(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.

(41) The prayer is answered by the mere fact that part and other part are wrought to one tone like a musical string which, plucked at one end, vibrates at the other also. Often, too, the sounding of one string awakens what might pass for a perception in another, the result of their being in harmony and tuned to one musical scale; now, if the vibration in a lyre affects another by virtue of the sympathy existing between them, then certainly in the All- even though it is constituted in contraries- there must be one melodic system; for it contains its unisons as well, and its entire content, even to those contraries, is a kinship.

Thus, too, whatever is hurtful to man- the passionate spirit, for example, drawn by the medium of the gall into the principle seated in the liver- comes with no intention of hurt; it is simply as one transferring fire to another might innocently burn him: no doubt, since he actually set the other on fire he is a cause, but only as the attacking fire itself is a cause, that is by the merely accidental fact that the person to whom the fire was being brought blundered in taking it.

(1) Pythagoras was likewise of opinion that music contributed greatly to health, if it was used in an appropriate manner. For he was accustomed to employ a purification of this kind, but not in a careless way. And he called the medicine which is obtained through music by the name of purification. But he employed such a melody as this about the vernal season. For he placed in the middle a certain person who played on the lyre, and seated in a circle round him those who were able to sing. And thus, when the person in the centre struck the lyre, those that surrounded him sung certain pæans, through which they were seen to be delighted, and to become elegant and orderly in their manners.

But at another time they used music in the place of medicine. And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires. He likewise used dancing; but employed the lyre as an instrument for this purpose. For he conceived that the pipe was calculated to excite insolence, was a theatrical instrument, and had by no means a liberal sound. Select verses also of Homer and Hesiod were used by him, for the purpose of correcting the soul.

Among the deeds of Pythagoras likewise, it is said, that once through the spondaic song of a piper, he extinguished the rage of a Tauromenian lad, who had been feasting by night, and intended to burn the vestibule of his mistress, in consequence of seeing her coming from the house of his rival. For the lad was inflamed and excited [to this rash attempt] by a Phrygian song; which however Pythagoras most rapidly suppressed. But Pythagoras, as he was astronomizing, happened to meet with the Phrygian piper at an unseasonable time of night, and persuaded him to change his Phrygian for a spondaic song; through which the fury of the lad being immediately repressed, he returned home in an orderly manner, though a little before this, he could not be in the least restrained, nor would in short, bear any admonition; and even stupidly insulted Pythagoras when he met him.

When a certain youth also rushed with a drawn sword on Anchitus, the host of Empedocles, because, being a judge, he had publicly condemned his father to death, and would have slain him as a homicide, Empedocles changed the intention of the youth, by singing to his lyre that verse of Homer,

(4) The chanting of the Psalms, being co-essential with almost all the Hierarchical mysteries, was not likely to be separated from the most Hierarchical of all. For every holy and inspired Scripture sets forth for those meet for deification, either the originated beginning and ordering of things from God; or the Hierarchy and polity of the Law; or the distributions and possessions of the inheritances of the people of God; or the understanding of sacred judges, or of wise kings, or of inspired Priests: or philosophy of men of old time, unshaken in endurances of the things let loose in variety and multitude; or the treasures of wisdom for the conduct of life; or songs and inspired pictures of Divine Loves; or the declaratory predictions of things to come; or the Theandric works of Jesus; or the God-transmitted and God-imitating polities and holy teachings of His Disciples, or the hidden and mystic gaze of the beloved and divinely sweet of the disciples, or the supermundane theology of Jesus; and implanted them in the holy and Godlike instructions of the mystic rites. Now the sacred description of the Divine Odes, whose purpose is to sing the words and works of God throughout, and to praise the holy words and works of godly men, forms an universal Ode and narrative of things Divine, and makes, in those who inspiredly recite it, a habit suitable for the reception and distribution of every Hierarchical mystery.

(7) And when upon their hinges were turned round The swivels of that consecrated gate, Which are of metal, massive and sonorous, Roared not so loud, nor so discordant seemed Tarpeia, when was ta'en from it the good Metellus, wherefore meagre it remained. At the first thunder-peal I turned attentive, And "Te Deum laudamus" seemed to hear In voices mingled with sweet melody. Exactly such an image rendered me That which I heard, as we are wont to catch, When people singing with the organ stand; For now we hear, and now hear not, the words.

(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.

(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.

(6) He is lord of the worlds beneath that (the self in the eye), and of all the wishes of men. Therefore all who sing to the vînâ (lyre), sing him, and from him also they obtain wealth.

(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) 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.

