Part 19

“so that the chord HD, may be three-fourths of the whole CD. The tactus, therefore, being placed in H, let AB and HD be struck at one and the same time, and a consonance will be heard, indeed, yet more imperfect than the preceding two. This was called by the ancients diatessaron, i. e. through four chords or sounds, for a similar reason to that by which the former were denominated. With reference, however, to the ratio of the chords and sounds, it is called sesquitertian, because the greater AB contains the less once, and a third part of it besides. But it is now commonly called a fourth, because it is found between the first sound _ut_, and the fourth _fa_. If now the point F be added in the preceding figure, and at one and the same time two chords HD and FD are compared in arithmetical ratios, we shall find that the greater HD will have to the less FD a sesquioctave[105] ratio, and the sound of the greater HD to the less FD will have the same ratio, i. e. in modern terms, that between _fa_ and _sol_ there is a sesquioctave ratio. But if these two sounds are heard together, they will be discordant to the ear. Again, the distance between these sounds _fa_, _sol_, or between the chords HD and FD, or between the two harmonic intervals HD and FD, the ratio of which was sesquioctave, was called by the ancients a tone. Afterwards they divided the whole of CD into nine equal parts, the first of which is divided in K, so that the whole CD may have to the remainder KD, which contains eight of those parts, a sesquioctave ratio. This, in like manner, will be the interval of a tone, the first sound of which, i. e, of the whole CD, is now called _ut_, but the second sound of the rest of the chord KD is called _re_. Afterwards they in a similar manner divided the remainder KD into nine parts, the first part of which is marked in the point L. And for the same reason between the chord KD and the chord KD, and their sounds, there will be a sesquioctave ratio. The sound of the chord LD is now called _mi_; but the interval which remains between the chord LD and the chord HD has not a sesquioctave ratio, but less than it almost by half, and therefore an interval of this kind was called a semitone, and also diesis or a division. But that interval which remains between the points F and E they divided after the same manner, as the space between C and H was divided, and they again found the same sounds. Let those divisions be marked by the points M and N; and here, also, between N and E, or between _mi_ and _fa_, there is in like manner another semitone. These eight sounds, therefore, are _ut_, _re_, _mi_, _fa_, _sol_, _re_, _mi_, _fa_, which compose the whole diapason. For as we have before observed, between _ut_ and the last _fa_ is the consonance diapason, or between the chord CD or AB, and the chord ED. But from the intervals which are between the sounds there are two semitones, viz. one between _mi_ and _fa_, denoted by the letters L, N, and the other between the last _mi_ and _fa_, denoted by the letters N, E. The remaining five intervals are entire tones. It must, also, be observed, that from _ut_ to the first _sol_ is the consonance diapente, which contains three tonic intervals, and one semitone; nevertheless in all there are five sounds, _ut_, _re_, _mi_, _fa_, _sol_.

“Again, from _sol_ to the last _fa_ there are four sounds, _sol_, _re_, _mi_, _fa_, which are perfectly similar to the first four, _ut_, _re_, _mi_, _fa_. Nevertheless these are more grave, but those are more acute. And as from _ut_ to the first _fa_ is the diatessaron, so likewise from _sol_ to the last _fa_ is another diatessaron, from which, in the last place, it must be observed, it follows that the two consonances diatessaron and diapente constitute the whole diapason; or that the diapason is divided into one diatessaron, and one diapente. For from _ut_ to _sol_ is the diapente, but from _sol_ to the last _fa_ is the diatessaron. This will also be the case if we should say that from _ut_ to the first _fa_ is the diatessaron, as is evident from the division of the chord; but from the first _fa_ to the last _fa_ is the diapente, as is evident from the four intervals of the chord, three of which are tones, and the remaining interval is a semitone, which also in the other diapente were contained between _ut_ and _sol_.

“Now again, let the tactus be placed in I; but I is the fourth part of the whole CD. Let, also, AB and ID be struck at one and the same time, and the sweetest consonance, called bisdiapason, will be produced; which is so denominated, because it is composed from two diapasons, of which the first is between AB or CD, and ED, but the second is between ED and ID; for the ratio of these is double as well as of those. The ratio, also, of the bisdiapason is quadruple, as is evident from the division; and is commonly called a fifteenth, because from the first _ut_ to this sound, which is also denominated _fa_, there would be fifteen sounds, if the interval EI were divided after the same manner as the first CE is divided.

