This number [four] forms the arithmetical mean between the monad and the heptad; and this comprehends all powers, both of the productive and produced numbers; for this, of all numbers under ten, is made of a certain number; the duad doubled makes a tetrad, and the tetrad doubled [or unfolded] makes the hebdomad [the septenary]. Two multiplied into itself produces four; and retorted into itself makes the first cube. This first cube is a fertile number, the ground of multitude and variety, constituted of two and four [depending on the monad, the seventh]. Thus the two principles of temporal things, the pyramis and cube, form and matter, flow from one fountain, the tetragon [on earth, the monad, in heaven].[1420]
Here Reuchlin, the great authority on the Kabalah, shows the cube to be “matter,” whereas the pyramid or the triad is “form.” With the Hermesians the number four becomes the symbol of truth only when amplified into a cube, which, unfolded, makes seven, as symbolizing the male and female elements and the element of Life.[1421]
Some students have been puzzled to account for the vertical line,[1422] which is male, becoming, in the cross, a four-partitioned line (four being a female number), while the horizontal (the line of matter) becomes three-divisioned. But this is easy of explanation. Since the middle face of the “cube unfolded” is common to both the vertical and the horizontal bar, or double-line, it becomes neutral ground so to say, and belongs to neither. The spirit line remains triadic, and the matter line two-fold—two being an even and therefore a female number also. Moreover, according to Theon in his Mathematica, the Pythagoreans, who gave the name of Harmony to the Tetraktys, “because it is a diatessaron in sesquitertia,” were of opinion that:
The division of the canon of the monochord was made by the tetraktys in the duad, triad, and tetrad; for it comprehends a sesquitertia, a sesquialtera, a duple, a triple, and a quadruple proportion, the section of which is 27. In the ancient musical notation, the tetrachord consisted of three degrees or intervals, and fourterms of sounds called by the Greeks diatessaron, and by us a fourth.[1423]
Moreover, the quaternary though an even, therefore a female (“infernal”) number, varied according to its form. This is shown by Stanley.[1424] The four was called by the Pythagoreans the Key-Keeper of Nature; but in union with the three, which made it seven, it became the most perfect and harmonious number—nature herself. The four was “the masculine of feminine form,” when forming the cross; and seven is the “Master of the Moon,” for this Planet is forced to alter her appearance every seven days. It is on number seven that Pythagoras composed his doctrine on the Harmony and Music of the Spheres, calling a “tone” the distance of the Moon from the Earth; from the Moon to Mercury half a tone, from thence to Venus the same; from Venus to the Sun one and a half tones; from the Sun to Mars a tone; from thence to Jupiter half a tone; from Jupiter to Saturn half a tone; and thence to the Zodiac a tone; thus making seven tones—the diapason harmony.[1425] All the melody of Nature is in those seven tones, and therefore is called the “Voice of Nature.”
Plutarch explains[1426] that the most ancient Greeks regarded the Tetrad as the root and principle of all things, since it was the number of the elements which gave birth to all visible and invisible created things.[1427] [pg 636] With the brothers of the Rosy Cross, the figure of the cross, or cube unfolded, formed the subject of a disquisition in one of the Theosophic degrees of Peuvret, and was treated according to the fundamental principles of light and darkness, or good and evil.[1428]
The intelligible world proceeds out of the divine mind [or unit] after this manner. The Tetraktys, reflecting upon its own essence, the first unit, productrix of all things, and on its own beginning, saith thus: Once one, twice two, immediately ariseth a tetrad, having on its top the highest unit, and becomes a Pyramis, whose base is a plain tetrad, answerable to a superficies, upon which the radiant light of the divine unity produceth the form of incorporeal fire, by reason of the descent of Juno (matter) to inferior things. Hence ariseth essential light, not burning but illuminating. This is the creation of the middle world, which the Hebrews call the Supreme, the world of the [their] deity. It is termed Olympus, entirely light, and replete with separate forms, where is the seat of the immortal gods, deûm domus alta, whose top is unity, its wall trinity, and its superficies quaternity.[1429]
The “superficies” has thus to remain a meaningless surface, if left by itself. Unity only “illuminating” quaternity, the famous lower four has to build for itself also a wall from trinity, if it would be manifested. Moreover, the Tetragrammaton, or Microprosopus, is “Jehovah” arrogating to himself very improperly the “Was, Is, Will Be,” now translated into the “I am that I am,” and interpreted as referring to the highest abstract Deity; while Esoterically and in plain truth, it means only periodically chaotic, turbulent, and eternal Matter, with all its potentialities. For the Tetragrammaton is one with Nature, or Isis, and is the exoteric series of androgyne Gods such as Osiris-Isis, Jove-Juno, Brahmâ-Vâch, or the Kabalistic Jah-Hovah; all male-females. Every anthropomorphic God, in old nations, as Marcellus Ficin well observed, has his name written with four letters. Thus with the Egyptians, he was Teut; the Arabs, Alla; the Persians, Sire; the Magi, Orsi; the Mahometans, Abdi; the Greeks, Teos; the ancient Turks, Esar; the Latins, Deus; to which John Lorenzo Anania adds the German Gott; the Sarmatian Bouh; etc.[1430]
The Monad being one, and an odd number, the Ancients therefore said that the odd were the only perfect numbers; and—selfishly, perhaps, yet as a fact—considered them all as masculine and perfect, being applicable to the celestial Gods, while even numbers, such as two, four, six, and especially eight, as being female, were regarded as imperfect, and given only to the terrestrial and infernal Deities. Virgil records [pg 637] the fact by saying, “Numero deus impare gaudet.” “The God is pleased with an odd number.”[1431]
But number seven, or the Heptagon, the Pythagoreans considered to be a religious and perfect number. It was called Telesphoros, because by it all in the Universe and mankind is led to its end, i.e., its culmination.[1432] The doctrine of the Spheres ruled by the seven Sacred Planets[1433] shows, from Lemuria to Pythagoras, the seven Powers of terrestrial and sublunary Nature, as well as the seven great Forces of the Universe, proceeding and evolving in seven tones, which are the seven notes of the musical scale.