(27) Many early instruments had seven Strings, and it is generally conceded that Pythagoras was the one who added the eighth string to the lyre of Terpander. The seven strings were always related both to their correspondences in the human body and to the planets. The names of God were also conceived to be formed from combinations of the seven planetary harmonies. The Egyptians confined their sacred songs to the seven primary sounds, forbidding any others to be uttered in their temples. One of their hymns contained the following invocation: "The seven sounding tones praise Thee, the Great God, the ceaseless working Father of the whole universe." In another the Deity describes Himself thus: "I am the great indestructible lyre of the whole world, attuning the songs of the heavens. (See Nauman's History of Music.)

(5) When, then, the comprehensive melody of the holy Hymns has harmonized the habits of our souls to the things which are presently to be ministered, and, by the unison of the Divine Odes, as one and concordant chorus of holy men, has established an accord with things Divine, and themselves, and one another, the things, more strained and obscure in the intellectual language of the mystic Psalms, are expanded by the most holy lections of the inspired writings, through more full and distinct images and narratives. He, who devoutly contemplates these, will perceive the uniform and one conspiration, as being moved by One, the supremely Divine Spirit. Hence, naturally, in the history of the world, after the more ancient tradition, the new Covenant is proclaimed; the inspired and Hierarchical order teaching this, as I think, that the one affirmed the Divine works of Jesus, as to come; but the other accomplished; and as that described the truth in figures, this shewed it present. For the accomplishment, within this, of the predictions of that, established the truth, and the work of God is a consummation of the Word of God.

(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.

(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.

(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.

(28) The Pythagoreans believed that everything which existed had a voice and that all creatures were eternally singing the praise of the Creator. Man fails to hear these divine melodies because his soul is enmeshed in the illusion of material existence. When he liberates himself from the bondage of the lower world with its sense limitations, the music of the spheres will again be audible as it was in the Golden Age. Harmony recognizes harmony, and when the human soul regains its true estate it will not only hear the celestial choir but also join with it in an everlasting anthem of praise to that Eternal Good controlling the infinite number of parts and conditions of Being.

(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.

(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.

(1) It came to pass then, when Jesus had finished saying these words, that Philip came forward and said: "Jesus, my Lord, my thought is exalted, and I have understood the solution of the song which Pistis Sophia hath uttered. The prophet David hath prophesied concerning it aforetime in the one-hundred-and-sixth Psalm, saying: "'1. Give ye thanks unto the Lord, for he is good, for his grace is eternal. "'2. Let the delivered of the Lord say this, for it is he who hath delivered them out of the hand of their foes. "'3. He hath gathered them together out of their lands, from the east and from the west and from the north and from the sea. "'4. They wandered round in the desert, in a waterless country; they found not the way to the city of their dwelling-place. "'5. Hungry and thirsty, their soul fainted in them. "'6. He saved them out of their necessities. They cried unto the Lord and he hearkened unto them in their affliction. "'7. He led them on a straight way, that they might go to the region of their dwelling-place. "'8. Let them give thanks unto the Lord for his graciousness and his wondrous works unto the children of men. "'9. For he hath satisfied a hungering soul; he hath filled a hungering soul with good things, "'10. Them who sat in darkness and the shadow of death, who were fettered in misery and iron. "'11. For they had provoked the word of God and made wroth the determination of the Most High. "'12. Their heart was humbled in their miseries; they become weak and no one helped them. "'13. They cried unto the Lord in their affliction; he saved them out of their necessities. "'14. And he led them out of the darkness and the shadow of death and brake their bonds asunder. "'15. Let them give thanks unto the Lord for his graciousness and his wondrous works unto the children of men. "'16. For he hath shattered the gates of brass and burst the bolts of iron asunder. "'17. He hath taken them unto himself out of the way of their iniquity. For they were brought low because of their iniquities. "'18. Their heart abhorred all manner of meat and they were near unto the gates of death. "'19. They cried unto the Lord in their affliction and he saved them out of their necessities. "'20. He sent his word and healed them and freed them from their miseries. "'21. Let them give thanks unto the Lord for his graciousness and his wondrous works unto the children of men.' "This then, my Lord, is the solution of the song which Pistis Sophia hath uttered. Hearken, therefore, my Lord, that I may say it clearly. The word in Booth which David hath spoken: 'Give ye thanks unto the Lord, for he is good, for his grace is eternal,'--it is the word which Pistis Sophia hath spoken: 'I will give thanks unto thee, O Light, for thou art a saviour and thou art a deliverer for all time.' "And the word which hath David spoken: 'Let the delivered of the Lord say this, for he hath delivered them out of the hand of their foes,'--it is the word which Pistis Sophia hath spoken: 'I will utter this song to the Light, for it hath saved me and saved me out of the hand of the rulers, my foes.' And the rest of the Psalm. "This then, my Lord, is the solution of the song which Pistis Sophia hath uttered in the midst of the four-and-twenty invisibles, desiring that they should know all the wondrous works which thou hast done for her, and desiring that they should know that thou hast given thy mysteries to the race of men." It came to pass then, when Jesus had heard Philip say these words, that he said: "Well said, blessed Philip. This is the solution of the song which Pistis Sophia hath uttered."

