(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.

(17) The sound and the object and the thought called up by a word are confounded because they are all blurred together in the mind. By perfectly concentrated Meditation on the distinction between them, there comes an understanding of the sounds uttered by all beings.

(14) Those also who composed the Persics relate that in the uplands, in the country of the Magi, three mountains are situated on an extended plain, and that those who travel through the locality, on coming to the first mountain, hear a confused sound as of several myriads shouting, as if in battle array; and on reaching the middle one, they hear a clamour louder and more distinct; and at the end hear people singing a paean, as if victorious. And the cause, in my opinion, of the whole sound, is the smoothness and cavernous character of the localities; and the air, entering in, being sent back and going to the same point, sounds with considerable force. Let these things be so. But it is possible for God Almighty, even without a medium, to produce a voice and vision through the ear, showing that His greatness has a natural order beyond what is customary, in order to the conversion of the hitherto unbelieving soul, and the reception of the commandment given. But there being a cloud and a lofty mountain, how is it not possible to hear a different sound, the wind moving by the active cause? Wherefore also the prophet says, "Ye heard the voice of words, and saw no similitude." You see how the Lord's voice, the Word, without shape, the power of the Word, the luminous word of the Lord, the truth from heaven, from above, coming to the assembly of the Church, wrought by the luminous immediate ministry.

(67) Timaeus: and that large motion produces “loud” sound, and motion of the opposite kind “soft” sound. The subject of concords of sounds must necessarily be treated in a later part of our exposition. We have still remaining a fourth kind of sensation, which we must divide up seeing that it embraces numerous varieties, which, as a whole, we call “colors.” This consists of a flame which issues from the several bodies, and possesses particles so proportioned to the visual stream as to produce sensation; and as regards the visual stream, we have already stated merely the causes which produced it.

(10) Hardness is the fountain or wellspring of the tone, but it alone cannot generate the same, yet it is the father thereof, and the whole Salitter is the mother; otherwise, if the hardness were both father and mother of the tone, then a hard stone also must have a ringing sound. But a hard stone does make only a noise, like a knocking, as a seed or beginning of a tone, and that it is, certainly.

(47) Timaeus: the perturbable to the imperturbable; and that, through learning and sharing in calculations which are correct by their nature, by imitation of the absolutely unvarying revolutions of the God we might stabilize the variable revolutions within ourselves. Concerning sound also and hearing, once more we make the same declaration, that they were bestowed by the Gods with the same object and for the same reasons; for it was for these same purposes that speech was ordained, and it makes the greatest contribution thereto; music too, in so far as it uses audible sound,

(69) Therefore we must consider, that the Noise in the Tincture of Man is [of a] higher [Nature] than [that] in the Beasts; for Man searches and distinguishes all Things which give a Sound, and knows from whence it comes, and how it exists, which the Beasts cannot do, but stare at it, and knows not what it is; whereby it may be understood, that the Original of Man, is out of the Eternal, because he can distinguish all Things that in the Out-Birth came out of the Eternal. And hence it is, that the Body (seeing all Things out of the eternal Nothing are caused to be Something which is comprehensible [or palpable,] and yet there, that Nothing is not a mere Nothing, but is a Source) after the Corrupting shall stand in the eternal Figure, and not in the Spirit, because it is not out of the eternal Spirit; for otherwise, if it were out of the [eternal] Spirit, then it should also search out the Beginning of every Thing, as [well as] Man, who in his Sound receives and distinguishes all Things.

(1) Since, however, we are narrating the wisdom employed by Pythagoras in instructing his disciples, it will not be unappropriate to relate that which is proximate in a following order to this, viz. how he invented the harmonic science, and harmonic ratios. But for this purpose we must begin a little higher. Intently considering once, and reasoning with himself, whether it would be possible to devise a certain instrumental assistance to the hearing, which should be firm and unerring, such as the sight obtains through the compass and the rule, or, by Jupiter, through a dioptric instrument; or such as the touch obtains through the balance, or the contrivance of measures;—thus considering, as he was walking near a brazier’s shop, he heard from a certain divine casualty the hammers beating out a piece of iron on an anvil, and producing sounds that accorded with each other, one combination only excepted.

But he recognized in those sounds, the diapason, the diapente, and the diatessaron, harmony. He saw, however, that the sound which was between the diatessaron and the diapente was itself by itself dissonant, yet, nevertheless, gave completion to that which was the greater sound among them. Being delighted, therefore, to find that the thing which he was anxious to discover had succeeded to his wishes by divine assistance, he went into the brazier’s shop, and found by various experiments, that the difference of sound arose from the magnitude of the hammers, but not from the force of the strokes, nor from the figure of the hammers, nor from the transposition of the iron which was beaten. When, therefore, he had accurately examined the weights and the equal counterpoise of the hammers, he returned home, and fixed one stake diagonally to the walls, lest if there were many, a certain difference should arise from this circumstance, or in short, lest the peculiar nature of each of the stakes should cause a suspicion of mutation.

