Physiologia Epicuro-Gassendo-Charltoniana, or, A fabrick of science natural, upon the hypothesis of atoms founded by Epicurus repaired [by] Petrus Gassendus ; augmented [by] Walter Charleton ...

SECT. II.

THE Congruities of Visible and Audible Species being so many and Essential, and their Incongruities,* 1.1 or points of Discrepancy so few, and those altogether consisting in the meer Degrees of Velocity, and some other Circumstances relating to the Medium: we have a fair and direct way opened to our Enquiry into the Quiddity or Essence of a Sound. Wherefore since to conclude a parity of Essence, from a parity of Attributes and Effects, in any two Entities; is warrantable even by the strictest laws of Reasoning: we shall adventure to assume a Sound to be a Corporeal Ens. Which before we farther confirm by Arguments, it behoveth us to lift that block of contrary Authority out of our Readers way, at which the credulity and incircumspection of many have made them stumble and hault ever after in their Opinions concerning this Sub∣ject.

True it is, that Pythagoras, Plato, and Aristotle,* 1.2 according to the Me∣morials of Plutarch (4. Placit. 20.) unanimously held a Sound to be In∣corporeal, a meer Accident, or Quality, or Intentional Species; contrary to the doctrine of Democritus, Epicurus and the Stoicks, who, as Laertius (in lib▪ 7.) expresly records, affirmed it to be Corporeal, or a Mate∣rial Efflux, the words of Epicurus being [〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉] Vocem seu So∣num, fluxum esse em••ssum ex rebus aut loquentibus, aut sonantibus, aut quomodocunque strepitum edentibus. But yet we conceive this repugnancy of Authority insufficient to infirm our Thesis of the CORPORIETY of Sounds; as well because simple Authority, though never so reve∣rend, is no demonstration, and scarce a good argument, in points Physi∣ological, where the appeal lies only to Reason: as for this weighty consideration, that These accepted a sound in Concreto, i. e. for the substance of the Aer, or its most tenuious particles, together with their proper Configuration; but Those in Abstracto, or only for the Figure imprest upon the superfice of the Aer, which they therefore inferred to be Incorporeal, that is, devoyd of Profundity. For, otherwise Pla∣to (apud Agellium, lib. 5. cap. 15.) defines a sound Acris validaque aeris percussio, a smart and strong percussion of the aer: and Aristotle (2. de Anim. cap. 8.) calls it downright a Motion of the Aer, as the

Stoicks, Ictus aeris; a stroke of the aer. So that the Difference seems occasioned only by their diverse Acceptation of the word Sound. This ob∣struction removed, we progress to the discharge of our province, viz. the Eviction of the Corporiety of a Sound.

The First Argument of the Corporiety of a Sound, is (Quod vim habet agendi,* 1.3 sive efficiendi aliquid) that it is Active or Effective. For, the voice of a man violently emitted, or highly elevated by a kind of grating offends the vocal organs, and changes their sweetness or even∣ness into a hoarsness; and being long continued, leaves them misaffe∣cted with lassitude: as the experience of Hunters and Orators demon∣strates.

Hither are we to referr Lucretius his

Praeter radit enim vox fauces saepe, facitque, Asperiora foras gradiens arteria clamor, &c.

The Second is desumed from its Capacity of Repercussion, or Resilition from solid bodies;* 1.4 which is the evident cause of our hearing one sound twice, or more often, according to the multiplicity of its Reflections: as in all Echoes, monophone or polyphone. Which Aristotle fitly com∣pares not only to a Ball frequently rebounding, but also to Light, which Himself confesseth capable of reflections even to infinity: thereon conclu∣ding a sound subject to the same laws of Reflection with either. To which Virgil seems to allude in his

Saxa sonant, vocisque offensa resultat Imago.

Intimating, that an Echo holds a perfect analogy with an Image reflected from a Mirrour. For, as beside that Image, which tends in a direct line from the Glass to the eye, innumerable others are so transferred from it into all point•• of the Medium, that divers other eyes variously posited therein shall behold the same general Image, each one receiving a particu∣lar Image: so likewise, beside that sound or voice, which arrives at your ear, innumerable others are so dispersed through all parts of the medium or sphere of diffusion, that if there were as many ears therein as the space could contain▪ each one would hear the same general sound or voice; and if it chance that any one particular voice be impinged against solid and laevigated or smooth bodies (for solids that are very Spungy or porous, suffer sounds to pass through them, and too scabrous or rough destroy them by dissipation) it may be repulsed in a direct line toward your ear, and you shall hear it again at second hand or E∣choed.