(52) The faithful hold that the sweet influences of heaven As we are all members of Adam, We have heard these melodies in Paradise; Though earth and water have cast their veil upon us, But while we are thus shrouded by gross earthly veils, How can the tones of the dancing spheres reach us? Hence it is that listening to music is lovers' food, The inward feelings of the mind acquire strength, Nay, are shown outwardly, under influence of music. The fire of love burns hotter under stimulus of music,

(39) As time passed on the historical Orpheus became hopelessly confounded with the doctrine he represented and eventually became the symbol of the Greek school of the ancient wisdom. Thus Orpheus was declared to be the son of Apollo, the divine and perfect truth, and Calliope, the Muse of harmony and rhythm. In other words, Orpheus is the secret doctrine (Apollo) revealed through music (Calliope). Eurydice is humanity dead from the sting of the serpent of false knowledge and imprisoned in the underworld of ignorance. In this allegory Orpheus signifies theology, which wins her from the king of the dead but fails to accomplish her resurrection because it falsely estimates and mistrusts the innate understanding within the human soul. The Ciconian women who tore Orpheus limb from limb symbolize the various contending theological factions which destroy the body of Truth. They cannot accomplish this, however, until their discordant cries drown out the harmony drawn by Orpheus from his magic lyre. The head of Orpheus signifies the esoteric doctrines of his cult. These doctrines continue to live and speak even after his body (the cult) has been destroyed. The lyre is the secret teaching of Orpheus; the seven strings are the seven divine truths which are the keys to universal knowledge. The differing accounts of his death represent the various means used to destroy the secret teachings: wisdom can die in many ways at the same time. The allegory of Orpheus incarnating in the white swan merely signifies that the spiritual truths he promulgated will continue and will be taught by the illumined initiates of all future ages. The swan is the symbol of the initiates of the Mysteries; it is a symbol also of the divine power which is the progenitor of the world.

(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

(32) Therefore take warning, and consider that thou also belongest to the angelical choir, and read the following hymn with longing delight, and then the Holy Ghost will be awakened and stirred up in thee, and thou also wilt get a desire and longing after the heavenly chorus and choir of dancing. Amen.

(52) In this the tone should rise up and sound, with singing and ringing forth, in praising and jubilating: also all the qualities should rejoice therein, and every spirit should exercise or practise its divine work or labour, as God the Father himself does.

(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

(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.

(3) "'1. In faith have I had faith in the Light; and it remembered me and hearkened to my song. "'2. It hath led my power up out of the chaos and the nether darkness of the whole matter and it hath led me up. It hath removed. me to a higher and surer æon, lofty and firm; it hath changed my place on the way which leadeth to my region. "'3. And it hath given unto me a new mystery, which is not that of my æon, and given unto me a song of the Light. Now, therefore, O Light, all the rulers will see what thou hast done unto me, and be afraid and have faith in the Light.' This song then Pistis Sophia uttered, rejoicing that she had been led up out of the chaos and brought to regions which are below the thirteenth æon. Now, therefore, let him whom his mind stirreth, so that he understandeth the solution of the thought of the song which Pistis Sophia hath uttered, come forward and say it." Andrew came forward and said: "My Lord, this is concerning what thy light-power hath prophesied aforetime through David:

