(2) Employing this method, therefore, as a basis, and as it were an infallible rule, he afterwards extended the experiment to various instruments; viz. to the pulsation of patellæ or pans, to pipes and reeds, to monochords, triangles, and the like. And in all these he found an immutable concord with the ratio of numbers. But he denominated the sound which participates of the number 6 hypate : that which participates of the number 8 and is sesquitertian, mese ; that which participates of the number 9, but is more acute by a tone than mese, he called paramese , and epogdous ; but that which participates of the dodecad, nete . Having also filled up the middle spaces with analogous sounds according to the diatonic genus, he formed an octochord from symphonious numbers, viz. from the double, the sesquialter, the sesquitertian, and from the difference of these, the epogdous.

And thus he discovered the [harmonic] progression, which tends by a certain physical necessity from the most grave [i. e. flat] to the most acute sound, according to this diatonic genus. For from the diatonic, he rendered the chromatic and enharmonic genus perspicuous, as we shall some time or other show when we treat of music. This diatonic genus, however, appears to have such physical gradations and progressions as the following; viz. a semitone, a tone, and then a tone; and this is the diatessaron, being a system consisting of two tones, and of what is called a semitone. Afterwards, another tone being assumed, viz. the one which is intermediate, the diapente is produced, which is a system consisting of three tones and a semitone.

In the next place to this is the system of a semitone, a tone, and a tone, forming another diatessaron, i. e. another sesquitertian ratio. So that in the more ancient heptachord indeed, all the sounds, from the most grave, which are with respect to each other fourths, produce every where with each other the symphony diatessaron; the semitone receiving by transition, the first, middle, and third place, according to the tetrachord. In the Pythagoric octachord, however, which by conjunction is a system of the tetrachord and pentachord, but if disjoined is a system of two tetrachords separated from each other, the progression is from the most grave sound. Hence all the sounds that are by their distance from each other fifths, produce with each other the symphony diapente; the semitone successively proceeding into four places, viz. the first, second, third, and fourth. After this manner, therefore, it is said that music was discovered by Pythagoras. And having reduced it to a system, he delivered it to his disciples as subservient to every thing that is most beautiful.

(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.

(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:

(8) Nay more, it was late before the teaching and writing of discourses reached Greece. Alcmaeon, the son of Perithus, of Crotona, first composed a treatise on nature. And it is related that Anaxagoras of Clazomenae, the son of Hegesibulus, first published a book in writing. The first to adapt music to poetical compositions was Terpander of Antissa; and he set the laws of the Lacedaemonians to music. Lasus of Hermione invented the dithyramb; Stesichorus of Himera, the hymn; Alcman the Spartan, the choral song; Anacreon of Tees, love songs; Pindar the Theban, the dance accompanied with song. Timotheus of Miletus was the first to execute those musical compositions called nomoi on the lyre, with dancing. Moreover, the iambus was invented by Archilochus of Pares, and the choliambus by Hipponax of Ephesus. Tragedy owed its origin to Thespis the Athenian, and comedy to Susarion of Icaria. Their dates are handed down by the grammarians. But it were tedious to specify them accurately: presently, however, Dionysus, on whose account the Dionysian spectacles are celebrated, will be shown to be later than Moses. They say that Antiphon of Rhamnusium, the son of Sophilus, first invented scholastic discourses and rhetorical figures, and was the first who pied causes for a fee, and wrote a forensic speech for delivery, as Diodorus says. And Apollodorus of Cuma first assumed the name of critic, and was called a grammarian. Some say it was Eratosthenes of Cyrene who was first so called, since he published two books which he entitled Grammatica. The first who was called a grammarian, as we now use the term, was Praxiphanes, the son of Disnysophenes of Mitylene. Zeleucus the Locrian was reported to have been the first to have framed laws (in writing) Others say that it was Menos the son of Zeus, in the time of Lynceus. He comes after Danaus, in the eleventh generation from Inachus and Moses; as we shall show a little further on. And Lycurgus, who lived many years after the taking of Troy, legislated for the Lacedaemonians a hundred and fifty years before the Olympiads. We have spoken before of the age of Solon. Draco (he was a legislator too) is discovered to have lived about the three hundred and ninth Olympiad. Antilochus, again, who wrote of the learned men from the age of Pythagoras to the death of Epicurus, which took place in the tenth day of the month Gamelion, makes up altogether three hundred and twelve years. Moreover, some say that Phanothea, the wife of Icarius, invented the heroic hexameter; others Themis, one of the Titanides. Didymus, however, in his work On the Pythagorean Philosophy, relates that Theano of Crotona was the first woman who cultivated philosophy and composed poems The Hellenic philosophy then, according to some, apprehended the truth accidentally, dimly, partially; as others will have it, was set a-going by the devil. Several suppose that certain powers, descending from heaven, inspired the whole of philosophy. But if the Hellenic philosophy comprehends not the whole extent of the truth, and besides is destitute of strength to perform the commandments of the Lord, yet it prepares the way for the truly royal teaching; training in some way or other, and moulding the character, and fitting him who believes in Providence for the reception of the truth.