* 1.5Touching the Reflection of Sounds, we shall here, by way of Co∣rollary, brie•••••• observe. That in case you stand somewhat near to the smooth solid 〈◊〉〈◊〉 reflecteth the sound, and the Creation of the sound be not very 〈◊〉〈◊〉; then though an Ec••o thereof be made, yet shall not you hear it▪ because the Direct sound and the Reflex enter the ear so con∣tinently▪ 〈◊〉〈◊〉 the space of time betwixt their ingress is so impercep∣tible, that 〈◊〉〈◊〉 seem but one intire sound. But, in this case, the sound becom•••• both stronger and longer; in respect of their Union.

And this comes to pass chiefly, when the Reflection is made from divers bodies at once; as in all Arches, and Concamerated or vaulted rooms: in which for the most part, the sound or voyce loseth its Distinctness, and de∣generates into a kind of long confused Bombe.

And hence, viz.* 1.6 the many Repercussions of a Sound from divers pla∣ces together, or with so short intervals of time, as the sense cannot di∣stinguish them; is it, that the sound of Concaves percussed, lasteth much longer, than the sounds of bodies of any other figure whatever: especially when the Concave hangs at liberty, in the aer, so that its Tremulation be not hindred as are all Bells in Churches, and clocks. For, not only the External or ambient aer, but the Internal is agitated by those frequent Tremblings in the body of the Concave, and continuedly repercussed from side to side: and therefore, till the trembling ceaseth, the Bombi∣nation is continued.

Again, if you stand far from the sonant bodie,* 1.7 and near to the Refle∣ctent; in this case also will the sound appear single, and coming only from the Reflectent: because both the Direct and Reflex sound invade the ear without any sensible difference in time; and yet the Reflex sound as it is re∣ally the posterior, so doth it very much intend or increase the Direct, and consequently makes the impression observable only from it self.

It is observable moreover, that by how much nearer the Ear is to the Anacamptick, or Reflectent (yet at such distance,* 1.8 as is required to the discernment of the Direct voyce from the Reflex.) by so much the fewer syllables of a word pronounced are Echoed: and è contra, by how much farther from the Reflectent (provided the distance exceed not the sphere of diffusion) so many more syllables are repeated. The Reason being this, that the interval of time betwixt the Cessation of the Speaker, and the au∣dition of the Reflex voice, is much less in the first case, and much greater in the later: and consequently, the less interval of time sufficeth to the Distinction of a fewer syllables, and the greater for more. This considered, we can no longer admite the distinct rehearsal of a whole Hexameter by some strong Echoes; provided the voice pronouncing the verse be suffici∣ently strong to drive it to the Reflectent, and thence back again to the Ear, at large distance, such as is necessary to the allowance of time enough for the successive repercussion of each syllable: for otherwise the voice faileth by the way.

What hath been hitherto said, concerns only Echoes Monophone,* 1.9 that repeat the same syllable but once; but there are Echoes Polyphone, such as repeat one and the same note, or syllable divers times over, and of them the Reason is far otherwise. For, the frequent rehearsal of the same syl∣lable by an Echo, ariseth from the multitude of Reflectent Bodies, situate beyond each other in such order, that the nearer bodies referr it first, and the remoter successively: and sometimes from Bodies mutually Confront∣ing each other, and alternately reflecting the same sound. Of this sort were those observed by Lucretius, in this Tristich.

Sex etiam, aut septem loca vidi reddere voces, Unam cum jaceres; ita colles collibus ipsis Verba repulsantes, iterabant dicta referre.

