(4) O thou who guidest the Bark of Rā, sound is thy rigging and free from disaster as thou passest on to the Tank of Flame

(4) O Rā, in that thy name of Rā, since thou openest the secrets of the Ammehit, which gladdeneth the hearts of the Divine Circle: do thou then give me my heart. I am a powerful Chu, let thy soundness be my soundness, and the soundness of thy limbs be the soundness of my limbs

(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

(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.

(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.

(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.

(6) It is exalted, the soul of Rā in the Amenta, his body is blessed there; the powers praise him in the bounds of the Tuat, Teb Temt who rests in his covering

(22) First there is the power, and in the power is the tone or tune, which, in the spirit, riseth up into the head, into the mind, as in man in the brain; and in the mind it [the tone] has its open doors or gates; but in the heart it has its seat and its origin, where it springeth [or ariseth] from all the powers.

(3) O Rā, in that thy name of Rā, since thou passest through those who are perishing headlong: do thou then keep me standing on my feet. I am a powerful Chu, let thy soundness be my soundness

(14) Pythagoras evinced such a marked preference for stringed instruments that he even went so far as to warn his disciples against allowing their ears to be defiled by the sounds of flutes or cymbals. He further declared that the soul could be purified from its irrational influences by solemn songs sung to the accompaniment of the lyre. In his investigation of the therapeutic value of harmonics, Pythagoras discovered that the seven modes--or keys--of the Greek system of music had the power to incite or allay the various emotions. It is related that while observing the stars one night he encountered a young man befuddled with strong drink and mad with jealousy who was piling faggots about his mistress' door with the intention of burning the house. The frenzy of the youth was accentuated by a flutist a short distance away who was playing a tune in the stirring Phrygian mode. Pythagoras induced the musician to change his air to the slow, and rhythmic Spondaic mode, whereupon the intoxicated youth immediately became composed and, gathering up his bundles of wood, returned quietly to his own home.

(39) If you should in this world bring many thousand sorts of musical instruments together, and all should be tuned in the best manner, most artificially, and the most skilful masters of music should play on them in concert together, all would be no more than the holdings and barkings of dogs, in comparison with the divine music, which riseth up through the divine sound and tunes from eternity to eternity.

(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

(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.

(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.

(10) Within those radiances, the natural sound of the Truth will reverberate like a thousand thunders. The sound will come with a rolling reverberation, [amidst which] will be heard, 'Slay! Slay!' and awe- inspiring mantras. Fear not. Flee not. Be not terrified. Know them [i.e. these sounds] to be [of] the intellectual faculties of thine own [inner] light.

(410) On the other hand the philosopher will have the quality of gentleness. And this also, when too much indulged, will turn to softness, but, if educated rightly, will be gentle and moderate. True. And in our opinion the guardians ought to have both these qualities? Assuredly. And both should be in harmony? Beyond question. And the harmonious soul is both temperate and courageous? Yes. And the inharmonious is cowardly and boorish? Very true. And, when a man allows music to play upon him and to pour into his soul through the funnel of his ears those sweet and soft and melancholy airs of which we were just now speaking, and his whole life is passed in warbling and the delights of song; in the first stage of the process the passion or spirit which is in him is tempered like iron, and made useful, instead of brittle and useless. But, if he carries on the softening and soothing process, in the next stage he begins to melt and waste, until he has wasted away his spirit and cut out the sinews of his soul; and he becomes a feeble warrior. Very true. If the element of spirit is naturally weak in him the change is speedily accomplished, but if he have a good deal, then the power of music weakening the spirit renders him excitable;—on the least provocation he flames up at once, and is

(48) To be said, when Râ sets in the Land of Life; with hands bent downward

(1) IF we consider ourselves in our right Reason, and behold the Kingdom of this World, in which we stand with our Flesh and Blood, also with our Reason and Senses, then we find very well, that we have the Substance and Stirring of it in us; for we are its very proper own. Now all whatsoever we think, do, and purpose in the outward Man, that the Spirit of this World does in us Men; for the Body is nothing else but the Instrument thereof, wherewith it performs its Work; and we find, that as all other Instruments (which are generated from the Spirit of this World) decay, corrupt, and turn to Dust, so also our earthly Body, wherein the Spirit of this World works [and acts] for a While.

(5) Let Rā lend me his two hands, let not his divine Boatmen prevent me. Let my strength be that of the divine Eye, and conversely

(4) 'Now where the sight has entered into the void (the open space, the black pupil of the eye), there is the person of the eye, the eye itself is the instrument of seeing. He who knows, let me smell this, he is the Self, the nose is the instrument of smelling. He who knows, let me say this, he is the Self, the tongue is the instrument of saying. He who knows, let me hear this, he is the Self, the ear is the instrument of hearing.