“Farther still, let GD be a third part of the whole CD, and let the tactus be placed in G. Then at one and the same time let AB and GD be struck, and a sweet consonance will be heard, which is called diapasondiapente, because it is composed from one diapason contained by the interval CE, or the two chords CD, ED, and one diapente, contained by the interval EG, or the chords ED, GD. For the chord ED is sesquialter to the chord GD; which ratio constitutes the nature of the diapente. The proportion, also, of this consonance is triple. For the chord AB or CD is triple of GD; and it is commonly called the twelfth, because between _ut_ and _sol_, denoted by the letter G, there would be twelve sounds, if the interval EG received its divisions. From all which it is manifest by the experience of the ear, that there are altogether five consonances, three simple, the diapason, the diapente, and the diatessaron; but two composite, the bisdiapason, and the diapasondiapente.”

In the last place, it is necessary to observe that those ancient Greeks differently denominated these sounds, _ut_, _re_, &c. For the first, i. e. the gravest sound or chord, which is now called _ut_, they, denominated hypate, and the others in the following order:

Ut, Hypate, i. e. Principalis. Re, Parhypate, — Postprincipalis. Mi, Lychanos, — Index. Fa, Mese, — Media. Sol, Paramese, — Postmedia. Re, Trite, — Tertia. Mi, Paranete, — Antepenultima. Fa, Nete, — Ultima, vel suprema.

P. 109. _I swear by him who the tetractys found._

The tetrad was called by the Pythagoreans every number, because it comprehends in itself all the numbers as far as to the decad, and the decad itself; for the sum of 1, 2, 3, and 4, is 10. Hence both the decad and the tetrad were said by them to be every number; the decad indeed in energy, but the tetrad in capacity. The sum likewise of these four numbers was said by them to constitute the tetractys, in which all harmonic ratios are included. For 4 to 1, which is a quadruple ratio, forms the symphony bisdiapason; the ratio of 3 to 2, which is sesquialter, forms the symphony diapente; 4 to 3, which is sesquitertian, the symphony diatessaron; and 2 to 1, which is a duple ratio, forms the diapason.

In consequence, however, of the great veneration paid to the tetractys by the Pythagoreans, it will be proper to give it a more ample discussion, and for this purpose to show from Theo of Smyrna,[106] how many tetractys there are: “The tetractys,” says he, “was not only principally honored by the Pythagoreans, because all symphonies are found to exist within it, but also because it appears to contain the nature of all things.” Hence the following was their oath: “Not by him who delivered to our soul the tetractys, which contains the fountain and root of everlasting nature.” But by him who delivered the tetractys they mean Pythagoras; for the doctrine concerning it appears to have been his invention. The above-mentioned tetractys, therefore, is seen in the composition of the first numbers 1. 2. 3. 4. But the second tetractys arises from the increase by multiplication of even and odd numbers beginning from the monad.

Of these, the monad is assumed as the first, because, as we have before observed, it is the principle of all even, odd, and evenly-odd numbers, and the nature of it is simple. But the three successive numbers receive their composition according to the even and the odd; because every number is not alone even, nor alone odd. Hence the even and the odd receive two tetractys, according to multiplication; the even indeed, in a duple ratio; for 2 is the first of even numbers, and increases from the monad by duplication. But the odd number is increased in a triple ratio; for 3 is the first of odd numbers, and is itself increased from the monad by triplication. Hence the monad is common to both these, being itself even and odd. The second number, however, in even and double numbers is 2; but in odd and triple numbers 3. The third among even numbers is 4; but among odd numbers is 9. And the fourth among even numbers is 8; but among odd numbers is 27.

{ 1. 2. 4. 8. } { 1. 3. 9. 27. }

In these numbers the more perfect ratios of symphonies are found; and in these also a tone is comprehended. The monad, however, contains the productive principle of a point. But the second numbers 2 and 3 contain the principle of a side, since they are incomposite, and first, are measured by the monad, and naturally measure a right line. The third terms are 4 and 9, which are in power a square superficies, since they are equally equal. And the fourth terms 8 and 27 being equally equally equal, are in power a cube. Hence from these numbers, and this tetractys, the increase takes place from a point to a solid. For a side follows after a point, a superficies after a side, and a solid after a superficies. In these numbers also, Plato in the Timæus constitutes the soul. But the last of these seven numbers, i. e. 27, is equal to all the numbers that precede it; for 1 + 2 + 3 + 4 + 8 + 9 = 27. There are, therefore, two tetractys of numbers, one of which subsists by addition, but the other by multiplication, and they comprehend musical, geometrical, and arithmetical ratios, from which also the harmony of the universe consists.

