Century If. 



ling, or falling, which are delightfull. 

 | The Caufes of that which is ftetiftng, or Ingraft to the Hearing, may re- 

 ceive light by that, which is Phafing or Tngratc to the Sight. There be two 

 Things Plealing to the Sight ^leaving Pictures, and Shapes alide, which are 

 but Secondary Obje&s And pleafe or difpleafe but in Memory 5) thefe 

 two are, Colours, and Order. The plealing of Colour fymbolizeth with the 

 P leafing of any Single Tone to the Ear 5 But the plealing of Order doth fym- 

 bolize with Harmony. And therefore we fee in Garden-knots, and the Frets of 

 Houfes, and all equall and well anfwering Figures, (as Globes, Pyr amides^ 

 Cones Cy Under /,&c.) how they pleafe s whereas unequal/ Figures are but De- 

 formities. And both thefe Pleafures, that of the £/<?,and that of the £^r,are 

 but the Effects of Equality, Good Proportion, or Corref}ondence : So that (out 

 of chcjiion) Equality ,and Correspondence, are the Causes of Harmony. But to 

 find the Proportion of that Correspondence, is more abltrufe- whereof not- 

 withltanding we fhall fpeak fomewbat, (when we handle T ones) in the ge^ 

 nerall Enquiry of Sounds. 



Tones a\e not foapt altogether to procure 5/<?rp, as fome other S ounds s 

 As the Wind, the Purling of Water , Humming of Bees, a Snw£ fed of one 

 that readeth,&c. The Cd»/<? whereof is, for that T wz^becaufe they are E- 

 quall,and Aide not,do more ftrike and erecl the Senfe, than the other. And 

 Overmuch Attention hindreth Sleep, 



There be in Mufick certain Figures, ox Tropes; almoft agreeing with the 

 Figures of Rhetorick; And with the Affections of the Mind, and other Senfes. 

 Yit{\,:heDivifionmd Quavering, which pleafe fo much in Mufick, have an 

 Agreement with the Glittering of Light As the Moon-Beames playing up- 

 on a Wave. A gain, the Failing from a Dif :ord to a Concord, which maketh 

 great Srveetnefs m Mufick, hath an Agreement with the Affections, which 

 are reintegrated to the better, after iome dillikes : It agreeth alio with the 

 Tafi, which is foon glutted with that which is fvveet alone. The Sliding 

 from the Clofe or Cadence, hath an Agreement with the Figure in Rhetorick, 

 which they call Prater Expeffatum Tor there is a Pleafure even in being de- 

 ceived. The Reports, md Fuges,\\wz an Agreement with the Figures in Rhe- 

 torick,oi Repent 1 on >and Traduction. The T riplas, and Changing of Times, 

 have an Agreement with the Changes of Motions As when GaUiard Time, 

 and Me a fur e T tme, are in the Medley of one Dance. 



It hath been anciently held, and obferved, that the Senfe ef Hearing, and 

 the Kinds of Mufick, have moif Operation upon Manners ; As to Incourage 



Men, 



109 



' Other next under the Diapafon •• which may mew,that Harmony requireth a^ 

 ■ competent diltanceof Notes. 



In Harmony, if there be not a Difcord to the Bafe, it doth not difturb the 

 Harmony, though there be a Difcord to the Higher Parts\ So the Difcord be 

 , not of the Two that are Odious-, Andthererore the ordinary Concent of 

 ' Four Parts confiftethof an Eighth, ,i Fifth, md a Third to the Bafe t But that 

 ' Fifth is a Fourth to the T rebble,md the Third is a SmA. And the Caufe is,for 

 ! that the Bafe (hiking more Air, doth overcome and drown the Trebble, (un- 

 lefs the Dijcord be very Odious) Andfohideth afmall Imperfection . For 

 I we fee, that in one of the lower Springs of a Lute, there foundeth not the 

 Sound of the T rebble ,nor any Mixt Sound,but only the Sound of the Bafe. 



We have no Mufick of Quarter-Notes And it maybe, they are not ca- 

 pable of Harmony. For we lee the Ha/f- Notes themfelves do but interpofe 

 1 fometimes. Nevei thelefs we have fome Slides or Relifhes, of the Voice, or 

 Strings, as it were continued without Notes, from one Tone to another, ri- 



iio 



in 



112 



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124 



