Divine mysteries with a sincere mind confers, on those who draw nigh, the participation in a gift according to their own character.

(1) Mind: Master this sermon (logos), then, Thrice-greatest Hermes, and bear in mind the spoken words; and as it hath come unto Me to speak, I will no more delay. Hermes: As many men say many things, and these diverse, about the All and Good, I have not learned the truth. Make it, then, clear to me, O Master mine! For I can trust the explanation of these things, which comes from Thee alone.