Such also was that prodigious one that entertained the Curiosity of Gassendus at Pont Charenton standing upon the river Seine, four miles from Paris. For in a square old aedifice of free-stone, uncovered at the top, and having a row of 5 Pillars on each side, as commonly our Churches, He heard a Monosyllable, which himself pronounced, clearly and orderly repeated by several Echoes, 17 times over; and when he uttered the Monosyllable in the Centre of the Aedifice, it was brought back to his ear 17 times from each extream (the area being somewhat oblong) so distinctly, as He could easily numerate the repetitions on his fingers. If so sileat Miracula Memphis, let the Aegyptian Pyramids no longer boast their Pentaphone Echoes; nor the Porticus Olympiae challenge the garland from the world for her Hepta∣phone Resonance, which is highly celebrated by the pens of Plutarch (lib. 4. de placit. Philosoph. cap. 20.) and Pliny, (lib. 36. cap. 15.). For, this at Pont Charenton, of which our Lord St. Alban was also an ear-witness, and not without some admiration, as Himself hath recorded (in Centur. 3. Nat. Hist.) hath no Rival, but that many tongued Echo in a Village called Simo∣neta, near Millan in Italy, which at some seasons, when the aer is serene, will iterate any Monosyllable, in which is no S. (which being but a kind of sibi∣lation, or interior sound, few or no Echoes can reherse) 30 times over very distinctly; if credit be due to the testimony of Blancanus (in Echometria, & in suo additione ad theorem. 20. de Echo polyphona)

A Third Argument of the materiality of a Sound, results to us from the Pleasure and Offence,* 1.10 or Gratefulness and Ingratefulness of Sounds, as they are Concinnous, or Inconcinnous. For it is highly concordant to truth, that the suavity of a Sound proceeds from hence, that those minute Particles, which enter the ear and move the Auditory Nerve, are in their configuration so accommodate to the Receptaries, or Pores thereof, that they make a gentle, smooth or equal impression on the filaments, of which the Acoustick Nerve consisteth: and on the contra∣ry, the Acerbity, or Harshness of a Sound, only from hence, that the minute particles invading the sensory, being asper or rough in their con∣figuration, in a manner exulcerate, grate, or dilacerate the slender Fila∣ments thereof.

* 1.11That a certain Configuration of its minute particles, is essentially ne∣cessary to every Sound, may be concluded safely even from hence; that so great variety of Sounds, and chiefly of Words, or Letters, as well Vowels as Consonants, could not be so exactly distinguished by the Hear∣ing, unless the sensory were variously, or in a peculiar manner percel∣led and affected by each: nor can that variety of Affection be made out, but by a variety of Sigillation, or Impression, dependent respectively on the various Configuration of those (moleculae) small masses, that compose the sound.

* 1.12To sweeten the harshness of this Assertion yet more; we alledge the unison Auctority of no less than Pythagoras (whom all knowing men allow to have lighted the tapour to posterity, in the investigati∣on of the Nature, and causes of proportions among Musical Sounds) Plato and Aristotle, all which affirmed the same, if Plutarch be faithful (in 4. de placit.) while He introduceth them saying, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Figuram, quae in aere, ejusque superficie fit certo ex ictu (〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉) evadere

vocem, that the Figure made in the aer, and then it superfice, by some cer∣tain percussion, becomes a voice. And, that Plutarch hath done no more than justice to Aristotle, in this particular; is evident from his own words, (in Problem. 13. & 51.) where He expresly enquires, Quare Vox, cum sit 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Aer quidam Figuratus, & qui dum transfer∣tur, plerumque, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Figurum amittit, illam tamen dum a solido cor∣pore repercutitur, incolumem servet?

Why a voice, which is aer con∣figurate, and for the most part loseth its Figure, in its [long] transmissi∣on, doth yet conserve it intire and unimpaired, when repercussed from a solid body, as in all Echoes?

