(5) One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

(4) While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonials, also to complement their poetry and drama, it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical foundation. Although it is said that he himself was not a musician, Pythagoras is now generally credited with the discovery of the diatonic scale. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. How he actually solved the problem is unknown, but the following explanation has been invented.

(6) Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave, for doubling the weight had the same effect as halving the string. The tension of the first string being twice that of the fourth string, their ratio was said to be 2:1, or duple. By similar experimentation he ascertained that the first and third string produced the harmony of the diapente, or the interval of the fifth. The tension of the first string being half again as much as that of the third string, their ratio was said to be 3:2, or sesquialter. Likewise the second and fourth strings, having the same ratio as the first and third strings, yielded a diapente harmony. Continuing his investigation, Pythagoras discovered that the first and second strings produced the harmony of the diatessaron, or the interval of the third; and the tension of the first string being a third greater than that of the second string, their ratio was said to be 4:3, or sesquitercian. The third and fourth strings, having the same ratio as the first and second strings, produced another harmony of the diatessaron. According to Iamblichus, the second and third strings had the ratio of 8:9, or epogdoan.

(530) them are obvious enough even to wits no better than ours; and there are others, as I imagine, which may be left to wiser persons. But where are the two? There is a second, I said, which is the counterpart of the one already named. And what may that be? The second, I said, would seem relatively to the ears to be what the first is to the eyes; for I conceive that as the eyes are designed to look up at the stars, so are the ears to hear harmonious motions; and these are sister sciences—as the Pythagoreans say, and we, Glaucon, agree with them? Yes, he replied. But this, I said, is a laborious study, and therefore we had better go and learn of them; and they will tell us whether there are any other applications of these sciences. At the same time, we must not lose sight of our own higher object. What is that? There is a perfection which all knowledge ought to reach, and which our pupils ought also to attain, and not to fall short of, as I was saying that they did in astronomy. For in the science of harmony, as you probably know, the same thing happens. The teachers of harmony compare the sounds and consonances which are heard only, and their labour, like that of the astronomers, is in vain. Yes, by heaven! he said; and ’tis as good as a play to hear them talking about their condensed notes, as they call them; they put their ears close alongside of the strings like persons catching a sound from their neighbour’s wall 5 —one set of them declaring that they distinguish an intermediate note and have found the least interval which should be the unit of measurement; the others insisting that the two sounds have passed into the same—either party setting

(11) To Pythagoras music was one of the dependencies of the divine science of mathematics, and its harmonies were inflexibly controlled by mathematical proportions. The Pythagoreans averred that mathematics demonstrated the exact method by which the good established and maintained its universe. Number therefore preceded harmony, since it was the immutable law that governs all harmonic proportions. After discovering these harmonic ratios, Pythagoras gradually initiated his disciples into this, the supreme arcanum of his Mysteries. He divided the multitudinous parts of creation into a vast number of planes or spheres, to each of which he assigned a tone, a harmonic interval, a number, a name, a color, and a form. He then proceeded to prove the accuracy of his deductions by demonstrating them upon the different planes of intelligence and substance ranging from the most abstract logical premise to the most concrete geometrical solid. From the common agreement of these diversified methods of proof he established the indisputable existence of certain natural laws.

(531) their ears before their understanding. You mean, I said, those gentlemen who tease and torture the strings and rack them on the pegs of the instrument: I might carry on the metaphor and speak after their manner of the blows which the plectrum gives, and make accusations against the strings, both of backwardness and forwardness to sound; but this would be tedious, and therefore I will only say that these are not the men, and that I am referring to the Pythagoreans, of whom I was just now proposing to enquire about harmony. For they too are in error, like the astronomers; they investigate the numbers of the harmonies which are heard, but they never attain to problems—that is to say, they never reach the natural harmonies of number, or reflect why some numbers are harmonious and others not. That, he said, is a thing of more than mortal knowledge. A thing, I replied, which I would rather call useful; that is, if sought after with a view to the beautiful and good; but if pursued in any other spirit, useless. Very true, he said. Now, when all these studies reach the point of inter-communion and connection with one another, and come to be considered in their mutual affinities, then, I think, but not till then, will the pursuit of them have a value for our objects; otherwise there is no profit in them. I suspect so; but you are speaking, Socrates, of a vast work. What do you mean? I said; the prelude or what? Do you not know that all this is but the prelude to the actual strain which we have to learn? For you surely would not

(12) Having once established music as an exact science, Pythagoras applied his newly found law of harmonic intervals to all the phenomena of Nature, even going so far as to demonstrate the harmonic relationship of the planets, constellations, and elements to each other. A notable example of modern corroboration of ancient philosophical reaching is that of the progression of the elements according to harmonic ratios. While making a list of the elements in the ascending order of their atomic weights, John A. Newlands discovered at every eighth element a distinct repetition of properties. This discovery is known as the law of octaves in modern chemistry.

(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.

