Since, however, nutriment greatly contributes to the best discipline, when it is properly used, and in an orderly manner, let us consider what Pythagoras also instituted as a law about this. Universally, therefore, he rejected all such food as is flatulent, and the cause of perturbation, but he approved of the nutriment contrary to this, and ordered it to be used, viz. such food as composes and compresses the habit of the body. Hence, likewise, he thought that millet was a plant adapted to nutrition. But he altogether rejected such food as is foreign to the Gods; because it withdraws us from familiarity with the Gods. Again, according to another mode also, he ordered his disciples to abstain from such food as is reckoned sacred, as being worthy of honor, and not to be appropriated to common and human utility. He likewise exhorted them to abstain from such things as are an impediment to prophesy, or to the purity and chastity of the soul, or to the habit of temperance, or of virtue. And lastly, he rejected all such things as are adverse to sanctity, and which obscure and disturb the other purities of the soul, and the phantasms which occur in sleep. These things therefore he instituted as laws in common about nutriment.
Separately, however, he forbade the most contemplative of philosophers, and who have arrived at the summit of philosophic attainments, the use of superfluous and unjust food, and ordered them never to eat any thing animated, nor in short, to drink wine, nor to sacrifice animals to the Gods, nor by any means to injure animals, but to preserve most solicitously justice towards them. And he himself lived after this manner, abstaining from animal food, and adoring altars undefiled with blood. He was likewise careful in preventing others from destroying animals that are of a kindred nature with us, and rather corrected and instructed savage animals through words and deeds, than injured them through punishment. And farther still, he also injoined those politicians that were legislators to abstain from animals. For as they wished to act in the highest degree justly, it is certainly necessary that they should not injure any kindred animal. Since, how could they persuade others to act justly, if they themselves were detected in indulging an insatiable avidity by partaking of animals that are allied to us? For through the communion of life and the same elements, and the mixture subsisting from these, they are as it were conjoined to us by a fraternal alliance. He permitted, however, others whose life was not entirely purified, sacred and philosophic, to eat of certain animals; and for these he appointed a definite time of abstinence. [These therefore, he ordered not to eat the heart], [nor the brain]; and from the eating of these he entirely prohibited all the Pythagoreans. For these parts are of a ruling nature, and are as it were certain ladders and seats of wisdom and life. But other[25] things were considered by him as sacred on account of the nature of a divine reason. Thus he exhorted his disciples [to abstain from mallows], because this plant is the first messenger and signal of the sympathy of celestial with terrestrial natures. [Thus, too, he ordered them to abstain from the fish melanurus]; for it is sacred to the terrestrial Gods. [And also not to receive the fish erythinus], through other such like causes. [He likewise exhorted them to abstain from beans], on account of many sacred and physical causes, and also such causes as pertain to the soul. And he established as laws other precepts similar to these, beginning through nutriment to lead men to virtue.
CHAP. XXV.
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,[26] 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.[27] 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,
Nepenthe, without gall, o’er every ill
Oblivion spreads;——[28]
and thus snatched his host Anchitus from death, and the youth from the crime of homicide. It is also related that the youth from that time became the most celebrated of the disciples of Pythagoras. Farther still, the whole Pythagoric school produced by certain appropriate songs, what they called exartysis or adaptation, synarmoge or elegance of manners, and epaphe or contact, usefully conducting the dispositions of the soul to passions contrary to those which it before possessed. For when they went to bed they purified the reasoning power from the perturbations and noises to which it had been exposed during the day, by certain odes and peculiar songs, and by this means procured for themselves tranquil sleep, and few and good dreams. But when they rose from bed, they again liberated themselves from the torpor and heaviness of sleep, by songs of another kind. Sometimes, also, by musical sounds alone, unaccompanied with words, they healed the passions of the soul and certain diseases, enchanting, as they say, in reality. And it is probable that from hence this name epode, i. e. enchantment, came to be generally used. After this manner, therefore, Pythagoras through music produced the most beneficial correction of human manners and lives.
CHAP. XXVI.
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.
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.[29]