Human Industry, Chapter 8
CAP. VIII.
foreign: OR, Of the Art of Musick, with sundry Instruments thereunto belonging.
THere is Musick in heaven and Musick on the way thither, in the sphears, as the Pythagoreans affirm: and therefore the soul of man being descended from heaven, & passing through those harmonious sphears, doth naturally delight in Harmony: Anima in corpus defert memoriam Musicae, cujus in coelo conscia fuit, saith Macrob. l. 2. in somn. Scipionis. Nay, God made the body of man (wherein this musical soul is to sojourn) a kinde of a living Organ or Musical instrument: Life is an harmonious Lesson (as one saith) which the soul playes upon the Organs of the body. There is but one pipe to this Organ (to wit) the Weasand; the Lungs are the bellows to make winde, and to inspire this pipe; yet with this one pipe (being variously stopt) we can express a thousand sorts of notes and tunes, and make most ravishing musick; for there is no Harmony that is so delightfull and pleasing to man as vocal, or the musick of man's voice.
In imitation of this musical pipe in the throat of man, men devised to make musick with a Syringe or Reed; which being bored with holes, and stopt with the fingers, and inspired with mans breath, was made to yield various and delightfull sounds. This was Pastoral Musick or Shepherds Delight, and was the invention of Pan the God of Shepherds, and of the Arcadian plains, in those golden dayes.
Pan primus calamos cerâ conjungere plures
Instituit.—Virg. Ecl. 2.
Whence the Poets have feigned Pan to be in love wit a Syrinx, Ovid. l. 1. Metam.a Nymph of that name, but (in the moral) in love with that Pastoral musick of the Reed then in use. Lucretius doth ascribe the first hint of this Pastoral musick to the whistling of the winds among the reeds, in his 5th book.
Et Zephyri cava per calamorum sibila primùm
Agrestes docuere cavas inflare cicutas,
Inde minutatim dulces didicere querelas,
Tibia quas fundit digitis pulsata Canentûm.
Avia per nemora ad sylvas saltus que reperta,
Per loca Pastorum deserta, atque otia Dia.
By murmuring of winde-shaken reeds, rude Swaines
Learnt first of all to blow on hollow Canes,
Then pipes of pieces framed, whence Musick sprung
Played on by quavering fingers as they sung,
Devis'd in shades and plains, where shepherds graze
Their bleating Flocks with leasure-crowned layes.
In imitation of the Reed, some have made tunefull pipes of the shank-bone of a Crane, which is called Tibia; from whence the pipe is also called Tibia, or a Flute, and he that playes thereon Tibicen, a Flutinist. This was called Manulos (as Pliny testifieth) that is, single or simple Musick, and therefore probably the first; for men naturally do light upon single or simple notions, before mixt or compound, and begin with plain things before they proceed to finer curiosities; as plain songs were before descants and chromati… moods.
There were Musical Instruments in the world before Pans time. Jubal the son of Lamech was pater omnium tractantium citharam & organon, as the holy Spirit speaks, Gen. 4. 21. pater, that is, in Hebrew sense, the Author and Inventor of the Harp and Organ, but what kinde of Instruments these were, Moses doth not inform us.
The Aegyptian Mercury was the first Inventor of the Lyre or Harp. Horace calls him curvae lyrae parentem. The Invention was casual, thus: Finding a Tortoise-shell near the Nile-side, to the which some nerves or strings did hang, reaching from the one end to the other; these strings having been dryed by the sun and well stretched, and being accidentally touched with the fingers, gave a shrill sound or twang from the hollow of the shell; which gave him (being sagacious) a hint of framing the Lyre, or (as others say) the Lute. As du-Bartas (for one) who speaking of this Mercury and the Tortoise-shell, sings thus, in his Handicrafts.
And by this mould frames the melodious Lute,
That makes woods hearken and the stones be mute;
The hills to dance, the heavens go retrograde,
Lions be tame, and tempests quickly vade.
Indeed, the Lute doth much resemble the Tortoise-shell, and from that resemblance it it called Tostudo. So in Propert. lib. 2.
Tale facis carmen doctâ testudine, quale
Cynthius impositis temperat Articulis.
What some have invented, others have perfected: Terpander made a Lyre or Harp of seven strings which before had but three, answerable to these three principal notes of Treble, Mean, and Base,
Obloquitur numeris septem discrimina vocum.
Simonides added an eighth string, and Timotheus a ninth, and holy David makes mention of a Decachord or ten-stringed Instrument.
