Iamblichus' Life of Pythagoras, or Pythagoric Life: Accompanied by Fragments of the Ethical Writings of certain Pythagoreans in the Doric dialect; and a collection of Pythagoric Sentences from Stobaeus and others, which are omitted by Gale in his Opuscula Mythologica, and have not been noticed by any editorIamblichus
Philosophy
Iamblichus' Life of Pythagoras, or Pythagoric Life: Accompanied by Fragments of the Ethical Writings of certain Pythagoreans in the Doric dialect; and a collection of Pythagoric Sentences from Stobaeus and others, which are omitted by Gale in his Opuscula Mythologica, and have not been noticed by any editor
Iamblichus
Ethics, Ancient; Philosophers -- Greece -- Biography; Philosophy, Ancient; Pythagoras; Pythagoras and Pythagorean school
[Illustration: A—————————B
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E]
“Let these chords be perfectly equal, and equally stretched, so as to be
in unison, i. e. so that there may be only one sound, though there are
two strings. But it is requisite that they should be placed upon some
oblong and polished rule. The ancients called this rule an harmonic
rule, or also a monochord, by which instrument all consonances and
dissonances, and likewise musical intervals, were tried. Let now one of
these chords be bisected in E. Afterwards under the point E place what
is vulgarly called the _tactus_, but which was denominated by the
ancients, from its figure, a hemisphere. The tactus, therefore, being
placed under E, press there the chord, so that one half of it only, as
for instance ED, may be wholly struck and resound. Having therefore
struck each of the chords at the same time, viz. the whole of AB, and
the half ED, so that they may resound at one and the same time, you will
hear the sweetest of all consonances, composed from the sound of the
whole chord AB, and the sound of the half ED. This consonance the
ancients called diapason, i. e. _through all_ [the chords], because in
the musical instruments of the ancients, the two extreme chords, i. e.
the most grave, and the most acute of all the chords, contained this
consonance; so that, from the gravest chord having made a transition
through all the chords to the supreme and most acute of all, they would
hear this sweetest consonance. It was, likewise, said to be in a duple
ratio of the proportion of one sound to the other. For the sound of the
chord AB is doubly greater or more grave than the sound of the half ED.
For as sounding bodies are to each other, so are their sounds. But the
chord AB is the double of ED. This, however, is now commonly called the
octave, because from the first sound, and that the gravest, which is
called _ut_, as far as to that sound which corresponds to it in the
consonance diapason, there are these eight sounds, _ut_, _re_, _mi_,
_fa_, _sol_, _re_, _mi_, _fa_. And of these the first ut, and the last
_fa_, which is the eighth, produce the consonance diapason, or the
double, or the octave.
“Again, let the same chord CD be divided into three equal parts in the
points F, G.
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F G]
Public-domain text, read in full here on John Shaqi.
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