(2) "'1. I will give thanks unto thee, O Light, for thou art a saviour; thou art a deliverer for all time. "'2. I will utter this song to the Light, for it hath saved me and saved me out of the hand of the rulers, my foes. "'3. And thou hast preserved me in all the regions, thou hast saved me out of the height and the depth of the chaos and out of the æons of the rulers of the sphere. "'4. And when I was come out of the Height, I wandered round in regions in which is no light, and I could not return to the thirteenth æon, my dwelling-place. "'5. For there was no light in me nor power. My power was utterly weakened (?). "'6. And the Light saved me in all my afflictions. I sang praises unto the Light, and it hearkened unto me, when I was constrained. "'7. It guided me in the creation of the æons to lead me up into the thirteenth æon, my dwelling-place. "'8. I will give thanks unto thee, O Light, that thou hast saved me, and for thy wondrous works unto the race of men. "'9. When I failed of my power, thou hast given me power; and when I failed of my light, thou didst fill me with purified light. "'10. I was in the darkness and in the shadow of the chaos, bound with the mighty fetters of the chaos, and no light was in me. "'11. For I have provoked the commandment of the Light and have transgressed, and I have made wroth the commandment of the Light, because I had gone out of my region. "'12. And when I had gone down, I failed of my light and became without light, and no one had helped me. "'13. And in my affliction I sang praises unto the Light, and it saved me out of my afflictions. "'14. And it hath also broken asunder all my bonds and led me up out of the darkness and the affliction of the chaos. "'15. I will give thanks unto thee, O Light, that thou hast saved me and that thy wondrous works have been wrought in the race of men. "'16. And thou hast shattered the upper gates of the darkness and the mighty bolts of the chaos. "'17. And thou didst let me depart out of the region in which I had transgressed, and my light was taken, because I have transgressed. "'18. And I ceased from my mysteries and went down to the gates of the chaos. "'19. And when I was constrained, I sang praises to the Light. It saved me out of all my afflictions. "'20. Thou sentest thy stream; it gave me power and saved me out of all my afflictions. "'21. I will give thanks unto thee, O Light, that thou hast saved me, and for thy wondrous works in the race of men.' "This then is the song which Pistis Sophia hath uttered in the midst of the four-and-twenty invisibles, desiring that they should know all the wondrous works which I had done for her, and desiring that they should know that I have gone to the world of men and have given them the mysteries of the Height. Now, therefore, who is exalted in his thought, let him come forward and say the solution of the song which Pistis Sophia hath uttered."

(5) Whatever melody most sweetly soundeth On earth, and to itself most draws the soul, Would seem a cloud that, rent asunder, thunders, Compared unto the sounding of that lyre Wherewith was crowned the sapphire beautiful, Which gives the clearest heaven its sapphire hue. "I am Angelic Love, that circle round The joy sublime which breathes from out the womb That was the hostelry of our Desire; And I shall circle, Lady of Heaven, while Thou followest thy Son, and mak'st diviner The sphere supreme, because thou enterest there." Thus did the circulated melody Seal itself up; and all the other lights Were making to resound the name of Mary. The regal mantle of the volumes all Of that world, which most fervid is and living With breath of God and with his works and ways, Extended over us its inner border, So very distant, that the semblance of it There where I was not yet appeared to me. Therefore mine eyes did not possess the power Of following the incoronated flame, Which mounted upward near to its own seed.

(19) Thy Reason (Logos) sings through me Thy praises. Take back through me the All into [Thy] Reason - [my] reasonable oblation! Thus cry the Powers in me. They sing Thy praise, Thou All; they do Thy Will. From Thee Thy Will; to Thee the All. Receive from all their reasonable oblation. The All that is in us, O Life, preserve; O Light illumine it; O God in-spirit it. It it Thy Mind that plays the shepherd to Thy Word, O Thou Creator, Bestower of the Spirit [upon all].