(8) In the Pythagorean concept of the music of the spheres, the interval between the earth and the sphere of the fixed stars was considered to be a diapason--the most perfect harmonic interval. The allowing arrangement is most generally accepted for the musical intervals of the planets between the earth and the sphere of the fixed stars: From the sphere of the earth to the sphere of the moon; one tone; from the sphere of the moon to that of Mercury, one half-tone; from Mercury to Venus, one-half; from Venus to the sun, one and one-half tones; from the sun to Mars, one tone; from Mars to Jupiter, one-half tone; from Jupiter to Saturn, one-half tone; from Saturn to the fixed stars, one-half tone. The sum of these intervals equals the six whole tones of the octave.

(13) Since they held that harmony must be determined not by the sense perceptions but by reason and mathematics, the Pythagoreans called themselves Canonics, as distinguished from musicians of the Harmonic School, who asserted taste and instinct to be the true normative principles of harmony. Recognizing, however, the profound effect: of music upon the senses and emotions, Pythagoras did not hesitate to influence the mind and body with what he termed "musical medicine."

(69) The Pythagoreans declared arithmetic to be the mother of the mathematical sciences. This is proved by the fact that geometry, music, and astronomy are dependent upon it but it is not dependent upon them. Thus, geometry may be removed but arithmetic will remain; but if arithmetic be removed, geometry is eliminated. In the same manner music depends upon arithmetic, but the elimination of music affects arithmetic only by limiting one of its expressions. The Pythagoreans also demonstrated arithmetic to be prior to astronomy, for the latter is dependent upon both geometry and music. The size, form, and motion of the celestial bodies is determined by the use of geometry; their harmony and rhythm by the use of music. If astronomy be removed, neither geometry nor music is injured; but if geometry and music be eliminated, astronomy is destroyed. The priority of both geometry and music to astronomy is therefore established. Arithmetic, however, is prior to all; it is primary and fundamental.

(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.

(36) Timaeus: After that He went on to fill up the intervals in the series of the powers of 2 and the intervals in the series of powers of 3 in the following manner : He cut off yet further portions from the original mixture, and set them in between the portions above rehearsed, so as to place two Means in each interval, —one a Mean which exceeded its Extremes and was by them exceeded by the same proportional part or fraction of each of the Extremes respectively ; the other a Mean which exceeded one Extreme by the same number or integer as it was exceeded by its other Extreme. And whereas the insertion of these links formed fresh intervals in the former intervals, that is to say, intervals of 3:2 and 4:3 and 9:8, He went on to fill up the 4:3 intervals with 9:8 intervals.

(22) In this chart is set forth a summary of Fludd's theory of universal music. The interval between the element of earth and the highest heaven is considered as a double octave, thus showing the two extremes of existence to be in disdiapason harmony. It is signifies that the highest heaven, the sun, and the earth have the same time, the difference being in pitch. The sun is the lower octave of the highest heaven and the earth the lower octave of the sun. The lower octave (Γ to G) comprises that part of the universe in which substance predominate over energy. Its harmonies, therefore, are more gross than those of the higher octave (G to g) wherein energy predominates over substance. "If struck in the more spiritual part," writes Fludd, "the monochord will give eternal life; if in the more material part, transitory life." It will be noted that certain elements, planets, and celestial spheres sustain a harmonic ratio to each other, Fludd advanced this as a key to the sympathies and antipathies existing between the various departments of Nature.

(21) The claim of Motion to be established as a genus will depend upon three conditions: first, that it cannot rightly be referred to any other genus; second, that nothing higher than itself can be predicated of it in respect of its essence; third, that by assuming differences it will produce species. These conditions satisfied, we may consider the nature of the genus to which we shall refer it.

Clearly it cannot be identified with either the Substance or the Quality of the things which possess it. It cannot, further, be consigned to Action, for Passivity also comprises a variety of motions; nor again to Passivity itself, because many motions are actions: on the contrary, actions and passions are to be referred to Motion.

Furthermore, it cannot lay claim to the category of Relation on the mere ground that it has an attributive and not a self-centred existence: on this ground, Quality too would find itself in that same category; for Quality is an attribute and contained in an external: and the same is true of Quantity.

If we are agreed that Quality and Quantity, though attributive, are real entities, and on the basis of this reality distinguishable as Quality and Quantity respectively: then, on the same principle, since Motion, though an attribute has a reality prior to its attribution, it is incumbent upon us to discover the intrinsic nature of this reality. We must never be content to regard as a relative something which exists prior to its attribution, but only that which is engendered by Relation and has no existence apart from the relation to which it owes its name: the double, strictly so called, takes birth and actuality in juxtaposition with a yard's length, and by this very process of being juxtaposed with a correlative acquires the name and exhibits the fact of being double.

What, then, is that entity, called Motion, which, though attributive, has an independent reality, which makes its attribution possible- the entity corresponding to Quality, Quantity and Substance?

But first, perhaps, we should make sure that there is nothing prior to Motion and predicated of it as its genus.