Many Instruments have been invented by K. David for to be used in Gods service. But all sorts of these vafa Cantici, (as Amos calls them, Am. 6. 5.) of these musical Utensils, are divided into foreign & foreign I may express them in English either Mouth-Instruments or hand-Instruments, sounded either with the breath of the mouth or the touch of the hand: Of the first sort, are all Flutes, Pipes, Trumpets, Cornets, Sacbuts, &c. Of the other sort, are the Lute, Harp, Organ, Psaltery, Virginal, &c. All Instruments of Musick were by the Latines called Organa, Organs. But that which is more especially called by that name, makes a grave solemn Musick like the sober Doric, and hath been very anciently used (with Psalmodies) in Divine Service; the Inventor whereof was King David, as some affirm. Since his time, men have proceeded to marvellous Curiosities both in Musick and Musical Instruments. Not many years since, there was a pair of Organs made in Italy that would sound either Drum or Trumpet, or a full quire of men, as the Organist pleased; so that men would think they heard boyes and men distinctly sing their parts in Consort, as Leander Alberti (an eye and ear-witness thereof) relates, in his description of Italy.
A Neapolitan Artizan made a pair of Organs all of Alabaster stone, pipes, keyes and jacks, with a loud lusty sound, which he aftrrward bestowed upon the Duke of Mantua, and which Leander Alberti saw in the said Dukes Court, as he relates in his description of Thuscany.
The same Leander saw a pair of Organs at Venice made all of Glass, that made a delectable sound. This is mentioned also by Mr Morison in his Travels. Pope Sylvester the Second made in his younger years a pair of Organs that should play without an Organist;Genebr. Chron. ad Ann. 997. he used onelyonly warm water to give them motion and sound. Such Hydraulics are frequent in Italy, that are moved with cold water as well as hot.
Gaudentius Merula in his 5th book de mirabilibus mundi makes mention of an Organ in the Church of St Ambrose in Millain, whereof the pipes were some of wood, some of brass, and some of white Lead; which being played upon did express the sound of Cornets, Flutes, Drums and Trumpets with admirable variety and concord.
Many persons can sing very well naturally, but this natural Musick may be improved by Art, when they are taught to sing by Rules and Notes, and to govern their voices by acquired habits; and so there is an Art of Musick, as there is artificial Logick besides the natural: but because these natural Singers are but few and scarce,
Apparent rari nantes in gurgite vasto;
therefore to supply this defect, some have musical Instruments for harmless pleasure and delight, to appease the cares of life, and for many other laudable and honest uses, which I shall more largely handle in the ensuing Appendix of the Power and efficacy of Musick.
The Power and Efficacy of Musick.
THe Poets may be thought too lavish, and to strein themselves beyond Ela in praising the efficacy and force of Musick, when they extend it to things even without life and sense: when they sing of Orpheus, that trees and rocks and things without sense were sensible of his powerfull Layes; that windes were silent and waters stopt their courses to listen to his ravishing Numbers. Horace is much upon this string in several of his Odes; and Claudian sings the same note in the beginning of his second book de Raptu Proserpinae.
Vix auditus erat, venti sternuntur & undae,
Pigrior astrictisTorpuit Hebrus aquis.
Ardua nudato descendit populus Aemo,
Et comitem Quercum Pinus amica trahit.
Englished.
No sooner heard, but Winds and Waves were laid;
And headlong Hebrus (as if frozen) stayd:
The lofty Poplars left high Aemus bare,
The Pine came with the Oak to hear his ayr.
So he speaks of that rare Musician Orpheus. Virgil saith the like of Silenus, when he sung
Tum vero in numerum Faunos que feras que videres
Ludere; Tum rigidas motare cacumena Quercus.
Mr Randolph's Muse is in the same key in cōmendation of Musick, who because he hath expressed the power of Musick to the height of Fancy, I thought good to insert his Rapture in this place.
Musick, thou Queen of Souls! get up and string
Thy powerful Lute, and some sad Requiem sing;
Till Rocks requite thy Eccho with a groan,
And the dull Cliffs repeat the duller tone.
Then on a sudden with a gentle hand,
Run gently o're the Chords, and so command
The Pine to dance, the Oak his roots forgo,
The Holme, and aged Elme to foot it too,
Myrtles shall caper, lofty Cedars run
And call the Courtly Palm to make up one;
Then in the midd'st of all this jolly train,
Strike a sad Note, and fix them Trees again.