(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."

(1) Pythagoras was likewise of opinion that music contributed greatly to health, if it was used in an appropriate manner. For he was accustomed to employ a purification of this kind, but not in a careless way. And he called the medicine which is obtained through music by the name of purification. But he employed such a melody as this about the vernal season. For he placed in the middle a certain person who played on the lyre, and seated in a circle round him those who were able to sing. And thus, when the person in the centre struck the lyre, those that surrounded him sung certain pæans, through which they were seen to be delighted, and to become elegant and orderly in their manners.

But at another time they used music in the place of medicine. And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires. He likewise used dancing; but employed the lyre as an instrument for this purpose. For he conceived that the pipe was calculated to excite insolence, was a theatrical instrument, and had by no means a liberal sound. Select verses also of Homer and Hesiod were used by him, for the purpose of correcting the soul.

Among the deeds of Pythagoras likewise, it is said, that once through the spondaic song of a piper, he extinguished the rage of a Tauromenian lad, who had been feasting by night, and intended to burn the vestibule of his mistress, in consequence of seeing her coming from the house of his rival. For the lad was inflamed and excited [to this rash attempt] by a Phrygian song; which however Pythagoras most rapidly suppressed. But Pythagoras, as he was astronomizing, happened to meet with the Phrygian piper at an unseasonable time of night, and persuaded him to change his Phrygian for a spondaic song; through which the fury of the lad being immediately repressed, he returned home in an orderly manner, though a little before this, he could not be in the least restrained, nor would in short, bear any admonition; and even stupidly insulted Pythagoras when he met him.

When a certain youth also rushed with a drawn sword on Anchitus, the host of Empedocles, because, being a judge, he had publicly condemned his father to death, and would have slain him as a homicide, Empedocles changed the intention of the youth, by singing to his lyre that verse of Homer,

(4) This therefore was the form of his wisdom which is so admirable.

It is also said, that of the sciences which the Pythagoreans honored, music, medicine and divination, were not among the least. But they were habitually silent and prompt to hear, and he who was able to hear [in a proper manner] was praised by them. Of medicine, however, they especially embraced the diætetic species, and in the exercise of this were most accurate. And in the first place, indeed, they endeavoured to learn the indications of symmetry, of labor, food, and repose. In the next place, with respect to the preparation of food, they were nearly the first who attempted to employ themselves in it, and to define the mode in which it should be performed. The Pythagoreans likewise employed cataplasms more frequently than their predecessors; but they in a less degree approved of medicated ointments. These however they principally used in the cure of ulcerations. But incisions and burnings they admitted the least of all things. Some diseases also they cured by incantations. Pythagoras, however, thought that music greatly contributed to health, if it was used in a proper manner. The Pythagoreans likewise employed select sentences of Homer and Hesiod for the amendment of souls. But they thought it was necessary to retain and preserve in the memory things which they had learnt and heard; and that it was requisite to be furnished with disciplines and auditions, to as great an extent as there was an ability of learning and remembering; the former of these being the power by which knowledge is obtained, but the latter, the power by which it is preserved. Hence, they very much honored the memory, abundantly exercised, and paid great attention to it. In learning too, they did not dismiss what they were taught, till they had firmly comprehended the first rudiments of it; and they recalled to their memory what they had daily heard, after the following manner: A Pythagorean never rose from his bed till he had first recollected the transactions of the former day; and he accomplished this by endeavouring to remember what he first said, or heard, or ordered his domestics to do when he was rising, or what was the second and third thing which he said, heard, or commanded to be done. And the same method was adopted with respect to the remainder of the day. For again, he endeavoured to recollect who was the first person that he met, on leaving his house, or who was the second; and with whom he in the first, or second, or third place discoursed. And after the same manner he proceeded in other things. For he endeavoured to resume in his memory all the events of the whole day, and in the very same order in which each of them happened to take place. But if they had sufficient leisure after rising from sleep, they tried after the same manner to recollect the events of the third preceding day. And thus they endeavoured to exercise the memory to a great extent. For there is not any thing which is of greater importance with respect to science, experience and wisdom, than the ability of remembering. From these studies therefore, it happened that all Italy was filled with philosophers, and this place, which before was unknown, was afterwards on account of Pythagoras called Magna Græcia. Hence also it contained many philosophers, poets, and legislators. For the rhetorical arts, demonstrative reasonings, and the laws written by them, were transferred from Italy to Greece. Those likewise who make mention of physics, adduce as the principal physiologists Empedocles and the Elean Parmenides. Those too, who wish to cite sentences, pertaining to the conduct of human life, adduce for this purpose the conceptions of Epicharmus. And nearly all philosophers make use of these. Thus much therefore concerning the wisdom of Pythagoras, how in a certain respect he very much impelled all his auditors to the pursuit of it, as far as they were adapted to its participation, and how perfectly it was delivered by him.

