(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.

(17) Let every nature of the World receive the utterance of my hymn! Open thou Earth! Let every bolt of the Abyss be drawn for me. Stir not, ye Trees! I am about to hymn creation's Lord, both All and One. Ye Heavens open and ye Winds stay still; [and] let God's deathless Sphere receive my word (logos)! For I will sing the praise of Him who founded all; who fixed the Earth, and hung up Heaven, and gave command that Ocean should afford sweet water [to the Earth], to both those parts that are inhabited and those that are not, for the support and use of every man; who made the Fire to shine for gods and men for every act. Let us together all give praise to Him, sublime above the Heavens, of every nature Lord! 'Tis He who is the Eye of Mind; may He accept the praise of these my Powers!

(3) These things, then, must be sung absolutely, respecting the Cause surpassing all, and we must add that It surpasses Holiness, and Lordship, and Kingdom, and most simplex Deity. For, from It, individually and collectively, were born and distributed every untarnished distinctness of every spotless purity, the whole arrangement and regulation of things existing, whilst It excludes want of harmony and want of equality, and want of symmetry, and rejoices over the well-ordered identity and rectitude, and leads round things, deemed worthy to participate in Itself. From It is all the perfect and complete possession of all. good things, every good forethought, watching and sustaining the objects of Its forethought, imparting Itself, as befits Its goodness, for deification of those who are turned to It.

(47) Timaeus: was bestowed for the sake of harmony. And harmony, which has motions akin to the revolutions of the Soul within us, was given by the Muses to him who makes intelligent use of the Muses, not as an aid to irrational pleasure, as is now supposed, but as an auxiliary to the inner revolution of the Soul, when it has lost its harmony, to assist in restoring it to order and concord with itself. And because of the unmodulated condition,

(110) "O warlike Trojans," says the lyric poet, - "High ruling Zeus, who beholds all things, Is not the cause of great woes to mortals; But it is in the power of all men to find Justice, holy, pure, Companion of order, And of wise Themis The sons of the blessed are ye In finding her as your associate."

(25) For no one of the gods in heaven shall come down to the earth, o'er-stepping heaven's limit; whereas man doth mount up to heaven and measure it; he knows what things of it are high, what things are low, and learns precisely all things else besides. And greater thing than all; without e'en quitting earth, he doth ascend above. So vast a sweep doth he possess of ecstasy. For this cause can a man dare say that man on earth is god subject to death, while god in heaven is man from death immune. Wherefore the dispensation of all things is brought about by means of there, the twain - Cosmos and Man - but by the One.

(28) The Pythagoreans believed that everything which existed had a voice and that all creatures were eternally singing the praise of the Creator. Man fails to hear these divine melodies because his soul is enmeshed in the illusion of material existence. When he liberates himself from the bondage of the lower world with its sense limitations, the music of the spheres will again be audible as it was in the Golden Age. Harmony recognizes harmony, and when the human soul regains its true estate it will not only hear the celestial choir but also join with it in an everlasting anthem of praise to that Eternal Good controlling the infinite number of parts and conditions of Being.

(23) Him ever first, Him last too, they adore: Hail Father, marvel great - great boon to men." And before him, Homer, framing the world in accordance with Moses on the Vulcan-wrought shield, says: "On it he fashioned earth, and sky, and sea, And all the signs with which the heaven is crowned." For the Zeus celebrated in poems and prose compositions leads the mind up to God. And already, so to speak, Democritus writes, "that a few men are in the light, who stretch out their hands to that place which we Greeks now call the air. Zeus speaks all, and he hears all, and distributes and takes away, and he is king of all." And more mystically the Boeotian Pindar, being a Pythagorean, says: "One is the race of gods and men, And of one mother both have breath;" that is, of matter: and names the one creator of these things, whom he calls Father, chief artificer, who furnishes the means of advancement on to divinity, according to merit.

(34) This is heavenly music, for here every one singeth according to the voice of his quality, and the prince leadeth the choir or chorus, as a chanter or singing-master with his scholars; and the king rejoiceth and jubilateth with his angels, to the honour of the great God, and to the increasing and multiplying of the heavenly joys, and that is in the heart of God as a holy sport or scene; and to that end also are they created for the joy and honour of God.

(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:

The FUMIGATION from MANNA. BLEST Pæan, come, propitious to my pray'r, Illustrious pow'r, whom Memphian tribes revere, Slayer of Tityus, and the God of health, Lycorian Phœbus, fruitful source of wealth . Spermatic, golden-lyr'd, the field from thee Receives it's constant, rich fertility. Titanic, Grunian, Smynthian, thee I sing, 7 Python-destroying, hallow'd, Delphian king: Rural, light-bearer, and the Muse's head, Noble and lovely, arm'd with arrows dread: Far-darting, Bacchian, two-fold, and divine, 11 Pow'r far diffused, and course oblique is thine. O, Delian king, whose light-producing eye Views all within, and all beneath the sky: Whose locks are gold, whose oracles are sure, Who, omens good reveal'st, and precepts pure: Hear me entreating for the human kind, Hear, and be present with benignant mind; For thou survey'st this boundless æther all, And ev'ry part of this terrestrial ball Abundant, blessed; and thy piercing sight, Extends beneath the gloomy, silent night; Beyond the darkness, starry-ey'd, profound, The stable roots, deep fix'd by thee are found. The world's wide bounds, all-flourishing are thine, Thyself all the source and end divine: 'Tis thine all Nature's music to inspire, With various-sounding, harmonising lyre; Now the last string thou tun'ft to sweet accord, 29 Divinely warbling now the highest chord; Th' immortal golden lyre, now touch'd by thee, Responsive yields a Dorian melody. All Nature's tribes to thee their diff'rence owe, And changing seasons from thy music flow Hence, mix'd by thee in equal parts, advance Summer and Winter in alternate dance; This claims the highest, that the lowest string, The Dorian measure tunes the lovely spring . Hence by mankind, Pan-royal, two-horn'd nam'd, 39 Emitting whistling winds thro' Syrinx fam'd; Since to thy care, the figur'd seal's consign'd, 41 Which stamps the world with forms of ev'ry kind. Hear me, blest pow'r, and in these rites rejoice, And save thy mystics with a suppliant voice.