Nor can it be rightly denied, but that Flux of minute aereal Bodies,* 1.13 or most aethereal parts of the aer, which are excussed in round by two bodies arietating, are easily Capable of Configuration: when as much is sub∣indicated even by those sensible Vortices, or Whirlings and Eddies of Winds, which are frequent in summer. Under this title fall those words of Epicurus, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c. Hunc vero fluxum in frustula consimilis Figurae comminui: the full sense whereof seems to be this. That whem a Voyce is emitted from the mouth, or other sound from what body soever; the Contexture of the minute bodies effluent is so comprest, and confracted into smaller contextures, that of the Original are made swarms of Copies, or lesser mas∣ses exactly consimular in their Formation: and that those are instantly di∣spersed sphaerically, or in round through the whole circumfused space, still conserving their similitude to the Original, or General voyce, or sound, till their arrival at the Eare; and so retaining the determinate signature of their Formation, are distinguisht accordingly by the sensory. By this it appears, that Epicurus, in this point, dissented inconciliably from Demo∣critus; who conceived that all sounds were delated to the Ear by Propaga∣tion, i. e. that the sound being broken into myriads of small Fragments, each fragment did form the contiguous Aer into Contextures of the same Configuration with the Prototype, and those again formed the particles of aer next adjacent into the like, and so successively through all parts of the medium till they came home to the Organ of Hearing; not much unlike the dream of the Aristoteleans, concerning the Propagation of the species of Light in each point of the medium. Whereas the Conception of Epicu∣rus is this, that the Primitive Configuration of the most tenuious particles of the Aer, by the percussion or Collision, is broken into many small mas∣ses; and each of those, at farther remove from the sonant into many smal∣ler, and those again into smaller, all exactly respondent to the First in fi∣gure: after the same manner, as we observe a spark of Fire exsilient from a Firebrand, to be broken into a multitude of less sparks, and each of those shivered again into many less, until their exility makes them totally disap∣pear.

This Reason and manner of the Diffusion of a Sound throughout so great a space of the medium, They may easily comprehend,* 1.14 wh•• have observed the Sewers of Princes in Italy spout Orang-flower water, or o∣ther Fragrant Liquors, out of their mouths, with such dextrous violence, as to disperse it in a kinde of mist, through the aer of a spacious room, so that the aer contained therein becomes impraegnate with the Odour, for the more noble entertainment of the sense. For the

Consent betwixt this Exsufflation of Water, and the spherical Diffusion of a Sound, is very manifest, the greater Drops of water being in their tra∣jection through the aer, broken, by reason of the impulse of the breath, that discharged them in distress, into swarms of less drops, and those a∣gain into less, successively in the several degrees of remove, until they attain such exig••ity, as we observe in the particles of a mist: and that small proportion of Aer, emitted from the mouth of him that speaks, be∣ing dispersed into a dense mist of voyces, replenishing the whole sphere of Diffusion.

* 1.15Here we are constrained to a cautionary advertisement; that when we say, the Aer is the Material of all voyces, we do not mean all the Breath expired from the Lungs, together with those Fuliginous Exhalations, that the Densation of the aer, in Cold weather, subjects to the discernment of our sight; but onely the most subtle part of the Aer inspired, and modu∣lated in the Vocal Artery and other organs of speech: because such onely can be judged capable of Configuration. Nor can so small a quantity of purest Aer be thought insufficient upon Dispersion to possess so capacious a sphere, as that of every ordinary voice; so that of a whole Theatre of Auditors, each one shall distinctly hear it: insomuch as onely a mouth∣ful of Water blown from a Fullers mouth, is so diffused as to irrigate the aer replenishing a room of considerable amplitude. Especially, when the Analogy holds quite through. For, as the Drops of Water are so much both larger and denser, by how much neerer they are after exsufflation to the mouth of the Fuller: so also are the Vocal masses of aer so much more large and dense or agminous, by how much neerer they are to the mouth of the Speaker; and •• contra. Which alone is the reason, why the Voyce of an Or••tor in a Theatre is more strong and distinct to those of his Auditory, that sit neer at hand, than to those far off; provided the place afford no Concurrent Eccho, for in that case, the Reflex voyce entering the eare united with the Direct or Original, magnifies the impression on the sensory.