(5) Further, another nation, the Cappadocians, first invented the instrument called the nabla, and the Assyrians in the same way the dichord. The Carthaginians were the first that constructed a triterme; and it was built by Bosporus, an aboriginal. Medea, the daughter of Æetas, a Colchian, first invented the dyeing of hair. Besides, the Noropes (they are a Paeonian race, and are now called the Norici) worked copper, and were the first that purified iron. Amycus the king of the Bebryci was the first inventor of boxing-gloves. In music, Olympus the Mysian practised the Lydian harmony; and the people called Troglodytes invented the sambuca, a musical instrument. It is said that the crooked pipe was invented by Satyrus the Phrygian; likewise also diatonic harmony by Hyagnis, a Phrygian too; and notes by Olympus, a Phrygian; as also the Phrygian harmony, and the half-Phrygian and the half-Lydian, by Marsyas, who belonged to the same region as those mentioned above. And the Doric was invented by Thamyris the Thracian.

(1) Since, however, we have thus generally, and with arrangement, discussed what pertains to Pythagoras and the Pythagoreans; let us after this narrate such scattered particulars relative to this subject, as do not fall under the above-mentioned order. It is said, therefore, that each of the Greeks who joined himself to this community of the Pythagoreans, was ordered to use his native language. For they did not approve of the use of a foreign tongue. Foreigners also united themselves to the Pythagoric sect, viz. the Messenians, the Lucani, Picentini, and the Romans. And Metrodorus the son of Thyrsus who was the father of Epicharmus, and who transferred the greater part of his doctrine to medicine, says in explaining the writings of his father to his brother, that Epicharmus, and prior to him Pythagoras, conceived that the best dialect, as well as the best harmony of music, is the Doric; that the Ionic and the Æolic participate of the chromatic harmony; but that the Attic dialect is replete with this in a still greater degree. They were also of opinion, that the Doric dialect, which consists of vocal letters, is enharmonic.

(4) There was, however, a certain person named Hippomedon, an Ægean, a Pythagorean and one of the Acusmatici, who asserted that Pythagoras gave the reasons and demonstrations of all these precepts, but that in consequence of their being delivered to many, and these such as were of a more sluggish genius, the demonstrations were taken away, but the problems themselves were left. Those however of the Pythagoreans that are called Mathematici , acknowledge that these reasons and demonstrations were added by Pythagoras, and they say still more than this, and contend that their assertions are true, but affirm that the following circumstance was the cause of the dissimilitude. Pythagoras, say they, came from Ionia and Samos, during the tyranny of Polycrates, Italy being then in a florishing condition; and the first men in the city became his associates.

But, to the more elderly of these, and who were not at leisure [for philosophy], in consequence of being occupied by political affairs, the discourse of Pythagoras was not accompanied with a reasoning process, because it would have been difficult for them to apprehend his meaning through disciplines and demonstrations; and he conceived they would nevertheless be benefited by knowing what ought to be done, though they were destitute of the knowledge of the why : just as those who are under the care of physicians, obtain their health, though they do not hear the reason of every thing which is to be done to them. But with the younger part of his associates, and who were able both to act and learn,—with these he conversed through demonstration and disciplines.