Change may be suggested as a prior. But, in the first place, either it is identical with Motion, or else, if change be claimed as a genus, it will stand distinct from the genera so far considered: secondly, Motion will evidently take rank as a species and have some other species opposed to it- becoming, say- which will be regarded as a change but not as a motion.

What, then, is the ground for denying that becoming is a motion? The fact, perhaps, that what comes to be does not yet exist, whereas Motion has no dealings with the non-existent. But, on that ground, becoming will not be a change either. If however it be alleged that becoming is merely a type of alteration or growth since it takes place when things alter and grow, the antecedents of becoming are being confused with becoming itself. Yet becoming, entailing as it does these antecedents, must necessarily be a distinct species; for the event and process of becoming cannot be identified with merely passive alteration, like turning hot or white: it is possible for the antecedents to take place without becoming as such being accomplished, except in so far as the actual alteration has "come to be"; where, however, an animal or a vegetal life is concerned, becoming takes place only upon its acquisition of a Form.

The contrary might be maintained: that change is more plausibly ranked as a species than is Motion, because change signifies merely the substitution of one thing for another, whereas Motion involves also the removal of a thing from the place to which it belongs, as is shown by locomotion. Even rejecting this distinction, we must accept as types of Motion knowledge and musical performance- in short, changes of condition: thus, alteration will come to be regarded as a species of Motion- namely, motion displacing.

(71) Magnitude is divided into two parts--magnitude which is stationary and magnitude which is movable, the stationary pare having priority. Multitude is also divided into two parts, for it is related both to itself and to other things, the first relationship having priority. Pythagoras assigned the science of arithmetic to multitude related to itself, and the art of music to multitude related to other things. Geometry likewise was assigned to stationary magnitude, and spherics (used partly in the sense of astronomy) to movable magnitude. Both multitude and magnitude were circumscribed by the circumference of mind. The atomic theory has proved size to be the result of number, for a mass is made up of minute units though mistaken by the uninformed for a single simple substance.

(399) under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave. And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking. Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale? I suppose not. Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments? Certainly not. But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute? Clearly not. There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country. That is surely the conclusion to be drawn from the argument. The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said. Not at all, he replied. And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious. And we have done wisely, he replied. Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of

(24) Now in definitions, difference is assumed, which, in the definition, occupies the place of sign. The faculty of laughing, accordingly, being added to the definition of man, makes the whole - a rational, mortal, terrestrial, walking, laughing animal. For the things added by way of difference to the definition are the signs of the properties of things; but do not show the nature of the things themselves. Now they say that the difference is the assigning of what is peculiar; and as that which has the difference differs from all the rest, that which belongs to it alone, and is predicated conversely of the thing, must in definitions be assumed by the first genus as principal and fundamental.

(69) In this diagram Fludd has divided each of the four Primary elements into three subdivisions. The first division of each element is the grossest, partaking somewhat of the substance directly inferior to itself (except in the case of the earth, which has no state inferior to itself). The second division consists of the element in its relatively pure state, while the third division is that condition wherein the element partakes somewhat of the substance immediately superior to itself. For example the lowest division of the element of water is sedimentary, as it contains earth substance in solution; the second division represents water in its most common state--salty--as in the case of the ocean; and the third division is water in its purest state--free from salt. The harmonic interval assigned to the lowest division of each element is one tone, to the central division also a tone, but to the higher division a half-tone because it partakes of the division immediately above it. Fludd emphasizes the fact that as the elements ascend in series of two and a half tones, the diatessaron is the dominating harmonic interval of the elements.

(8) D. (12) Soul belongs, then, to another Nature: What is this? Is it something which, while distinct from body, still belongs to it, for example a harmony or accord?

The Pythagorean school holds this view thinking that the soul is, with some difference, comparable to the accord in the strings of a lyre. When the lyre is strung a certain condition is produced upon the strings, and this is known as accord: in the same way our body is formed of distinct constituents brought together, and the blend produces at once life and that soul which is the condition existing upon the bodily total.

That this opinion is untenable has already been shown at length. The soul is a prior , the accord is a secondary to the lyre. Soul rules, guides and often combats the body; as an accord of body it could not do these things. Soul is a real being, accord is not. That due blending of the corporeal materials which constitute our frame would be simply health. Each separate part of the body, entering as a distinct entity into the total, would require a distinct soul , so that there would be many souls to each person. Weightiest of all; before this soul there would have to be another soul to bring about the accord as, in the case of the musical instrument, there is the musician who produces the accord upon the strings by his own possession of the principle on which he tunes them: neither musical strings nor human bodies could put themselves in tune.

Briefly, the soulless is treated as ensouled, the unordered becomes orderly by accident, and instead of order being due to soul, soul itself owes its substantial existence to order- which is self-caused. Neither in the sphere of the partial, nor in that of Wholes could this be true. The soul, therefore, is not a harmony or accord.