(54) This signifieth now, that the sound [voice of God] went forth from the heart of God, and encompassed the whole place or extent of this world; but when it [the place] was found to be evil, then the sound returned again into its own place.

(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.

(80) But when the mouth opened to speak, that is, when the seven spirits had incorporated or compacted the word together in their will, and sent it through the tone into the Salitter of God, then it was no otherwise than if there went a fiery thunderbolt into God's nature; or as a fierce serpent, which tyrannizeth, raveth and rageth as if it would tear and rend nature all to pieces.

(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.

(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.

(36) By that sound all powers are moved in heaven, so that all things grow joyfully, and generate very beautifully: And as the divine power is manifold and various, so also the sound or Mercurius is manifold and various.

(60) For when the lightning lightens, the thunder utters its voice, and the spirit enforces a pause during the peal, and divides equally between them; for the treasury of their peals is like the sand, and each one of them as it peals is held in with a bridle, and turned back by the power of the spirit, and pushed forward according to the many quarters of the earth. And the spirit of the sea is masculine and strong, and according to the might of his strength he draws it back with a rein, and in like manner it is driven forward and disperses amid all the mountains of the earth.

(11) The lyre, according to its primary signification, may by the psalmist be used figuratively for the Lord; according to its secondary, for those who continually strike the chords of their souls under the direction of the Choir-master, the Lord. And if the people saved be called the lyre, it will be understood to be in consequence of their giving glory musically, through the inspiration of the Word and the knowledge of God, being struck by the Word so as to produce faith. You may take music in another way, as the ecclesiastical symphony at once of the law and the prophets, and the apostles along with the Gospel, and the harmony which obtained in each prophet, in the transitions of the persons.

(25) I can liken it to nothing else but to a thunderclap, when the fierce fire first falls down, so that it dazzleth the sight; that fierce fire is like the manner of the conjunction of these two. Now observe:

(35) Who, then, is David? And who is Solomon? And what is the foundation? And what is the wall which surrounds Jerusalem? And who are the demons? And what are the waterpots? And who are the Romans? But these are mysteries ... ... (11 lines unrecoverable) ... victorious over [...] the Son of Man [...] undefiled ... ... (3 lines unrecoverable) ... and he [...] when he [...]. For [...] is a great ... ... (1 line unrecoverable) ... to this nature ... ... (1 line unrecoverable) ... those that [...] all in a [...] blessed, and they [...] like a salamander. It goes into the flaming fire which burns exceedingly; it slithers into the furnace ... ... (13 lines unrecoverable) ... the furnace ... ... (1 line unrecoverable) ... the boundaries [...], that they might see [...] and the power [...] sacrifice. Great is the sacrifice ... ... (2 lines unrecoverable) ..., but in a [...] aside [...]. And the Son of Man [...], and he has become manifest through the bubbling fountain of immortality. ... ... (1 line unrecoverable) ... he is pure, and he is [...]. A free man is not envious. He is set apart from everyone, from every audacity and envy the power of which is great [...] is (a) disciple [...] pattern of law [...] these [...] only ... ... (2 lines unrecoverable) ... they placed him under a [...] a teaching ... ... (1 line unrecoverable) ... his teaching, saying, "Even if an angel comes from heaven, and preaches to you beyond that which we preached to you, may he be anathema," (Gal 1:8) not letting the [...] of the soul which [...] freedom [...]. For they are still immature [...] they are not able to keep this law which works by means of these heresies - though it is not they, but the powers of Sabaoth - by means of the [...] the doctrines [...] as they have been jealous of some [...] law(s) in Christ. Those who will [...] power [...] they reach the [...] the twelve judge [...] them [...] the fountain of immortality ... ... (3 lines unrecoverable) ... in order that ... ... (3 lines unrecoverable) ... good [...] the whole place. [...] there the enemies. He baptized himself, and the [...] he became divine; he flew up, (and) they did not grasp him. [...] there the enemies [...], since it was not possible for them to bring him down again. If every [...] grasps him with ignorance, attending to those who teach in the corners by means of carved things and artful tricks, they are not able [...].

