[24]From this passage it is evident that Iamblichus had many sources of information, which are unknown to modern critics; and this circumstance alone ought to check their pedagogical impertinence.
[25]For αυτα here I read, conformably to the version of Obrechtus, αλλα.
[26]For δηγμους here, I read οδυρμους; as I do not see what morsus has to do with this place. Obrechtus has in his version “pectorisque morsus;” but I have no doubt lamentations is the proper word, which aptly associates with despondency.
[27]“Well-instituted polities,” (says Proclus in MS. Comment. in Alcibiad. prior.) “are averse to the art of playing on wind-instruments; and therefore neither does Plato admit it. The cause of this is the variety of this instrument, the pipe, which shows that the art which uses it should be avoided. For instruments called Panarmonia, and those consisting of many strings, are imitations of pipes. For every hole of the pipe emits, as they say, three sounds at least; but if the cavity above the holes be opened, then each hole will emit more than three sounds.”
[28]Odyss. lib. 4.
[29]Iamblichus derived what he has said in this chapter about music, from Nicomachus.
[30]The first part of this sentence in the original is ξενου τινος εκβεβληκοτος εν Ασκληπιειῳ Ζωνην χρυσιον εχουσαν, and in translating it I have followed the version of Obrechtus, because it appeared to me to convey the meaning of Iamblichus, though the translation is certainly forced, and not such as the natural construction of the words will admit. The translation of Arcerius is, “Cum hospes quidam in æde Æsculapii fœminam zonam auream habentem ejecisset;” and this is perfectly conformable to the natural construction of the words, but then it is void of sense.
[31]This history is copiously narrated in [chap. 33].
[32]See [chap. 33].
[33]These lines are as the numbers 4, 3, 2. For 4 to 3 is sesquitertian, 3 to 2 is sesquialter, and 2 is an arithmetical medium between 4 and 3.