1. Now since our Maker has bestowed upon our formation a certain Godlike grace, by implanting in His image the likeness of His own excellences, for this reason He gave, of His bounty, His other good gifts to human nature; but mind and reason we cannot strictly say that He gave, but that He imparted them, adding to the image the proper adornment of His own nature. Now since the mind is a thing intelligible and incorporeal, its grace would have been incommunicable and isolated, if its motion were not manifested by some contrivance. For this cause there was still need of this instrumental organization, that it might, like a plectrum, touch the vocal organs and indicate by the quality of the notes struck, the motion within.

2. And as some skilled musician, who may have been deprived by some affection of his own voice, and yet wish to make his skill known, might make melody with voices of others, and publish his art by the aid of flutes or of the lyre, so also the human mind being a discoverer of all sorts of conceptions, seeing that it is unable, by the mere soul, to reveal to those who hear by bodily senses the motions of its understanding, touches, like some skilful composer, these animated instruments, and makes known its hidden thoughts by means of the sound produced upon them.

3. Now the music of the human instrument is a sort of compound of flute and lyre, sounding together in combination as in a concerted piece of music. For the breath, as it is forced up from the air-receiving vessels through the windpipe, when the speaker’s impulse to utterance attunes the harmony to sound, and as it strikes against the internal protuberances which divide this flute-like passage in a circular arrangement, imitates in a way the sound uttered through a flute, being driven round and round by the membranous projections. But the palate receives the sound from below in its own concavity, and dividing the sound by the two passages that extend to the nostrils, and by the cartilages about the perforated bone, as it were by some scaly protuberance, makes its resonance louder; while the cheek, the tongue, the mechanism of the pharynx by which the chin is relaxed when drawn in, and tightened when extended to a point—all these in many different ways answer to the motion of the plectrum upon the strings, varying very quickly, as occasion requires, the arrangement of the tones; and the opening and closing of the lips has the same effect as players produce when they check the breath of the flute with their fingers according to the measure of the tune.

E.C.F. INDEX & SEARCH