But the third tetractys is that which according to the same analogy or proportion comprehends the nature of all magnitude. For what the monad was in the former tetractys, that a point is in this. What the numbers 2 and 3, which are in power a side, were in the former tetractys, that the extended species of a line, the circular and the right, are in this; the right line indeed subsisting in conformity to the even number, since it is terminated[107] by two points; but the circular in conformity to the odd number, because it is comprehended by one line which has no end. But what in the former tetractys the square numbers 4 and 9 were, that the two-fold species of planes, the rectilinear and the circular, are in this. And what the cube numbers 8 and 27 were in the former, the one being an even, but the other an odd number, that the two solids, one of which has a hollow superficies, as the sphere and the cylinder, but the other a plane superficies, as the cube and pyramid, are in this tetractys. Hence, this is the third tetractys, which gives completion to every magnitude, from a point, a line, a superficies, and a solid.

The fourth tetractys is of the simple bodies fire, air, water, and earth, which have an analogy according to numbers. For what the monad was in the first tetractys, that fire is in this. But the duad is air, the triad is water, and the tetrad is earth. For such is the nature of the elements according to tenuity and density of parts. Hence fire has to air the ratio of 1 to 2; but to water, the ratio of 1 to 3; and to earth, the ratio of 1 to 4. In other respects also they are analogous to each other.

The fifth tetractys is of the figures of the simple bodies. For the pyramid, indeed, is the figure of fire; the octaedron, of air; the icosaedron, of water; and the cube, of earth.

The sixth tetractys is of things rising into existence through the vegetative life. And the seed, indeed, is analogous to the monad and a point. But if it increases in length it is analogous to the duad and a line; if in breadth, to the triad and a superficies; but if in thickness, to the tetrad and a solid.

The seventh tetractys is of communities; of which the principle indeed, and as it were monad, is man; the duad is a house; the triad a street; and the tetrad a city. For a nation consists of these. And these indeed are the material and sensible tetractys.

The eighth tetractys consists of the powers which form a judgment of things material and sensible, and which are of a certain intelligible nature. And these are, intellect, science, opinion, and sense. And intellect, indeed, corresponds in its essence to the monad; but science to the duad; for science is the science of a certain thing. Opinion subsists between science and ignorance; but sense is as the tetrad. For the touch which is common to all the senses being fourfold, all the senses energize according to contact.

The ninth tetractys is that from which the animal is composed, the soul and the body. For the parts of the soul, indeed, are the rational, the irascible, and the epithymetic, or that which desires external good; and the fourth is the body in which the soul subsists.

The tenth tetractys is of the seasons of the year, through which all things rise into existence, viz. the spring, the summer, the autumn, and the winter.

And the eleventh is of the ages of man, viz. of the infant, the lad, the man, and the old man.

Hence there are eleven tetractys. The first is that which subsists according to the composition of numbers. The second, according to the multiplication of numbers. The third subsists according to magnitude. The fourth is of the simple bodies. The fifth is of figures. The sixth is of things rising into existence through the vegetative life. The seventh is of communities. The eighth is the judicial power. The ninth is of the parts of the animal. The tenth is of the seasons of the year. And the eleventh is of the ages of man. All of them however are proportional to each other. For what the monad is in the first and second tetractys, that a point is in the third; fire in the fourth; a pyramid in the fifth; seed in the sixth; man in the seventh; intellect in the eighth; and so of the rest. Thus, for instance, the first tetractys is 1. 2. 3. 4. The second is the monad, a side, a square, and a cube. The third is a point, a line, a superficies, and a solid. The fourth is fire, air, water, earth. The fifth the pyramid, the octaedron, the icosaedron, and the cube. The sixth, seed, length, breadth and depth. The seventh, man, a house, a street, a city. The eighth, intellect, science, opinion, sense. The ninth, the rational, the irascible, and the epithymetic parts, and the body. The tenth, the spring, summer, autumn, winter. The eleventh, the infant, the lad, the man, and the old man.

The world also, which is composed from these tetractys, is perfect, being elegantly arranged in geometrical, harmonical, and arithmetical proportion; comprehending every power, all the nature of number, every magnitude, and every simple and composite body. But it is perfect, because all things are the parts of it, but it is not itself the part of any thing. Hence, the Pythagoreans are said to have first used the before-mentioned oath, and also the assertion that “all things are assimilated to number.”