That Musick hath any such power over things inanimate I shall suspend my faith; but that it hath a great impression upon all things endued with sence, I shall evince by good proofs.
This Regina sensuum, as Cassiodor calls it, Queen Regent of our senses, and soveraign Mistris of our affections.
Of all the creatures that God made, there is none that makes Musick or Harmony but Man and Birds; but as among men all do not sing tuneably to delight the ear if they would never so fain: So among Birds, all are not fit for the Quire or Cage; There are but few sorts among the infinite variety of them, that are Musical. Nevertheless though all men cannot make Musick; yet all are delighted with it; so for birds and beasts, though all do not sing, yet are all affected with melody and singing.
But to come from the Thesis to the Hypothesis, I will descend to some particular instances, to shew the regency and power of Musick over insensible creatures.
| Over the | Rational | Creatures |
| Irrational |
The Roman Orator in his Oration pro Archia Poeta tells us, that Bestiae …nnanes cantu flectuntur, & consistunt, that savage and innane beasts are so taken with Musick, that they will turn back and stand still to listen thereto. Henry Stephens that learned man of Paris testifieth,Praefat. ad Herod. that he saw a Lyon in the City of London, qui Musicen audiendi gratiâ epulas suas desereret; that would forsake his meat to hear Musick. Mulcentur Cervi fistulâ Pastorali & Cantu, says Pliny, Deer are much taken with the Musick of the Pipe; Elephants with singing, and the sound of Tabrets, as Strabo; and among all beasts there is none but the Asse that is not delighted with harmony,Aelian. …ist. Animal. l. 10. as the Pythagoreans affirm, Birds also and Fowl are generally affected with sweet sounds and harmony;
Non solum calamis,Martial. sed cantu fallitur ales.
And
Fistula dulce canit volucrem dum decipit Auceps,
says the grave Cato. I heard from Falconers that singing did much conduce to the cicurating of Hawks: Nay Musick commands in all the Elements, and rules not only in the Ayr, but also in the Water among the Mutes; as that famous story of Arion and the Dolphin does testifie: That story is recorded by Herodotus, and Aul. Gellius, and many other grave Historians, and it was briefly thus, Arion being at Sea, and sailing towards his own Country of Lesbos, some of his companions that were with him on shipboard knowing that he had money about him, conspired to rob him, and then to throw him into the Sea; Arion being made acquainted with their purpose, and having his Harp with him, desired so much respite that he might give them a lesson for a farewel, and then let them do their pleasure; when he had ended his lesson, and (like the Swan) has sung his own Dirge and last Notes (as he thought) in this world, he was thrown over-board; but it hapned that some Dolphins having gathered together about the Ship to hear his ravishing notes, one of them (in requital of his Musick) took Arion on his back, and wa…ted him safe to his own shore, and there laid down his load. In memory whereof the picture of the Dolphin was set up near that shore with a Greek Distich, which Volaterran translated into Latine thus,
Cernis Amatorem qui vexit Ariona Delphin:
A Siculo subitas pondera grata mari.
The story is touched by Ovid in his third book de Arte Amandi;
Quamvis mutus erat, voci favisse putatur
Piscis, Arioniae fabula nota lyrae.
Nay, the irresistible power of Musick reacheth deeper then the Sea, even as far as hell, it sways among the infernal fiends upon presumption of his powerful strains; Orpheus went down among them to fetch his wife Euridice from thence, as Virgil sings of him.
Ausus at est manes accersere Conjugis Orpheus
Threiscia fretus lyra,Aen. 6. fidibus que canoris.
On whom Mr Brown speaking of the commendation of Spencer, hath this reflexion in his Pastorals,
He sung th' Heroick Knights of Faery land,Spencers Fairy Q.
In lines so elegant, and of such command,
That had the Thracian play'd but half so well,
He had not left Euridice in Hell.
In the second place, for rational creatures, there's nothing more evident and more commonly seen, than that all sorts of people (more or less) are affected with harmony. And with most men it hath such power over their spirits, that it can mould them into any temper; Omnes animi habitus cantibus gubernantur (saith Macrob.) ut & ad bellum progressus & receptui canatur: cantu & excitants & sedante virtutem. It commands all our passions as it lists,Somn. Scipionis, l. 2, c. 3. either of anger or mildeness, joy or sorrow, according to the several streins and tunes it makes, as if there were some foreign (as Aristotle speaks) some imitations or ecchoings, Polit. l. 7. c. 3.some secret sympathy between the strings of the Heart and the Harp, or any other Instrument that gives mel…d…e.
