This anatomy of Burton's includes the soul, and here are some particulars of it. "According to Aristotle, the soul is defined to be emtelecheia, ... the perfection or first act of an organical body having power of life.... But many doubts arise about the essence, subject, seat, distinction and subordinate faculties of it.... Some make one soul; ... others, three.... The common division of the soul is into three principal faculties--vegetal, sensible and rational." The soul of man includes all three; for the "sensible includes vegetal and rational both; which are contained in it (saith Aristotle) _ut trigonus in tetragono_, as a triangle in a quadrangle.... Paracelsus will have four souls, adding to the three grand faculties a spiritual soul: which opinion of his Campanella in his book _De Sensu Rerum_ much labors to demonstrate and prove, because carcases bleed at the sight of the murderer; with many such arguments." These are not the wanderings of ignorance; they represent the whole of human knowledge, and are an epitome made up from Aristotle, Galen, Vesalius, Fallopius, Wecker, Melancthon, Feruclius, Cicero, Pico Mirandola, Paracelsus, Campanella, Taurellus, Philip, Flavius, Macrobius, Alhazen the Arabian, Vittellio, Roger Bacon, Baptista Porta, Cardan, Sambucus, Pliny, Avicenna, Lucretius, and such another list as makes one weary with the very names of authorities.
These details of antique science brought face to face with the weighing of air at Gresham College, and with Sir Isaac Newton, represent with sufficient sharpness the change from the old reign of enmity between Nature and man, from the stern ideal of justice to the later reign of love which embraces in one direction, God, in another, fellow-man, in another, physical nature.
Now, in these same sixteenth, seventeenth and eighteenth centuries, in which we have seen science recovering itself after having been so long tongue-tied by authority, a remarkably similar process goes on in the art of music. If, as we did in considering the progress of science, we now place ourselves at a standpoint from which we can precisely estimate that extension of man's personal relation towards the unknown during these centuries, which resulted in modern music, we are met with a chain of strikingly similar facts and causes. The Greek music quite parallels Greek physical science. We have seen how, in the latter, a Greek philosopher would start off with a well-sounding proposition that all things originated in moisture, or in fire, or in air, and we have seen how, instead of attacking moisture, fire and air, and of observing and classifying all the physical facts connected with them, the philosopher after awhile presents us with an amazing superstructure of pure speculation wholly disconnected from facts of any kind, physical or otherwise. Greek music offers us precisely the same net outcome. It was enthusiastically studied, there were multitudes of performers upon the lyre, the flute, and so on, it was a part of common education, and the loftiest souls exerted their loftiest powers in theorizing upon it. For example, in Plato's _Republic_, Socrates earnestly condemns every innovation upon music. His words are: "For any musical innovation is full of danger to the State.... Damon tells me, and I can quite believe him ... that when modes of music change, the fundamental laws of the State always change with them;" ... (therefore) "our guardians must lay the foundations of their fortress in music." Again, in Book III., during a discussion as to the kind of music to be permitted in our Republic, we have this kind of talk. Socrates asks: "Which are the harmonies expressive of sorrow?" It is replied, they are "the mixed Lydian and the full-toned or bass Lydian."