* 1.16Now, insomuch as it is consentaneous to right reason, to conceive, that the Voice at••t first Emission from the mouth, its one General Configura∣tion of the mos•• ••nuious particles of the Aer, with some vehemency effla∣ted from the 〈◊〉〈◊〉 organs, after frequent collisions and tremulous reper∣cussions, and that this General voice, in its diffusion through the medium, is c••ntracted 〈◊〉〈◊〉 dispersed into myriads of minute vocal configurations or Particular voyces, some of which invade the ears of one person, others of another, &c. Hence is it a clear, though perhaps new and very para∣doxical, truth▪ That the same numerical voyce of an Orator, is not heard by any two of his Auditors, nay not by the 2 ears of any one; but every man, and every Eare is affe••••ed with a distinct voyce. And yet he incurrs no Contradiction, that affirms the whole Auditory to re∣ceive the same voyce. For, as all the water exsufflated into a mist from the mouth of an Italian Sewer, or common Fuller, may be said to be one and the same Water; though all the minute Drops, diffused into several parts of the aer, and irrigating the several parts of the Floor or cloth, on which they 〈◊〉〈◊〉 rained down, be not the same drops: so likewise may we allow all the Aer efflated from the mouth of the speaker, to be one and the same Aer; though the Particular Voyces, delated to particular

Ears, are not the same Numerically. Besides, should we, with the major part of Scholers, admit a voice to be an Entity meerly Intentional, or sim∣ple Quality, or Accident, yet should we not detract one grain of weight from this our Paradox: since, to conceive any one Particular voice to be in divers places, or subjects, at once, is manifestly absurd.

Here opportunity would prompt us to insist upon the admirable Confor∣mation of an Articulate Sound,* 1.17 and to enquire how each Vowel and Con∣sonant is created by such and such motions of the Vocal Instruments: but the exceeding Difficulty countermands that inclination. For, though Cas∣serius, Placentinus, (in Anatom Sirmorin. Organ.) & Athanasius Kirche∣rus (in lib. Anatomico de natura Sonis & Vocis, à cap. 10. ad finem libri.) have attempted laudably in that abstruse theme: yet the Audit of their discoveries riseth no higher than this single rule, That the Vocal Artery and Lungs onely conduce to the Acuteness and Gravity of the Voice, as they discharge the inspired aer more Pressly, or Laxly; and Kircher (in cap. 10.) ingenuously confesseth, At quomodo voces in gutture formentur, qua proportione elisionis aeris nascantur, tam obscurum est, quam voces hu∣jusmodiclarae sunt & manifestae auditui. The difficulty, indeed, seems to consist chiefly in this, How from the various motions of one single Organ, the Tongue (the Author of Distinction in all Articulate sounds, though the Palate, Epiglottis, Uvula and Teeth are in their respective degrees of assistance inservient to the Elision of aer made by the Tongue) and that two-leafd Door of the mouth, the Lips, such infinite variety of Letters and words doth most easily and almost insensibly result. To solve this, the General answer is, that the wonder ought to be no greater, how one Tongue can suffice to the Articulation or Distinction of innumerable words, by its various Motions; than that, how one Hand sufficeth to the Distinction of innumerable Characters. But, the Motions of the Hand requisite to Di∣stinction of every Character, are observable by the sense: and those of the Tongue and Lipps requisite to the Formation of every word, together with the proportion of the Aers Elision in every Articulation, is deeply obscure: and therefore the Disparity being manifest, the Problem remains untoucht,* 1.18 and our Admiration not so much as palliated.

This Place might also admit another Considerable, as terrible to the most daring Curiosity as the Former; and that is the ineffable Pernicity, where∣by the Aer is exploded from the Lungs, that so it may attain the Form of a voice. For, to the Creation of a voice Consonous, or Unison to the sound of some one string on a Lute; it is necessary, that the Aer be exploded by the Lungs, with the same Pernicity, as the other Aer is impelled by the string in each of its most rapid Vibrations, or alternate Recurses,* 1.19 after its smart percussion by the finger, or plectrum. But this Arcanum requires a Galilaeo or Mersennus, at least, to its due speculation.

The Observable most proportionate to our Capacity, and Competent to our praesent Designation, is this; That no Sound is created without Moti∣on: and consequently, that the Thing Sonant, being endowed with solidity in some degree or Compactness sufficient to Resistence, ought either to be strook against another, that is solid and resistent; as when a Hammer is strook upon an Anvil; or against the Aer, in Flux and not much resisting, and that either by Pulsation of the Aer by a solid, as when the string of

Lute percusseth ••he aer; or the Pulse of the solid by the Aer, violently agi∣tated, as in all P••••umatick, or Wind instruments, where the stroke of the aer against the sides of the Concave causeth the Sound.