(2) As for [true] Music,—to know this is naught else than to have knowledge of the order of all things, and whatsoe’er God’s Reason hath decreed. For that the order of each several thing when set together in one [key] for all, by means of skilful reason, will make, as ’twere, the sweetest and the truest harmony with God’s [own] Song. XIV

(25) "These experiences, when they have come to one, have left him in a new state of mind, and he has never been the same man afterward. Although the keenness of the recollection has worn off, there remains a certain memory which long afterward proves a source of comfort and strength to him, especially when he feels faint of faith and is shaken like a reed by the winds of conflicting opinions and speculations. The memory of such an experience is a source of renewed strength—a haven of refuge to which the weary soul flies for shelter from the outside world which understands it not. From the writings of the ancient philosophers of all races, from the songs of the great poets of all peoples, from the preachings of the prophets of all religions and times we can gather traces of this illumination which has come to them—this unfoldment of spiritual consciousness. One tells the story in one way, the other in other terms, but all tell practically the same essential story. All who have recognized this illumination, even in a faint degree, recognize the like experience in the tale, song, or preaching of another, though centuries may roll between them. It is the song of the Soul, which when once heard is never forgotten. Though it be sounded by the crude instruments of the semi-barbarous races, or the finished instruments of the talented musician of today, its strains are plainly recognized. From Old Egypt comes the song—from India of all ages—from Ancient Greece and Rome—from the early Christian saint—from the Quaker Friend—from the Catholic monasteries —from the Mohammedan Mosque—from the Chinese Philosopher—from the legends of the American Indian hero-prophet—it is always the same strain, and it is swelling louder and louder, as many more are taking it up and adding their voices or the sounds of their instruments to the grand chorus." The student must remember that in the experiences noted above, the individual simply has flashes, or period of dawning consciousness on this Sixth Plane of Consciousness, and is not to be regarded as having entered fully and completely into its manifestations, much less as having evolved into a state in which he functions normally and habitually on this high plane. There are beings—once men—who have evolved into the higher state in which they function normally and habitually on this plane of conscious being; but these individuals are no more than mere men, and have earned the right to be called "Demi-Gods." But, even as they once were men, so all men become as they now are by the unfoldment of this higher region of Self. These flashes of consciousness from this high plane are prophetic signs and messages indicating the awakening of the higher faculties, and giving assurance of further growth and unfoldment.

(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.

(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

(39) By this song I invite or cite the Reader into the other life; there he himself will also be of that choir or chorus, and then first will he give credit to this spirit. What he does not understand here, that he will there behold [for himself].

(398) And which are the harmonies expressive of sorrow? You are musical, and can tell me. The harmonies which you mean are the mixed or tenor Lydian, and the full-toned or bass Lydian, and such like. These then, I said, must be banished; even to women who have a character to maintain they are of no use, and much less to men. Certainly. In the next place, drunkenness and softness and indolence are utterly unbecoming the character of our guardians. Utterly unbecoming. And which are the soft or drinking harmonies? The Ionian, he replied, and the Lydian; they are termed ‘relaxed.’ Well, and are these of any military use? Quite the reverse, he replied; and if so the Dorian and the Phrygian are the only ones which you have left. I answered: Of the harmonies I know nothing, but I want to have one warlike, to sound the note or accent which a brave man utters in the hour of danger and stern resolve, or when his cause is failing, and he is going to wounds or death or is overtaken by some other evil, and at every such crisis meets the blows of fortune with firm step and a determination to endure; and another to be used by him in times of peace and freedom of action, when there is no pressure of necessity, and he is seeking to persuade God by prayer, or man by instruction and admonition, or on the other hand, when he is expressing his willingness to yield to persuasion or entreaty or admonition, and which represents him when by prudent conduct he has attained his end, not carried away by his success, but acting moderately and wisely

(1) Soon as the blessed flame had taken up The final word to give it utterance, Began the holy millstone to revolve, And in its gyre had not turned wholly round, Before another in a ring enclosed it, And motion joined to motion, song to song; Song that as greatly doth transcend our Muses, Our Sirens, in those dulcet clarions, As primal splendour that which is reflected. And as are spanned athwart a tender cloud Two rainbows parallel and like in colour, When Juno to her handmaid gives command, (The one without born of the one within, Like to the speaking of that vagrant one Whom love consumed as doth the sun the vapours,) And make the people here, through covenant God set with Noah, presageful of the world That shall no more be covered with a flood, In such wise of those sempiternal roses The garlands twain encompassed us about, And thus the outer to the inner answered. After the dance, and other grand rejoicings, Both of the singing, and the flaming forth Effulgence with effulgence blithe and tender,

(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.

(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.