(5) But some doubt arises when we consider the phenomena of hearing.

Perhaps we are to understand the process thus: the air is modified by the first movement; layer by layer it is successively acted upon by the object causing the sound: it finally impinges in that modified form upon the sense, the entire progression being governed by the fact that all the air from starting point to hearing point is similarly affected.

Perhaps, on the other hand, the intervenient is modified only by the accident of its midway position, so that, failing any intervenient, whatsoever sound two bodies in clash might make would impinge without medium upon our sense?

Still air is necessary; there could be no sound in the absence of the air set vibrating in the first movement, however different be the case with the intervenient from that onwards to the perception point.

The air would thus appear to be the dominant in the production of sound: two bodies would clash without even an incipient sound, but that the air, struck in their rapid meeting and hurled outward, passes on the movement successively till it reaches the ears and the sense of hearing.

But if the determinant is the air, and the impression is simply of air-movements, what accounts for the differences among voices and other sounds? The sound of bronze against bronze is different from that of bronze against some other substance: and so on; the air and its vibration remain the one thing, yet the difference in sounds is much more than a matter of greater or less intensity.

If we decide that sound is caused by a percussion upon the air, then obviously nothing turning upon the distinctive nature of air is in question: it sounds at a moment in which it is simply a solid body, until it is sent pulsing outwards: thus air in itself is not essential to the production of sound; all is done by clashing solids as they meet and that percussion, reaching the sense, is the sound. This is shown also by the sounds formed within living beings not in air but by the friction of parts; for example, the grinding of teeth and the crunching of bones against each other in the bending of the body, cases in which the air does not intervene.

But all this may now be left over; we are brought to the same conclusion as in the case of sight; the phenomena of hearing arise similarly in a certain co-sensitiveness inherent in a living whole.

(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.

(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.

(30) Then the tone riseth up; and the hard spirit beateth, striketh or thumpeth; but the sweet makes that beating or striking mild; and the bitter divideth it according to the condition or kind of every quality; the fourth causes the ringing; the fifth causes joyfulness; and the compacted incorporated sounding is the tone or tune, or the sixth spirit.

(4) We have, however, still to examine what is called the affective phase of the Soul. This has, no doubt, been touched upon above where we dealt with the passions in general as grouped about the initiative phase of the Soul and the desiring faculty in its effort to shape things to its choice: but more is required; we must begin by forming a clear idea of what is meant by this affective faculty of the Soul.

In general terms it means the centre about which we recognize the affections to be grouped; and by affections we mean those states upon which follow pleasure and pain.

Now among these affections we must distinguish. Some are pivoted upon judgements; thus, a Man judging his death to be at hand may feel fear; foreseeing some fortunate turn of events, he is happy: the opinion lies in one sphere; the affection is stirred in another. Sometimes the affections take the lead and automatically bring in the notion which thus becomes present to the appropriate faculty: but as we have explained, an act of opinion does not introduce any change into the Soul or Mind: what happens is that from the notion of some impending evil is produced the quite separate thing, fear, and this fear, in turn, becomes known in that part of the Mind which is said under such circumstances to harbour fear.

But what is the action of this fear upon the Mind?

The general answer is that it sets up trouble and confusion before an evil anticipated. It should, however, be quite clear that the Soul or Mind is the seat of all imaginative representation- both the higher representation known as opinion or judgement and the lower representation which is not so much a judgement as a vague notion unattended by discrimination, something resembling the action by which, as is believed, the "Nature" of common speech produces, unconsciously, the objects of the partial sphere. It is equally certain that in all that follows upon the mental act or state, the disturbance, confined to the body, belongs to the sense-order; trembling, pallor, inability to speak, have obviously nothing to do with the spiritual portion of the being. The Soul, in fact, would have to be described as corporeal if it were the seat of such symptoms: besides, in that case the trouble would not even reach the body since the only transmitting principle, oppressed by sensation, jarred out of itself, would be inhibited.