To illustrate this, I will give certain historical instances or examples of each kinde.
1. Musick stirs up Anger and Courage, especially that which they call Phrygian Music, which consists of violent and loud notes and sprightfull motions, and this is usefull for the warrs; and therefore Drums, Trumpets and Cornets have been (anciently) used among most nations to encourage the souldiers in the field. Virgil speaking of Misenus (Aeneas his Trumpeter) gives this character of him.
—Quo non praestantior alter
Aere ciere viros, Martem que accendere cantu.
Tyrteus that brave Commander of Lacedaemon made use of the Trumpet against the Messensians, with whose unwonted sound they were much terrified, as his own souldiers were much animated therewith, as they were also with his Songs and Poems, as Horace testifies in his Art of Poetry.
—Post hos, insignis Homerus,
Tyrteusque mares animos ad martia bella
Versibus exacuit.—
Horace, who had been a souldier for some years himself, speaks of his Barbiton which he had used in the warr, and which now he meant to hang up for a monument after his return home:
Defunctum que bello Barbiton, hic paries habebit.
2. As it stirs up Anger, so it doth allay and appease it, and conjures down that spirit which it raiseth up; Cantando malos affectus incantamus. Timotheus the Musician could both enrage and becalm the Great Alexander at his pleasure, onelyonly by the different streins of his Music. Clinias the Pythagorean when hee began to be heated with anger, would take his Lute to compose his affections; and Achilles (the great Souldier) was wont to do the like, as Aelian reports of them both. Var. l. 14. c. 23. this is Caduceus pacis.
The Harp is Tela Musarum loquax, as Cassiodor wittily stiles it, a speaking kind of Instrument, whereby a man speaks his passions without a tongue, and by those verbosa stamina doth tell his tale more effectually then he can with the natural Organs of his speech. Therefore the Getes (knowing the power of Musick to move clemency) did use to send harps and Musicians with those Embassadours that went to treat for peace and amitie. Ludovicus Pius the Emperour did set Theodulpus at liberty when he heard him sing an Anthem, which he had composed in Prison.
3. Musick exhilarateth the spirits and expelleth the evil spirit of melancholy, as David (the sweet singer of Israel) drave (with his celestial streins) the evil spirit out of Saul, and put him out of possession, without any other exorcism then that of Musick: It seems the divel does not love Musick; but I know nothing else but does. Scimus Musicam Daemonibus invisam & intolerabilem esse, saith Luther in Epist. ad Senfelium Masicum. This may be better called Fuga Daemonum than the herb Hyperion. Melancholy is the Devils Bath, wherein he takes much delight. And therefore, since Musick is an enemy to Melancholy, we may conclude that it is an enemy to the Divel: Musick hath too much of heaven to give him any delight; he loves jarrs and discord better than concord and harmony.
4. This does compose men to gravity, contemplation, and godly sorrow, especially the grave Doric Musick of the Church. Saint Augustine did shed tears when hee heard the solemn Musick of the Church at Millain, as he confesseth in the 9th of his Confessions. Hereby our devotion is exalted, our souls lifted up to heaven with those ecchoing sounds, and our spirits better prepared and disposed for prophetick raptures and divine illuminations. When Elisha was desired to Prophesie by King Jehoshaphat, he called for a Minstrel to make musick, thereby to defecate and clear his spirits; and as the minstrel play'd, the hand of the Lord came upon him and he prophesied victory and good tidings to the King, 1 King. 3. 15. and that the Prophets did commonly use musical Instruments for that purpose, as we may learn from the first book of Sam. cap. 14. v. 5.
5. To these I may add in the 5th place, that Musick doth avail (not a little) to chastity, sobriety and civil conversation, as it may be used and applyed. When some young men of Taurominum were about to force open a house upon some women that they had a minde to, Pythagoras coming casually by, did appease their mindes and reduce them to a better mood, by making a Minstrel (that they had with them) to change his notes from nimble Dactyls or triple time into slow Spondaics, & so did becalm their hot and unruly spirits. Spondae… resonante, as C… cero relates in his Tuscul. and Boetius in Prooemio de Musica, and Quintilian also in Orator instit l. 1. cap. 10. A Spondey or Spondaic foot is a grave time consisting of two long syllables, so that if there be many of them in a verse, they make it to be of a slow heavy motion, like the Spanish gate and gravity; as in that verse,
Conturbabantur Constantinopolitani.