* 1.20In the Former instance, it is not necessary to the Creation of a Sound, that the Collision be made by a motion rapid; because the Resistence, on either part equal, causeth that when the Access or Appropinquation of one Solid to the other is Continent, the Aer interposed is Continently impelled and repelled reciprocally: and as the Aer becomes the more hardly distrest on each part, by how much neerer the two Solids approach each other; so proportionately is the motion more rapid. So that, by that time the two solids touch each other superficially, the motion is encreased to the highest rapidity, and the distrest Aer, no longer able to endure Compression, or to go and come al••••rnately between the Solids, now contingent, breaks forth laterally in round, and is diffused in shivers through all parts of the medium, so that arriving at the Ear, it puts on the species of a Sound.

* 1.21But, in the Se∣••ond and Third instances, it is necessary the motion of Col∣lision be far more rapid, in order to the Creation of a Sound: because the Resistence, which is wanting on the part of the Aer, must be compensated by the frequent pulses and repulses of it, as when the Chord of an Instru∣ment percust, doth very frequently impel the aer, by its Vibrations (the Greeks call th••m, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉) or Reciprocations; or, as in Wind instru∣ments, where the inflated Aer is, by quick reverberations from the sides of the Concave, very often impulst and repulst.

As for the Motion of the Aer, after its Formation into a Sound, from the Sonant to the Ear,* 1.22 therein is one particular worthy the wonder even of Scholars: and that is, Whatever be the vehemence or remissness of the Collision, or force, by which the Aer is exagitated, yet is the Translation of the Sound, thence resulting, through the intermediate space to the term of it sphaere, always equally swift. For Experience demonstrates, that all Sounds small and great, excited in one and the same place, though they differ much. In the extent of their sphears of Audibility, are delated to that place in which they are heard, in equal time. This is easily obser∣vable in the reports of a Cannon and a Musquet, successively discharged at a mile distance. For, standing on a Tower, or other eminent place, and noting the moment, first when the Cannon is fired (the report and F••ash being made both at the same instant) and numbring how many Pulses of your artery, o•• how many Seconds in a Watch denoting them, intercede betwixt your ••ight of the flame, and hearing the report, and then account∣ing how many Pulses, or Seconds intervene betwixt the flash and report of a Musquet▪ you shall finde the number of these equal to the number of those.

The Reason o•• this Aequivelocity of unequal Sounds, the Stoicks (a∣pud Plutarch. 4. placit. 19. & Laertium lib. 7.) well insinuate,* 1.23 while they affirm, 〈◊〉〈◊〉 the Aer percussed, in regard of its Continuity, is for∣med into man•• Rounds, such as those successively rising and moving on the surfac•• of Water, upon striking or throwing a stone into it; which Circle•• made on the surface of Water by a small stone, move in the same 〈◊〉〈◊〉, and successively arrive at the margin of the River, or

Pool, in as small time, as those caused by a great stone. And Aristotle (2. de Anim. cap. 8▪) expresly declares his judgement, that the reason of the Delation of a Sound from the Sonant to the Audient, is the Con∣tinuity of the Aer: though Simplicius and Alexander differently in∣terpret that Text, the one conceiving that he meant that a Sound was translated through the medium by reason of sympathy among the parts thereof; the other, by Propagation of the like Sound in all points of the medium successively, after the manner of species Visible, ac∣cording to the dream of Aristotle. But all one it is to us, whether we conceive the motion of a Sound made by Propagation, or Undulous Promotion; as to our praesent scope: since either sufficeth to explicate the Cause, Why a Sound is longer before it arrive at the Eare, than a Visible species before it arrive at the Eye; because the Visible species is transmitted from the Object, neither by Propagation, nor Undula∣tion, but Directly, and therefore is capable of no Retardment from the Medium.

