(8) Namely, when we thus perceive by touch the warmth here in the body . And of it we have this audible proof: Namely, when we thus, after stopping our ears, listen to what is like the rolling of a carriage, or the bellowing of an ox, or the sound of a burning fire (within the ears). Let a man meditate on this as the (Brahman) which is seen and heard. He, who knows this, becomes conspicuous and celebrated, yea, he becomes celebrated.

(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.

(5) But some doubt arises when we consider the phenomena of hearing.

Perhaps we are to understand the process thus: the air is modified by the first movement; layer by layer it is successively acted upon by the object causing the sound: it finally impinges in that modified form upon the sense, the entire progression being governed by the fact that all the air from starting point to hearing point is similarly affected.

Perhaps, on the other hand, the intervenient is modified only by the accident of its midway position, so that, failing any intervenient, whatsoever sound two bodies in clash might make would impinge without medium upon our sense?

Still air is necessary; there could be no sound in the absence of the air set vibrating in the first movement, however different be the case with the intervenient from that onwards to the perception point.

The air would thus appear to be the dominant in the production of sound: two bodies would clash without even an incipient sound, but that the air, struck in their rapid meeting and hurled outward, passes on the movement successively till it reaches the ears and the sense of hearing.

But if the determinant is the air, and the impression is simply of air-movements, what accounts for the differences among voices and other sounds? The sound of bronze against bronze is different from that of bronze against some other substance: and so on; the air and its vibration remain the one thing, yet the difference in sounds is much more than a matter of greater or less intensity.

If we decide that sound is caused by a percussion upon the air, then obviously nothing turning upon the distinctive nature of air is in question: it sounds at a moment in which it is simply a solid body, until it is sent pulsing outwards: thus air in itself is not essential to the production of sound; all is done by clashing solids as they meet and that percussion, reaching the sense, is the sound. This is shown also by the sounds formed within living beings not in air but by the friction of parts; for example, the grinding of teeth and the crunching of bones against each other in the bending of the body, cases in which the air does not intervene.

But all this may now be left over; we are brought to the same conclusion as in the case of sight; the phenomena of hearing arise similarly in a certain co-sensitiveness inherent in a living whole.

(17) The sound and the object and the thought called up by a word are confounded because they are all blurred together in the mind. By perfectly concentrated Meditation on the distinction between them, there comes an understanding of the sounds uttered by all beings.

(17) when a Tone or Noise sounds 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 Thunder-Claps into it.

(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.

(113) It is with Mercurius in this Manner or Form also; thou must not think that there is any hard beating, striking, toning, or founding, or whistling and tuning, in the Deity, as when one takes a great Trumpet, and blows in it, and makes it to sound.

(42) When the consciousness, poised in perceiving, blends together the name, the object dwelt on and the idea, this is perception with exterior consideration.

(13) 'By the words "He is," is he to be apprehended, and by (admitting) the reality of both (the invisible Brahman and the visible world, as coming from Brahman). When he has been apprehended by the words "He is," then his reality reveals itself'

(2) "Well, then," enquired Tzŭ Yu, "since the music of earth consists of nothing more than holes, and the music of man of pipes and flutes,—of what consists the music of Heaven?" "The effect of the wind upon these various apertures," replied Tzŭ Ch'i, "is not uniform. But what is it that gives to each the individuality, to all the potentiality, of sound? "Great knowledge embraces the whole: small knowledge, a part only. Great speech is universal: small speech is particular. "For whether when the mind is locked in sleep or whether when in waking hours the body is released, we are subject to daily mental perturbations,—indecision, want of penetration, concealment, fretting fear, and trembling terror. Now like a javelin the mind flies forth, the arbiter of right and wrong. Now like a solemn covenanter it remains firm, the guardian of rights secured. Then, as under autumn and winter's blight, comes gradual decay, a passing away, like the flow of water, never to return. Finally, the block when all is choked up like an old drain,—the failing mind which shall not see light again. "Joy and anger, sorrow and happiness, caution and remorse, come upon us by turns, with ever-changing mood. They come like music from hollowness, like mushrooms from damp. Daily and nightly they alternate within us, but we cannot tell whence they spring. Can we then hope in a moment to lay our finger upon their very Cause?

