(2) O Rā, in that thy name of Rā, since thou passest through an Eye of seven cubits, whose pupil is of three: do thou then make me sound, I am a powerful Chu, let thy soundness be my soundness

(5) One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

(8) And the table which was in the temple was six cubits; and its four feet were about a cubit and a half.

(48) Thus the second counsellor in the head is the ears, they stand open, and in all that soundeth the sound goes forth through them.

(1) Seen from a distance, objects appear reduced and close together, however far apart they be: within easy range, their sizes and the distances that separate them are observed correctly.

Distant objects show in this reduction because they must be drawn together for vision and the light must be concentrated to suit the size of the pupil; besides, as we are placed farther and farther away from the material mass under observation, it is more and more the bare form that reaches us, stripped, so to speak, of magnitude as of all other quality.

Or it may be that we appreciate the magnitude of an object by observing the salience and recession of its several parts, so that to perceive its true size we must have it close at hand.

Or again, it may be that magnitude is known incidentally from the observation of colour. With an object at hand we know how much space is covered by the colour; at a distance, only that something is coloured, for the parts, quantitatively distinct among themselves, do not give us the precise knowledge of that quantity, the colours themselves reaching us only in a blurred impression.

What wonder, then, if size be like sound- reduced when the form reaches us but faintly- for in sound the hearing is concerned only about the form; magnitude is not discerned except incidentally.

Well, in hearing magnitude is known incidentally; but how? Touch conveys a direct impression of a visible object; what gives us the same direct impression of an object of hearing?

The magnitude of a sound is known not by actual quantity but by degree of impact, by intensity- and this in no indirect knowledge; the ear appreciates a certain degree of force, exactly as the palate perceives by no indirect knowledge, a certain degree of sweetness. But the true magnitude of a sound is its extension; this the hearing may define to itself incidentally by deduction from the degree of intensity but not to the point of precision. The intensity is merely the definite effect at a particular spot; the magnitude is a matter of totality, the sum of space occupied.

Still the colours seen from a distance are faint; but they are not small as the masses are.

True; but there is the common fact of diminution. There is colour with its diminution, faintness; there is magnitude with its diminution, smallness; and magnitude follows colour diminishing stage by stage with it.

But, the phenomenon is more easily explained by the example of things of wide variety. Take mountains dotted with houses, woods and other land-marks; the observation of each detail gives us the means of calculating, by the single objects noted, the total extent covered: but, where no such detail of form reaches us, our vision, which deals with detail, has not the means towards the knowledge of the whole by measurement of any one clearly discerned magnitude. This applies even to objects of vision close at hand: where there is variety and the eye sweeps over all at one glance so that the forms are not all caught, the total appears the less in proportion to the detail which has escaped the eye; observe each single point and then you can estimate the volume precisely. Again, magnitudes of one colour and unbroken form trick the sense of quantity: the vision can no longer estimate by the particular; it slips away, not finding the stand-by of the difference between part and part.

It was the detail that prevented a near object deceiving our sense of magnitude: in the case of the distant object, because the eye does not pass stage by stage through the stretch of intervening space so as to note its forms, therefore it cannot report the magnitude of that space.

(6) The ear is indeed the fourth foot of Brahman. That foot shines with the quarters as its light, and warms. He who knows this, shines and warms through his celebrity, fame, and glory of countenance.

(4) Each one of the three feet, when it is placed on the ground, is as much as a flock (gird) of a thousand sheep comes under when they repose together; and each pastern is so great in its circuit that a thousand men with a thousand horses may pass inside.

(2) These twelve letters, he designed, formed, combined, weighed, and changed, and created with them the twelve divisions of the heavens (namely, the zodiacal constellations), the twelve months of the year, and the twelve important organs of the frame of man, namely the right and left hands, the right and left feet, two kidneys, the liver, the gall, the spleen, the intestines, the gullet, and the stomach.

(3) And the measure of a man is eight medium spans.

(7) Now there are some who say that three hundred cubits are the symbol of the Lord's sign; and fifty, of hope and of the remission given at Pentecost; and thirty, or as in some, twelve, they say points out the preaching [of the Gospel]; because the LOrd preached in His thirtieth year; and the apostles were twelve. And the structure's terminating in a cubit is the symbol of the advancement of the righteous to oneness and to "the unity of the faith."

(46) 3. He established twenty-two basic letters, formed by the voice and impressed upon the air by the breath. He set them to be audibly uttered in five different parts of the human mouth: namely, Gutturals, א ה ח ע; Palatals, ג י כ ק; Linguals, ד ט ל נ ת Dentals, ז ש ס ר ץ; Labials, ב ו מ ף.

(1) In respect of the Hill of Bachau upon which heaven resteth, it presenteth itself three hundred cubits in length and two hundred cubits in breadth

(76) 10. In this manner God joined the seven double letters together. Two stones build two houses, three stones build six houses, four stones build twenty-four houses, five stones build 120 houses, six stones build 720 houses, and seven stones build 5,040 houses. Make a beginning according to this arrangement and reckon further than the mouth can express or the ear can hear.

(3) The ear, verily, is an apprehender. It is seized by sound as an over-apprehender, for by the ear one hears sounds.

(5) He produced Teth, predominant in Hearing, crowned, combined, and formed Leo in the world, Ab in the year, and the left kidney in man.

(6) The Ear went off. Having remained away a year, it came back and said: l How have you been able to live without me?J They said: 'As the deaf, not hearing with the ear, but breathing with breath, speaking with speech, seeing with the eye, knowing with the mind, procreating with semen. Thus have we lived.' The ear entered in.

(67) Now what is it that makes the Hearing, that you can hear that which stirs and makes a Noise? Wilt thou say that it is caused by the Noise of that outward Thing which gives the Sound? No! there must also be somewhat that must receive the Sound, and qualify or mix with the Sound, and distinguish the Sound of what is played or sung; the outward cannot do that alone, the inward must receive and distinguish the Noise. Behold, here you find the Beginning of the Life, and the Tincture wherein the Life consists; for the Tincture of the Crack in the Springing up of the Life, in the Breaking-open of the dark Gate, stands in the Sounding, and has its Gate open (next the Fire-flash near the Eyes) and receives the Noise of whatsoever sounds.

(9) They add, then, the twelve cubits, agreeably to the revolution of the twelve months, in the annual circle, during which the earth produces and matures all things; adapting itself to the four seasons. And the table, in my opinion, exhibits the image of the earth, supported as it is on four feet, summer, autumn, spring, winter, by which the year travels. Wherefore also it is said that the table has "wavy chains;" either because the universe revolves in the circuits of the times, or perhaps it indicated the earth surrounded with ocean's tide.

(15) Presiding over the ear and the eye, the organs of touch, taste, and smell, and also over the mind, he experiences sense-objects.

(73) And the one half of her goes forth by a seventh part, and her whole circumference is empty, without light, with the exception of one-seventh part of it, (and) the fourteenth part of her light.