(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,

(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.

(14) Music is then to be handled for the sake of the embellishment and composure of manners. For instance, at a banquet we pledge each other while the music is playing; soothing by song the eagerness of our desires, and glorifying God for the copious gift of human enjoyments, for His perpetual supply of the food necessary for the growth of the body and of the soul. But we must reject superfluous music, which enervates men's souls, and leads to variety, - now mournful, and then licentious and voluptuous, and then frenzied and frantic.

(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.

(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) 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.

(8) 'And he who desires the world of song and music, by his mere will song and music come to him, and having obtained the world of song and music, he is happy.

(3) Neither is it proper to say that the soul primarily consists of harmony and rythm. For thus enthusiasm would be adapted to the soul alone. It is better, therefore, to deny this, and to assert that the soul, before she gave herself to body, was an auditor of divine harmony; and that hence, when she proceeded into body, and heard melodies of such a kind as especially preserve the divine vestigie of harmony, she embraced these, from them recollected divine harmony, and tends and is allied to it, and as much as possible participates of it. Hence the cause of divine divination may, after this manner, be assigned in common.

(442) soothing and civilizing the wildness of passion by harmony and rhythm? Quite true, he said. And these two, thus nurtured and educated, and having learned truly to know their own functions, will rule 5 over the concupiscent, which in each of us is the largest part of the soul and by nature most insatiable of gain; over this they will keep guard, lest, waxing great and strong with the fulness of bodily pleasures, as they are termed, the concupiscent soul, no longer confined to her own sphere, should attempt to enslave and rule those who are not her natural-born subjects, and overturn the whole life of man? Very true, he said. Both together will they not be the best defenders of the whole soul and the whole body against attacks from without; the one counselling, and the other fighting under his leader, and courageously executing his commands and counsels? True. And he is to be deemed courageous whose spirit retains in pleasure and in pain the commands of reason about what he ought or ought not to fear? Right, he replied. And him we call wise who has in him that little part which rules, and which proclaims these commands; that part too being supposed to have a knowledge of what is for the interest of each of the three parts and of the whole? Assuredly. And would you not say that he is temperate who has these same elements in friendly harmony, in whom the one ruling principle of reason, and the two subject ones of spirit and

(24) By music we harmoniously relax the excessive tension of gravity. And as those who wish to address the people, do so often by the herald, that what is said may be better heard; so also in this case. For we have the word, that was spoken to many, before the common tradition. Wherefore we must set forth the opinions and utterances which cried individually to them, by which those who hear shall more readily turn.

(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.

(402) we have to educate, can ever become musical until we and they know the essential forms of temperance, courage, liberality, magnificence, and their kindred, as well as the contrary forms, in all their combinations, and can recognise them and their images wherever they are found, not slighting them either in small things or great, but believing them all to be within the sphere of one art and study. Most assuredly. And when a beautiful soul harmonizes with a beautiful form, and the two are cast in one mould, that will be the fairest of sights to him who has an eye to see it? The fairest indeed. And the fairest is also the loveliest? That may be assumed. And the man who has the spirit of harmony will be most in love with the loveliest; but he will not love him who is of an inharmonious soul? That is true, he replied, if the deficiency be in his soul; but if there be any merely bodily defect in another he will be patient of it, and will love all the same. I perceive, I said, that you have or have had experiences of this sort, and I agree. But let me ask you another question: Has excess of pleasure any affinity to temperance? How can that be? he replied; pleasure deprives a man of the use of his faculties quite as much as pain. Or any affinity to virtue in general?

(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:

(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.

(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.