P. 111. _This number is the first that partakes of every number, and when divided in every possible way, receives the power of the numbers subtracted, and of those that remain._

Because 6 consists of 1, 2 and 3, the two first of which are the principles of all number, and also because 2 and 3 are the first even and odd, which are the sources of all the species of numbers; the number 6 may be said to partake of every number. In what Iamblichus afterwards adds, I suppose he alludes to 6 being a perfect number and therefore equal to all its parts.

P. 134. _Not to step above the beam of the balance._

This is the 14th Symbol in the Protreptics of Iamblichus, whose explanation of it is as follows: “This symbol exhorts us to the exercise of justice, to the honoring equality and moderation in an admirable degree, and to the knowledge of justice as the most perfect virtue, to which the other virtues give completion, and without which none of the rest are of any advantage. It also admonishes us, that it is proper to know this virtue not in a careless manner, but through theorems and scientific demonstrations. But this knowledge is the business of no other art and science than the Pythagoric philosophy alone, which in a transcendent degree honors disciplines before every thing else.”

The following extract also from my Theoretic Arithmetic, (p. 194.), will in a still greater degree elucidate this symbol. The information contained in it is derived from the anonymous author of a very valuable work entitled Θεολογουμενα Αριθμητικης _Theologumena Arithmeticæ_, and which has lately been reprinted at Leipsic, “The Pythagoreans called the pentad providence and justice, because it equalizes things unequal, justice being a medium between excess and defect, just as 5 is the middle of all the numbers that are equally distant from it on both sides as far as to the decad, some of which it surpasses, and by others is surpassed, as may be seen in the following arrangement:

1. 4. 7. 2. 5. 8. 3. 6. 9.

“For here, as in the middle of the beam of a balance, 5 does not depart from the line of the equilibrium, while one scale is raised, and the other is depressed.

“In the following arrangement also, viz. 1, 2, 3, 4, 5, 6, 7, 8, 9, it will be found that the sum of the numbers which are posterior, is triple the sum of those that are prior to 5; for 6 + 7 + 8 + 9 = 30; but 1 + 2 + 3 + 4 = 10. If therefore the numbers on each side of 5 represent the beam of a balance, 5 being the tongue of it, when a weight depresses the beam, an obtuse angle is produced by the depressed part with the tongue, and an acute angle by the elevated part of the beam. Hence it is worse to do than to suffer an injury: and the authors of the injury verge downward as it were to the infernal regions; but the injured tend upward as it were to the Gods, imploring the divine assistance. Hence the meaning of the Pythagoric symbol is obvious, “Pass not above the beam of the balance.” Since however injustice pertains to inequality, in order to correct this, equalization is requisite, that the beam of the balance may remain on both sides without obliquity. But equalization is effected by addition and subtraction. Thus if 4 is added to 5, and 4 is also taken from 5, the number 9 will be produced on one side, and 1 on the other, each of which is equally distant from 5. Thus too, if 3 is added to 5, and is also subtracted from it, on the one side 8 will be produced, and on the other 2. If 2 is added to 5, and likewise taken from it, 7 and 3 will be produced. And by adding 1 to 5, and subtracting 3 from it, 6 and 4 will be the result; in all which instances, the numbers produced are equidistant from 5, and the sum of each couple is equal to 10.”

P. 161. _Such as dig not fire with a sword._

This is the 9th Symbol in the Protreptics, and is thus explained by Iamblichus. “This symbol exhorts to prudence. For it excites in us an appropriate conception with respect to the propriety of not opposing sharp words to a man full of fire and wrath, nor contending with him. For frequently by words you will agitate and disturb an ignorant man, and will yourself suffer things dreadful and unpleasant.” Heraclitus also testifies to the truth of this symbol. For he says, “It is difficult to fight with anger: for whatever is necessary to be done redeems the soul.” And this he says truly. For many, by gratifying anger, have changed the condition of their soul, and have made death preferable to life. But by governing the tongue, and being quiet, friendship is produced from strife, the fire of anger being extinguished; and you yourself will not appear to be destitute of intellect.”

P. 200. _But this follows from the whole being naturally prior to the part, and not the part to the whole._

For whole co-subverts, but is not co-subverted by part: since if whole is taken away, part also is taken away; but the contrary does not follow.

P. 231. _Such therefore as hope the intellective and gnostic part of virtue, are denominated skilful and intelligent; but such as have the ethical and pre-elective part of it, are denominated useful and equitable._