(2) This thunder is honey for all things, and all things are honey for this thunder. This shining, immortal Person who is in thunder, and, with reference to oneself, this shining, immortal Person who is in sound and in tone— he is just this Soul, this Immortal, this Brahma, this All.

(17) When a tone or noise soundeth in thy ears, so that thou receivest or catchest it up from the being of God, then thou infectest it, as if thou didst dart thunderclaps into it.

(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.

(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.

(7) And when upon their hinges were turned round The swivels of that consecrated gate, Which are of metal, massive and sonorous, Roared not so loud, nor so discordant seemed Tarpeia, when was ta'en from it the good Metellus, wherefore meagre it remained. At the first thunder-peal I turned attentive, And "Te Deum laudamus" seemed to hear In voices mingled with sweet melody. Exactly such an image rendered me That which I heard, as we are wont to catch, When people singing with the organ stand; For now we hear, and now hear not, the words.

(41) The prayer is answered by the mere fact that part and other part are wrought to one tone like a musical string which, plucked at one end, vibrates at the other also. Often, too, the sounding of one string awakens what might pass for a perception in another, the result of their being in harmony and tuned to one musical scale; now, if the vibration in a lyre affects another by virtue of the sympathy existing between them, then certainly in the All- even though it is constituted in contraries- there must be one melodic system; for it contains its unisons as well, and its entire content, even to those contraries, is a kinship.

Thus, too, whatever is hurtful to man- the passionate spirit, for example, drawn by the medium of the gall into the principle seated in the liver- comes with no intention of hurt; it is simply as one transferring fire to another might innocently burn him: no doubt, since he actually set the other on fire he is a cause, but only as the attacking fire itself is a cause, that is by the merely accidental fact that the person to whom the fire was being brought blundered in taking it.

(30) Then the tone riseth up; and the hard spirit beateth, striketh or thumpeth; but the sweet makes that beating or striking mild; and the bitter divideth it according to the condition or kind of every quality; the fourth causes the ringing; the fifth causes joyfulness; and the compacted incorporated sounding is the tone or tune, or the sixth spirit.

(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.

(60) Therefore also is the terror or crack now so swelling and trembling; for it moveth the whole birth, and rubbeth itself therein, till it kindleth the fire in the hard fierceness, from whence the light taketh its original. Then the trembling crack becometh enlightened with the meekness of the light, and goeth in the birth or geniture up and down, and crossways, both upwards and downwards, like a wheel made with seven wheels one in another.

(4) followed by a thundering peal, without end and without beginning, now dying, now living, now sinking, now rising, on and on without a moment's break. And so you were afraid. "When I played again, it was the harmony of the Yin and Yang, lighted by the glory of sun and moon; now broken, now prolonged, now gentle, now severe, in one unbroken, unfathomable volume of sound. Filling valley and gorge, stopping the ears and dominating the senses, adapting itself to the capacities of things,—the sound whirled around on all sides, with shrill note and clear. The spirits of darkness kept to their domain. Sun, moon, and stars, pursued their appointed course. When the melody was exhausted I stopped; if the melody did not stop, I went on. You would have sympathised, but you could not understand. You would have looked, but you could not see. You would have pursued, but you could not overtake. You stood dazed in the middle of the wilderness, leaning against a tree and crooning, your eye conscious of exhausted vision, your strength failing for the pursuit, and so unable to overtake me. Your frame was but an empty shell. You were completely at a loss, and so you were amazed. "Then I played in sounds which produce no amazement, the melodious law of spontaneity, springing forth like nature's countless buds, in manifold but formless joy, as though poured forth to the dregs, in deep but soundless bass. Beginning nowhere, the melody rested in void; some would say dead, others alive, others real, others ornamental, as it scattered itself on all sides in never to be anticipated chords.