(70) Thus now the Habitation of Man's Sound, wherein the Understanding is, must be from Eternity, although indeed in the Fall of Adam, Man has set himself in the Corruptibility, and in great Want of Understanding, as shall follow here. In like Manner also we find concerning the Smelling; for if the Spirit did not stand in the Sound, then no Smell of any Thing would press [or pierce] into the Essences; for the Spirit would be whole and swelled. But it standing thus in the Gate of the broken Darkness in the Crack and in the Sound, therefore all Virtues of all Things press in into that Gate, and try themselves by one another, and what the Essences of the Spirit love, that it desires, and draws the same into the Tincture; and then Hands and Mouth fall to it, and stuff it into the Stomach, into the outward Court of the four Elements, from whence the earthly Essences of the Stars and Elements feed. 7 1. And the Taste also is a Trying, and Attracting of the Tincture in the Essences of the Spirit. And so the Feeling also, if the Spirit of Man with its Essences did not stand in the Sound, there would be no Feeling; for when the sour Essences draw to them, then they awaken the bitter Prickle [or Sting] in the Fire-flash, which stirs itself, either by Griping, Thrusting, or Striking, and thereupon in all driving the bitter Prickle in the Fire-flash is awakened; and therein stands the Moving; [and] all in the Tincture.

(410) And the musician, who, keeping to the same track, is content to practise the simple gymnastic, will have nothing to do with medicine unless in some extreme case. That I quite believe. The very exercises and tolls which he undergoes are intended to stimulate the spirited element of his nature, and not to increase his strength; he will not, like common athletes, use exercise and regimen to develope his muscles. Very right, he said. Neither are the two arts of music and gymnastic really designed, as is often supposed, the one for the training of the soul, the other for the training of the body. What then is the real object of them? I believe, I said, that the teachers of both have in view chiefly the improvement of the soul. How can that be? he asked. Did you never observe, I said, the effect on the mind itself of exclusive devotion to gymnastic, or the opposite effect of an exclusive devotion to music? In what way shown? he said. The one producing a temper of hardness and ferocity, the other of softness and effeminacy, I replied. Yes, he said, I am quite aware that the mere athlete becomes too much of a savage, and that the mere musician is melted and softened beyond what is good for him. Yet surely, I said, this ferocity only comes from spirit, which, if rightly educated, would give courage, but, if too much intensified, is liable to become hard and brutal. That I quite think.

(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.

(2) "Well, then," enquired Tzŭ Yu, "since the music of earth consists of nothing more than holes, and the music of man of pipes and flutes,—of what consists the music of Heaven?" "The effect of the wind upon these various apertures," replied Tzŭ Ch'i, "is not uniform. But what is it that gives to each the individuality, to all the potentiality, of sound? "Great knowledge embraces the whole: small knowledge, a part only. Great speech is universal: small speech is particular. "For whether when the mind is locked in sleep or whether when in waking hours the body is released, we are subject to daily mental perturbations,—indecision, want of penetration, concealment, fretting fear, and trembling terror. Now like a javelin the mind flies forth, the arbiter of right and wrong. Now like a solemn covenanter it remains firm, the guardian of rights secured. Then, as under autumn and winter's blight, comes gradual decay, a passing away, like the flow of water, never to return. Finally, the block when all is choked up like an old drain,—the failing mind which shall not see light again. "Joy and anger, sorrow and happiness, caution and remorse, come upon us by turns, with ever-changing mood. They come like music from hollowness, like mushrooms from damp. Daily and nightly they alternate within us, but we cannot tell whence they spring. Can we then hope in a moment to lay our finger upon their very Cause?

(400) And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them. Just so, he said, they should follow the words. And will not the words and the character of the style depend on the temper of the soul? Yes. And everything else on the style? Yes. Then beauty of style and harmony and grace and good rhythm depend on simplicity,—I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly? Very true, he replied. And if our youth are to do their work in life, must they not make these graces and harmonies their perpetual aim? They must. And surely the art of the painter and every other creative and constructive art are full of them,—weaving, embroidery, architecture, and every kind of manufacture; also nature, animal and vegetable,—in all of them there is grace or the absence of grace. And ugliness and discord and inharmonious motion are nearly allied to ill words and ill nature, as grace and harmony are the twin sisters of goodness and virtue and bear their likeness. That is quite true, he said.