(2) But the right performance of actions which are effected in a divine manner, is entirely to be ascribed to some one of the more excellent natures. For since it is not possible to speak rightly about the Gods without the Gods, much less can any one perform works which are of an equal dignity with divinity, and obtain the foreknowledge of every thing without [the inspiring influence of] the Gods. For the human race is imbecile, and of small estimation, sees but a little, and possesses a connascent nothingness; and the only remedy of its inherent error, perturbation, and unstable mutation, is its participation, as much as possible, of a certain portion of divine light. But he who excludes this, does the same thing as those who attempt to produce soul from things inanimate, or to generate intellect from things unintelligent. For without the cooperation of a cause, he constitutes divine works from things which are not divine.

(95) And Sophocles the tragedian says: "Not even the gods have all things as they choose, Excepting Zeus; for he beginning is and end." And Orpheus: - "One Might, the great, the flaming heaven, was One Deity. All things one Being were; in whom All these revolve fire, water, and the earth." And so forth. Pindar, the lyric poet, as if in Bacchic frenzy, plainly says: "What is God?

(22) Again, power in all things is by the most intellectual among the Greeks ascribed to God; Epicharmus - he was a Pythagorean - saying: "Nothing escapes the divine. This it behoves thee to know. He is our observer. To God nought is impossible." And the lyric poet: "And God from gloomy night Can raise unstained light, And can in darksome gloom obscure The day's refulgence pure." He alone who is able to make night during the period of day is God. In the Phoenomena Aratus writes thus: "With Zeus let us begin; whom let us ne'er, Being men, leave unexpressed. All full of Zeus, The streets, and throngs of men, and full the sea, And shores, and everywhere we Zeus enjoy." He adds: "For we also are His offspring;.... " that is, by creation. "Who, bland to men, Propitious signs displays, and to their tasks Arouses. For these signs in heaven He fixed, The constellations spread, and crowned the year With stars; to show to men the seasons' tasks, That all things may proceed in order sure.

(38) Orpheus has long been sung as the patron of music. On his seven-stringed lyre he played such perfect harmonies that the gods themselves were moved to acclaim his power. When he touched the strings of his instrument the birds and beasts gathered about him, and as he wandered through the forests his enchanting melodies caused even the ancient trees with mighty effort to draw their gnarled roots from out the earth and follow him. Orpheus is one of the many Immortals who have sacrificed themselves that mankind might have the wisdom of the gods. By the symbolism of his music he communicated the divine secrets to humanity, and several authors have declared that the gods, though loving him, feared that he would overthrow their kingdom and therefore reluctantly encompassed his destruction.

(14) So he who hath the whole authority o'er [all] the mortals in the cosmos and o'er its lives irrational, bent his face downwards through the Harmony, breaking right through its strength, and showed to downward Nature God's fair form. And when she saw that Form of beauty which can never satiate, and him who [now] possessed within himself each single energy of [all seven] Rulers as well as God's own Form, she smiled with love; for 'twas as though she'd seen the image of Man's fairest form upon her Water, his shadow on her Earth. He in turn beholding the form like to himself, existing in her, in her Water, loved it and willed to live in it; and with the will came act, and [so] he vivified the form devoid of reason. And Nature took the object of her love and wound herself completely around him, and they were intermingled, for they were lovers.

The FUMIGATION from FRANKINCENSE. Daughters of Jove, dire-sounding and divine, 1 Renown'd Pierian, sweetly speaking Nine; To those whose breasts your sacred furies fire Much-form'd, the objects of supreme desire: Sources of blameless virtue to mankind, Who form to excellence the youthful mind; Who nurse the soul, and give her to descry The paths of right with Reason's steady eye. Commanding queens who lead to sacred light The intellect refin'd from Error's night; And to mankind each holy rite disclose, For mystic knowledge from your nature flows. Clio, and Erato, who charms the sight, With thee Euterpe minist'ring delight: Thalia flourishing, Polymina fam'd, Melpomene from skill in music nam'd: Terpischore, Urania heav'nly bright, With thee * who gav'st me to behold the light. Come, venerable, various, pow'rs divine, With fav'ring aspect on your mystics shine; Bring glorious, ardent, lovely, fam'd desire, And warm my bosom with your sacred fire.

(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.

(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.

(10) Further, as an example of music, let us adduce David, playing at once and prophesying, melodiously praising God. Now the Enarmonic s suits best the Dorian harmony, and the Diatonic the Phrygian, as Aristoxenus says. The harmony, therefore, of the Barbarian psaltery, which exhibited gravity of strain, being the most ancient, most certainly became a model for Terpander, for the Dorian harmony, who sings the praise of Zeus thus: "O Zeus, of all things the Beginning, Rule, of, all; O Zeus, I send thee this beginning of hymns."