Afterwards, from this stake he suspended four chords consisting of the same materials, and of the same magnitude and thickness, and likewise equally twisted. To the extremity of each chord also he tied a weight. And when he had so contrived, that the chords were perfectly equal to each other in length, he afterwards alternately struck two chords at once, and found the before-mentioned symphonies, viz. a different symphony in a different combination. For he discovered that the chord which was stretched by the greatest weight, produced, when compared with that which was stretched by the smallest, the symphony diapason. But the former of these weights was twelve pounds, and the latter six. And, therefore, being in a duple ratio, it exhibited the consonance diapason; which the weights themselves rendered apparent.

But again, he found that the chord from which the greatest weight was suspended compared with that from which the weight next to the smallest depended, and which weight was eight pounds, produced the symphony diapente. Hence he discovered that this symphony is in a sesquialter ratio, in which ratio also the weights were to each other. And he found that the chord which was stretched by the greatest weight, produced, when compared with that which was next to it in weight, and was nine pounds, the symphony diatessaron, analogously to the weights. This ratio, therefore, he discovered to be sesquitertian; but that of the chord from which a weight of nine pounds was suspended, to the chord which had the smallest weight [or six pounds,] to be sesquialter.

For 9 is to 6 in a sesquialter ratio. In like manner, the chord next to that from which the smallest weight depended, was to that which had the smallest weight, in a sesquitertian ratio, [for it was the ratio of 8 to 6,] but to the chord which had the greatest weight, in a sesquialter ratio [for such is the ratio of 12 to 8.] Hence, that which is between the diapente and the diatessaron, and by which the diapente exceeds the diatessaron, is proved to be in an epogdoan ratio, or that of 9 to 8. But either way it may be proved that the diapason is a system consisting of the diapente in conjunction with the diatessaron, just as the duple ratio consists of the sesquialter and sesquitertian, as for instance, 12, 8, and 6; or conversely, of the diatessaron and the diapente, as in the duple ratio of the sesquitertian and sesquialter ratios, as for instance 12, 9, and 6.

After this manner, therefore, and in this order, having conformed both his hand and his hearing to the suspended weights, and having established according to them the ratio of the habitudes, he transferred by an easy artifice the common suspension of the chords from the diagonal stake to the limen of the instrument, which he called chordotonon . But he produced by the aid of pegs a tension of the chords analogous to that effected by the weights.

(67) Timaeus: and the causes whereby its affections are produced. In general, then, let us lay it down that sound is a stroke transmitted through the ears, by the action of the air upon the brain and the blood, and reaching to the soul; and that the motion caused thereby, which begins in the head and ends about the seat of the liver, is “hearing”; and that every rapid motion produces a “shrill” sound, and every slower motion a more “deep” sound; and that uniform motion produces an “even” and smooth sound and the opposite kind of motion a “harsh” sound;

(30) In constructing their temples of initiation, the early priests frequently demonstrated their superior knowledge of the principles underlying the phenomena known as vibration. A considerable part of the Mystery rituals consisted of invocations and intonements, for which purpose special sound chambers were constructed. A word whispered in one of these apartments was so intensified that the reverberations made the entire building sway and be filled with a deafening roar. The very wood and stone used in the erection of these sacred buildings eventually became so thoroughly permeated with the sound vibrations of the religious ceremonies that when struck they would reproduce the same tones thus repeatedly impressed into their substances by the rituals.

(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.

(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.

(62) Then afterwards, that the sound is in every power, and the tone or tune of the sound is according to the quality of every power; and therein consisteth the total heavenly kingdom of joy. From this divine Salitter and Mercurius all angels are made, viz. out of the body of nature. Question.

(601) Am I not right? Yes. Then let us have a clear understanding, and not be satisfied with half an explanation. Proceed. Of the painter we say that he will paint reins, and he will paint a bit? Yes. And the worker in leather and brass will make them? Certainly. But does the painter know the right form of the bit and reins? Nay, hardly even the workers in brass and leather who make them; only the horseman who knows how to use them—he knows their right form. Most true. And may we not say the same of all things? What? That there are three arts which are concerned with all things: one which uses, another which makes, a third which imitates them? Yes. And the excellence or beauty or truth of every structure, animate or inanimate, and of every action of man, is relative to the use for which nature or the artist has intended them. True. Then the user of them must have the greatest experience of them, and he must indicate to the maker the good or bad qualities which develop themselves in use; for example, the flute-player will tell the flute-maker which of his flutes is satisfactory to the performer; he will tell him how he ought to make them, and the other will attend to his instructions? Of course. The one knows and therefore speaks with authority about the goodness and badness of flutes, while the other, confiding in him, will do what he is told by him? True. The instrument is the same, but about the excellence or badness of it the maker will only attain to a correct belief; and this he will gain from him who knows, by talking to him

(80) Timaeus: and the causes of deglutition, and of projectiles, whether discharged aloft or flying over the surface of the earth; and the causes also of all the sounds which because of their quickness or slowness seem shrill or deep, and the movement of which is at one time discordant because of the irregularity of the motion they cause within us, and at another time concordant because of its regularity. For the slower sounds overtake the motions of the earlier and quicker sounds when the latter begin to stop

(41) From perfectly concentrated Meditation on the correlation of hearing and the ether, comes the power of spiritual hearing.

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