Chap. xxv. Of Sound, and Harmony, and whence their wonderfulness

In operation.

Moreover we shall not dent, that there is in Sounds a vertue to receive the heavenly gifts; if with Pythagoras

and Plato we thought the heavens to consist by an Harmonial composition, and to rule and cause all things

by Harmonial tones and motions: Singing can do more then the sound of an Instrument, in as much as it

arising by an Harmonial consent, from the conceit of the minde, and imperious affection of the phantasie

[phantasy] and heart, easily penetrateth by motion, with the refracted and well tempered Air, the aerious

spirit of the hearer, which is the bond of soul and body; and transferring the affection and minde of the

Singer with it, It moveth the affection of the hearer by his affection, and the hearers phantasie by his

phantasie, and minde by his minde, and striketh the minde, and striketh the heart, and pierceth even to the

inwards of the soul, and by little and little, infuseth even dispositions: moreover it moveth and stoppeth the

members and the humors of the body. From hence in moving the affections harmony conferreth so much,

that not onely natural, but also artificial and vocal Harmony doth yield a certain power both to the souls and

bodies: but it is necessary that all Consorts proceed from fit foundations, both in stringed instruments, in

pipes, and vocall singings, if you would have them agree well together: for no man can make the roaring of

Lions, the lowing of Oxen, the neighing of Horses, the braying of Asses, the grunting of Hogs to be

harmonious: neither can the strings made of Sheeps and Wolves gut, be brought to any agreement, because

their foundations are dissonant; but the many and divers voyces [voices] of men agree together, because

they have one foundation in the species or kinde: so many birds agree, because they have one nigh genus or

kinde, and a resemblance from above; also artificiall instruments agree with natural voyces, because the

similitude that is betwixt them, is either true and manifest, or hath a certain analogy. But every harmony is

either of sounds or voyces. Sound is a breath, voyce is a sound and animate breath; Speech is a breath

pronounced with sound, and a voyce signifying something: the spirit of which proceedeth out of the mouth

with sound and voyce; Chaludius [Chalcidius] saith that a voyce is sent forth out of the inward cavity of the

breast and heart, by the assistance of the spirit. By which, together with the tongue, forming, and striking the

narrow passages of the mouth, and by the other vocall organs, are delivered forth articulate sounds; the

elements of speech, by which Interpreter the secret motions of the minde are laid open: but Lactantius saith,

that the nature of the voyce is very obscure, and cannot be comprehended how it is made, or what it is. To

conclude, All Musick consisteth in voice, in sound, and hearing: sound without Air cannot be Audible,

which though it be necessary for hearing, yet, as Aire, it is not of it self audible, nor to be perceived by any

sense, unless by accident; for the Sight seeth it not, unless it be coloured, nor the Ears unless sounding, nor

the Smell unless odoriferous, nor the Taste unless it be sapid [savory], nor the Touch unless it be cold or

hot, and so forth: Therefore though sound cannot be made without Air, yet is not sound of the nature of Air,

not air of the nature of sound, but air is the body of the life of our sensitive spirit, and is not of the nature of

any sensible object, but of a more simple and higher vertue, but it is meet that the sensitive soul should

vivifie the air joyned to it; and in the vivificated air, which is joyned to the spirit, perceive the species of

objects put forth into act, and this is done in the living air, but in a subtile and Diaphanous the visible

species, in an ordinary air the audible, in a more gross air the species of other senses are perceived.

Heinrich Cornelius Agrippa: Occult Philosophy. Book II. (Part 3)

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