None the less, there is an affective phase of the Soul or Mind and this is not corporeal; it can be, only, some kind of Ideal-form.

Now Matter is the one field of the desiring faculty, as of the principles of nutrition growth and engendering, which are root and spring to desire and to every other affection known to this Ideal-form. No Ideal-form can be the victim of disturbance or be in any way affected: it remains in tranquillity; only the Matter associated with it can be affected by any state or experience induced by the movement which its mere presence suffices to set up. Thus the vegetal Principle induces vegetal life but it does not, itself, pass through the processes of vegetation; it gives growth but it does not grow; in no movement which it originates is it moved with the motion it induces; it is in perfect repose, or, at least, its movement, really its act, is utterly different from what it causes elsewhere.

The nature of an Ideal-form is to be, of itself, an activity; it operates by its mere presence: it is as if Melody itself plucked the strings. The affective phase of the Soul or Mind will be the operative cause of all affection; it originates the movement either under the stimulus of some sense-presentment or independently- and it is a question to be examined whether the judgement leading to the movement operates from above or not- but the affective phase itself remains unmoved like Melody dictating music. The causes originating the movement may be likened to the musician; what is moved is like the strings of his instrument, and once more, the Melodic Principle itself is not affected, but only the strings, though, however much the musician desired it, he could not pluck the strings except under dictation from the principle of Melody.

(23) I explain: A living body is illuminated by soul: each organ and member participates in soul after some manner peculiar to itself; the organ is adapted to a certain function, and this fitness is the vehicle of the soul-faculty under which the function is performed; thus the seeing faculty acts through the eyes, the hearing faculty through the ears, the tasting faculty through the tongue, the faculty of smelling through the nostrils, and the faculty of sentient touch is present throughout, since in this particular form of perception the entire body is an instrument in the soul's service.

The vehicles of touch are mainly centred in the nerves- which moreover are vehicles of the faculty by which the movements of the living being are affected- in them the soul-faculty concerned makes itself present; the nerves start from the brain. The brain therefore has been considered as the centre and seat of the principle which determines feeling and impulse and the entire act of the organism as a living thing; where the instruments are found to be linked, there the operating faculty is assumed to be situated. But it would be wiser to say only that there is situated the first activity of the operating faculty: the power to be exercised by the operator- in keeping with the particular instrument- must be considered as concentrated at the point at which the instrument is to be first applied; or, since the soul's faculty is of universal scope the sounder statement is that the point of origin of the instrument is the point of origin of the act.

Now, the faculty presiding over sensation and impulse is vested in the sensitive and representative soul; it draws upon the Reason-Principle immediately above itself; downward, it is in contact with an inferior of its own: on this analogy the uppermost member of the living being was taken by the ancients to be obviously its seat; they lodged it in the brain, or not exactly in the brain but in that sensitive part which is the medium through which the Reason-Principle impinges upon the brain. They saw that something must be definitely allocated to body- at the point most receptive of the act of reason- while something, utterly isolated from body must be in contact with that superior thing which is a form of soul of that soul apt to the appropriation of the perceptions originating in the Reason-Principle.

Such a linking there must be, since in perception there is some element of judging, in representation something intuitional, and since impulse and appetite derive from representation and reason. The reasoning faculty, therefore, is present where these experiences occur, present not as in a place but in the fact that what is there draws upon it. As regards perception we have already explained in what sense it is local.

But every living being includes the vegetal principle, that principle of growth and nourishment which maintains the organism by means of the blood; this nourishing medium is contained in the veins; the veins and blood have their origin in the liver: from observation of these facts the power concerned was assigned a place; the phase of the soul which has to do with desire was allocated to the liver. Certainly what brings to birth and nourishes and gives growth must have the desire of these functions. Blood- subtle, light, swift, pure- is the vehicle most apt to animal spirit: the heart, then, its well-spring, the place where such blood is sifted into being, is taken as the fixed centre of the ebullition of the passionate nature.