These therefore are the assertions of the Mathematici, but the former, of the Acusmatici. With respect to Hippasus however especially, they assert that he was one of the Pythagoreans, but that in consequence of having divulged and described the method of forming a sphere from twelve pentagons, he perished in the sea, as an impious person, but obtained the renown of having made the discovery. In reality, however, this as well as every thing else pertaining to geometry, was the invention of that man ; for thus without mentioning his name, they denominate Pythagoras. But the Pythagoreans say, that geometry was divulged from the following circumstance: A certain Pythagorean happened to lose the wealth which he possessed; and in consequence of this misfortune, he was permitted to enrich himself from geometry.

But geometry was called by Pythagoras Historia . And thus much concerning the difference of each mode of philosophising, and the classes of the auditors of Pythagoras. For those who heard him either within or without the veil, and those who heard him accompanied with seeing, or without seeing him, and who are divided into interior and exterior auditors, were no other than these. And it is requisite to arrange under these, the political, economic and legislative Pythagoreans.

(1) Universally, however, it deserves to be known, that Pythagoras discovered many paths of erudition, and that he delivered an appropriate portion of wisdom conformable to the proper nature and power of each; of which the following is the greatest argument. When Abaris, the Scythian, came from the Hyperboreans, unskilled and uninitiated in the Grecian learning, and was then of an advanced age, Pythagoras did not introduce him to erudition through various theorems, but instead of silence, auscultation for so long a time, and other trials, he immediately considered him adapted to be an auditor of his dogmas, and instructed him in the shortest way in his treatise On Nature, and in another treatise On the Gods. For Abaris came from the Hyperboreans, being a priest of the Apollo who is there worshipped, an elderly man, and most wise in sacred concerns; but at that time he was returning from Greece to his own country, in order that he might consecrate to the God in his temple among the Hyperboreans, the gold which he had collected.

Passing therefore through Italy, and seeing Pythagoras, he especially assimilated him to the God of whom he was the priest. And believing that he was no other than the God himself, and that no man resembled him, but that he was truly Apollo, both from the venerable indications which he saw about him, and from those which the priest had known before, he gave Pythagoras a dart which he took with him when he left the temple, as a thing that would be useful to him in the difficulties that would befal him in so long a journey. For he was carried by it, in passing through inaccessible places, such as rivers, lakes, marshes, mountains, and the like, and performed through it, as it is said, lustrations, and expelled pestilence and winds from the cities that requested him to liberate them from these evils.

We are informed, therefore, that Lacedæmon, after having been purified by him, was no longer infested with pestilence, though prior to this it had frequently fallen into this evil, through the baneful nature of the place in which it was built, the mountains of Taygetus producing a suffocating heat, by being situated above the city, in the same manner as Cnossus in Crete. And many other similar particulars are related of the power of Abaris. Pythagoras, however, receiving the dart, and neither being astonished at the novelty of the thing, nor asking the reason why it was given to him, but as if he was in reality a God himself, taking Abaris aside, he showed him his golden thigh, as an indication that he was not [wholly] deceived [in the opinion he had formed of him;] and having enumerated to him the several particulars that were deposited in the temple, he gave him sufficient reason to believe that he had not badly conjectured [in assimilating him to Apollo].

Pythagoras also added, that he came [into the regions of mortality] for the purpose of remedying and benefiting the condition of mankind, and that on this account he had assumed a human form, lest men being disturbed by the novelty of his transcendency, should avoid the discipline which he possessed. He likewise exhorted Abaris to remain in that place, and to unite with him in correcting [the lives and manners] of those with whom they might meet; but to share the gold which he had collected, in common with his associates, who were led by reason to confirm by their deeds the dogma, that the possessions of friends are common . Thus, therefore, Pythagoras unfolded to Abaris, who remained with him, as we have just now said, physiology and theology in a compendious way; and instead of divination by the entrails of beasts, he delivered to him the art of prognosticating through numbers, conceiving that this was purer, more divine, and more adapted to the celestial numbers of the Gods.

He delivered also to Abaris other studies which were adapted to him. That we may return, however, to that for the sake of which the present treatise was written, Pythagoras endeavoured to correct and amend different persons, according to the nature and power of each. All such particulars therefore as these, have neither been transmitted to the knowledge of men, nor is it easy to narrate all that has been transmitted to us concerning him.

(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,