Whereas the nimble Dactyls (whereof Galliards consist) are aëry and sprightly like the French disposition, and like that verse in Ennius (which runs all upon Dactyls)
Et tuba terribili sonitu Taratantara dixit.
The very sound and pronunciation whereof rouseth the spirits and maddeth them in a sort; as Aristotle speaks of the Phrygian mode in Musick, that it is foreign, 4o Polit. It is reported of Agamemnon, that when he went to the warrs, he left a Musician with his wife Clitemnestra for to keep her chaste, by singing grave Doric tunes unto her. Modus Dorius prudentiae largitor est, & castitatis effector, saith learned Cassiodor lib. 9. Var. c. 3. ut Phrygius pugnas excitat, & Aeolius animi tempestates tranquillat. Id.
6. Lastly, by the power of Musick rude and savage people have been civilized, & brought to humanity and gentleness, brought from Woods and Caves to live in Towns, taught to build houses, to live under Laws and in civil society and correspondency with their own kinde; so the Thebans were mollified by Amphion, and the rude Thracians by Orpheus: and this is the true meaning and moral of those Poetical Fables touching those two famed Musicians, as Horace tells us.
Sylvestres homines sacer interpres que Deorum
Caedibus & victu foedo deterruit Orpheus.
Dictus ob hoc lenire Tygres, rabidos que Leones;
Dictus & Amphion (Thebanae Conditor Arcis)
Saxa movere sono Testudinis, & prece blandâ
Ducere quo vellet.—
Orpheus the Gods interpreter, from bloud
Deterr'd wilde men and savage livelyhood.
Hence came the fable, that by Musick hee
Did Tygers and wilde Lyons lenifie:
And hence Amphion (who built Thebes) is said
To have mov'd stones with his sweet streins, and led
Them where he would, &c.—
As Musick hath power over the spirits of man, so it hath over his body too, and that in two respects; partly, to keep it from drooping and weariness, while it is at work; and partly to cure it of some maladies, as I shall produce examples of both.
1. It avails to keep the body from weariness and irksomness, and drooping from under its dayly cares, toil & labor. Horace calls his Lute Dulce laborum lenimen, the gentle easer of labour and pains-taking. And Quintilian sayes, That Nature seems to have given this gift of Musick to mankinde for this very purpose; and from hence it is that all sorts of people use commonly to deceive the tediousness of their dayly-task with with some melodie. Parrhasius the Painter used to sing while he was at work. Cantu & modulatione submissâ, laborem artis mitigare solebat; so Aelian tells us, lib. 9. cap. 11. The Husband man sings or whistles at his work.
Altâ sub rupe canit frondator ad auras.
And his good wife at her wheel at home makes some notes also that serve to please her, if they please no body else.
Interea longum cantu solata laborem
Arguto conjux percurrit pectine telas.
And if men over-toyl themselves and be tired out with labour, Musick is very helpfull to recreate their spirits, and to make them fresh and vigorous again: Musica est medicina molestiae illius quae per labores suscipitur, saith (the Patriarch of Philosophie) Aristotle. And Tully saith of the Pythagoreans, that after they had been weary with intentive studies, their usual manner was to solace themselves in the evenings with Musick, as hard students in our Universities use to do now adayes.
2. As this heavenly gift expells weariness from our bodies, so it expells some maladies too. The Old Greek Bard (Homer) saith, the Grecians did cure the plague with Musick, in the first book of his Iliads. The reason of this cure is, because Musick chears up the spirits and expells sadness, than which nothing is more fatal in a time of Mortality, or makes the body more obnoxious to the tyranny of diseases.
Corporibus vires subtrahit ipse timor: Fear and sadness betrayeth the succours that nature hath provided for her own defence, and doth expose our bodies naked to the malignity of the air and invasion of any malady. Hereof you may finde more in the writings of Physitians, and particularly Langius in the 3.d book of Medicinal Epistles tells us of Xenocrates, that he used to cure Phrenetick persons with songs and musick; and of Theophrastus, who by his own experience found that the pains of the Sciatica is much asswaged by Music. They say in France, that Musick doth not cure the Tooth-ach: but yet some aches are cured by it; for Macrobius, to the other vertues of Musick, adds this, Corporis morbis medetur. But there are two diseases that are proper (in a manner) to Germany and Italy, which are cured by no other means than Musick. In Italy, they that are bitten with that venemous Spider called the Tarantula become Phrenetick, and the only way to cure them is to play upon Instruments unto them; at the sound whereof they fall a dancing, and bestir themselves so long untill they are quite tired and have sweated out the venom that was shot in by that Insect. In Germany also that disease which they call Chorus Sti Viti, or St Vitus his dance, is cured with Musick. It is a kinde of a Phrensie too, and when the Patients hear any Minstrel play, saltant ad lassitudinem simul & sanitatem, as Shenkius saith; they dance presently, and never give over till they are both tired and cured.