(25) A writer has said: "Science offers the illustration of a rapidly moving wheel, top, or cylinder, to show the effects of increasing rates of vibration. The illustration supposes a wheel, top, or revolving cylinder, running at a high rate of speed—we will call this revolving thing 'the object' in following out the illustration. Let us suppose the object to be moving slowly. It may be seen readily, but no sound of its movement reaches the ear. Then the speed is gradually increased. In a few moments the movement becomes so rapid that a deep growl or low note may be heard. Then as the rate of motion is increased the note rises higher in the musical scale. Then, the motion being still further increased, the next highest note is distinguished. Then, one after another, all the notes of the musical scale appear, rising higher and higher as the motion is increased.

(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.

(5) Then they meditated on the udgîtha (Om) as the ear, but the Asuras pierced it with evil. Therefore we hear both what should be heard and what should not be heard. For the car is pierced by evil.

(17) An object is perceived, or not perceived, according as the mind is, or is not, tinged with the colour of the object.

(167) Thou wilt not comprehend it, as when under-standing some common thing.

(67) Timaeus: and the causes whereby its affections are produced. In general, then, let us lay it down that sound is a stroke transmitted through the ears, by the action of the air upon the brain and the blood, and reaching to the soul; and that the motion caused thereby, which begins in the head and ends about the seat of the liver, is “hearing”; and that every rapid motion produces a “shrill” sound, and every slower motion a more “deep” sound; and that uniform motion produces an “even” and smooth sound and the opposite kind of motion a “harsh” sound;

(63) When it goes from the Hardness and Heat, then the Hardness makes a knocking Sound in the Flash, and the Heat rings forth, and the Light in the Flash makes the Ringing shrill, and the Water mitigates it, and then in the Astringency and Hardness it is caught and dried up, so that it is a corporeal Spirit in all the Qualities.

(145) For when the Flash rises up in the Center, one sees through and through, but cannot well apprehend or lay hold on it; for it happens to such a one as when there is a Tempest of Lightning, where the Flash of Fire opens itself, and suddenly vanishes. [See v. 79.]

(93) When it sees any Thing, then it gives a Name to it, according to its Qualification or Condition; and if it be to do, then it must also form or frame, or put itself into such a Form, and generate itself also with its Tone, Sound, or Articulation, just so as the Thing which it will give a Name to, generates or composes itself. And herein lies the Kernel of the whole Understanding of the Deity.

(2) But if perception does not go by impression, what is the process?

The mind affirms something not contained within it: this is precisely the characteristic of a power- not to accept impression but, within its allotted sphere, to act.

Besides, the very condition of the mind being able to exercise discrimination upon what it is to see and hear is not, of course, that these objects be equally impressions made upon it; on the contrary, there must be no impressions, nothing to which the mind is passive; there can be only acts of that in which the objects become known.

Our tendency is to think of any of the faculties as unable to know its appropriate object by its own uncompelled act; to us it seems to submit to its environment rather than simply to perceive it, though in reality it is the master, not the victim.

As with sight, so with hearing. It is the air which takes the impression, a kind of articulated stroke which may be compared to letters traced upon it by the object causing the sound; but it belongs to the faculty, and the soul-essence, to read the imprints thus appearing before it, as they reach the point at which they become matter of its knowledge.

In taste and smell also we distinguish between the impressions received and the sensations and judgements; these last are mental acts, and belong to an order apart from the experiences upon which they are exercised.

The knowing of the things belonging to the Intellectual is not in any such degree attended by impact or impression: they come forward, on the contrary, as from within, unlike the sense-objects known as from without: they have more emphatically the character of acts; they are acts in the stricter sense, for their origin is in the soul, and every concept of this Intellectual order is the soul about its Act.

Whether, in this self-vision, the soul is a duality and views itself as from the outside- while seeing the Intellectual-Principal as a unity, and itself with the Intellectual-Principle as a unity- this question is investigated elsewhere.