And these are sufficient proofs to shew the power and efficacy of Musick both over man and beast, and in man both over his body and minde. The truth is, we may observe, that soluta Oratio, plain prose, without harmony or meter, hath a great sway over mens mindes, if it be gracefully and pathetically delivered. The Orators among the Grecians had the power of fire and water, to enflame and to extinguish, to make peace or warr; such was Demosthenes in Athens.
—Quem mirabantur Athenae
Torrentem & pleni moderantem fraena Theatri.Juv. Sat.
That ruled and managed the people with his eloquent and voluble tongue, as a rider doth his horse with the reins. Eloquence is flexamina & foreign, there is some sorcery and enchantment in a well-composed Oration. Hierom. Savanorola, that pious man and eloquent preacher of Florence, did manage that Common-wealth with his tongue.…ancelotti. M. Antonius milites armatos facundiâ suâ exarmavit. Vell. Paterc. l. 2. cap. 20. And when Ferdinand the Second besieged Rome, one Ugolin a Friar, by a Sermon he made at the Vatican, did move all his Audience to weep, and did so enflame their courage withall, that they took arms unanimously to beat off the enemy from the walls; and they sallyed out with so good success, that they raised the seige. If a plain Speech delivered with gravity & gracefulness hath such force, how much more moving are words joyned with Harmony and Numbers?
All the powers and vertues of Musick which we have here at large exemplified, are briefly comprised by the Noble Salust in these following verses.
Sweet Musick makes the sternest men at arms
Let fall at once their anger and their arms.
It chears sad souls, and charms the frantick fits
Of Lunaticks that are bereft their wits.
It kills the flame and curbs the fond desire
Of him that burns in Beauties blazing fire.
It cureth Serpents banefull bite, whose anguish
In deadly torments makes them madly languish.
The Swan is rapt, the Hinde deceiv'd withall,
And Birds beguil'd with a melodious call.
The Harp leads the Dolphin, and the busie swarm
Of buzzing Bees the tinckling brass does charm.
O! what is it Musick cannot do,
Sith th'al inspiring spirits it conquers too?
And makes the same down the Empyreal Pole
Descend to earth into a Prophets soul.
Baptista Porta doth ascribe the wonderfull effects of Musick to the several sorts of trees that the instruments are made of, whether the Vine or the Elder, the Poplar, Laurel, or the like; which (saith he) have a secret property to cure diseases, more then the sounds that are made by them: but he is mistaken herein; for we know what power inartificial sounds and bare words (without Musick added) have over mens mindes and spirits. Scaliger argues the case thus: The Vibration or trembling of the air (caused by vocal or instrumental Musick) doth move and affect the spirits in mans body, which are subtile vapours of the blood and the instruments of the soul in all her operations; which spirits affect the soul as well as body, so that apt concordan… sounds, carried in the curled air to the inward spirits, cause there a …itillation or pleasure, and sometimes other affections or passions according to …he stre…s of the Musick, and according to the complexion of the hearer.
The Ancient Sages (as Aristotle reports) affirmed the Soul it self to be Harmony or harmoniously composed; so that there is a sort of affinity between …t and Musick, and every man is natural…y delighted therewith; so he in the 8th of his P…liticks. Macrobius cometh very near to this of the Philosopher; Jure …apitur Musicâ omne quod vivit (saith he) … coelest is Anima, quâ animatur uni…ersitas, originem sumpsit ex Musica. That it is no wonder that every creature that hath a living soul is taken with Musick, since the soul of the Universe (whereof every particular soul is a part or parcel) is made of Harmony
Pericles liberis Athenarum cervicibus jugum imposuit Eloquentia; he held captive the free born Athenians by his Eloquence: Eam que urbem egit & versavit arbitrio suo; steered and winded that people which way he listed himself. V. Max. l. 8. c. 9.
Hegesias a Philosopher of the Cyrenaic sect did so pathetically set forth the evils and discommodities of this life, that divers of his Auditors did take a resolution to make themselves away; so that the Philosopher was commanded by King Ptolomy to spend his Eloquence upon some other subject. Cic. Tuscul. Quaest. lib. 1.