As for the definite Velocity of Sounds, or determinate space of time,* 1.24 in which all Sounds are delated to the Extremes of their spheres; we conceive it to be Rhodus and Saltus, in the General, inassignable: in regard of the vast disparity in their several Extents, some sounds being scarce au∣dible at the distance of 20 yards, and others cleer and distinct at as many, nay twice as many miles distance. But, if we assume this or that deter∣minate Sound, and attain the praecise diametre of its sphere; it is no dif∣ficulty to commensurate its Velocity. For, Mersennus (in reflexion. plysicomath. cap. 14. & Proposit. 39. Ballistica.) upon exact Experiment, found the Fragor of several Cannons discharge in the Court of the Bast••le at Paris, to arrive at his eare, after the flashes, at such a rate, that the sound pe••vaded 233••. Fathoms (each containing six feet Paris measure) in the space of every Second, or Sixtieth part of a minute: and thereupon rightly concluded, that the Report of a Cannon flyeth at the constant rate of neer upon 14000 Fathoms every minute, until it attain the extremes of it sphere. If this expedient for the measure of the Time wherein Sound is delated, seem either too costly or laborious; you have another most cheap and easie praescribed by the Lord St. Alban (in Cent. 3. Nat. Hist.) which is this. Let one man stand in a steeple, having a lighted taper with him, and some vail put before the flame thereof; and another, confaederate in the tryal, stand a mile off in the open field: then let him in the steeple strike the Bell with a weighty hammer, and in the same instant withdraw the v••••l; and so let him in the field account by his pulse what distance of time inter∣venes betwixt his sight of the Light, and hearing of the Sound. If the strokes of the Artery, which are subject to variation, for many causes, seem less certain; the Seconds in a minute watch (which are 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, aequ••tem∣poraneous) will be an exact measure of the interval, and so of the veloci∣ty of a Sound. Plura vid. apud Mersennum lib. 2. Harmonic. proposit. 40.

Another admirable secret there is in the Motion of Sound, which is,* 1.25 that no Winde can accelerate, or retard it, but it is delated from the Sonant to the Audient in equal time, whether the wind be high or gentle, secund or adverse. For, a Secund or favourable Wind is incomparably slower in mo∣tion than a sound, as appears by the Rack or drift of clouds, the undulati∣on of Corn fields, the successive inclination of the topsof trees in woods,

the rowling of waves at sea, &c. but an Adverse wind, though it may indeed disturb a sound▪ or weaken it by suppressing some of its particles (which is evident from h••nce, that all sounds attaining the eare against the wind, are not so clear and distinct, as when they are heard with the wind; as in Bells, whose noyse al••••rnately riseth and falleth in contrary gusts) yet do all the particles that r••main uninterrupted, permeate the medium with equal ve∣locity. This may be soon Experimented either by Cannons, as Mersen∣nus, or a cand•••• and bell, as the Lord Bacon.

Notes

• * 1.1

  Art. 1. The Product of the Praemi∣ses, concern∣ing the points of Consent, & Dissent of Au∣dible and Visi∣ble Species: viz. That Sounds are Corporeal.
• * 1.2

  Art. 2. An obstruction o•• praejudice, from the gene∣rally supposed repugnant Au∣th••rities of some of the Ancients; ex∣peded.
• * 1.3

  Art. 3. An Argument of the Corpori∣ety of Sounds.
• * 1.4

  Art. 4. A Second Ar∣gumen••.
• * 1.5

  C••ROLLA∣R••.

  Art. 5. The 〈…〉〈…〉, where 〈…〉〈…〉 d••s••ant f••••m ••he So∣nant a••d Re∣p••••cu••i••••••.
• * 1.6

  COROLLA∣RY. 2.

  Art. 6. Why Concaves yeild the strongest and longest Sounds.
• * 1.7

  COROLLA∣RY 3.

  Art. 7. The reason of Con••urrent E∣choes, where the Audient is near the Re∣flectent, and remote from the sonant.
• * 1.8

  COROLLA∣RY 4.

  Art. 8. Why Echoes Mon••ph••n re∣hear••e so much the fewer syl∣lables, by how much nearer the audient is to the Refle∣cten••.
• * 1.9

  COROLLA∣RY 5.

  Art. 9. The rea••on of P••lyph••n Echoes.
• * 1.10

  Art. 10. A Third Argu∣ment of the Materiality of S••unds:
• * 1.11

  Art. 11. The necessity of a certain Configuration in a Sound; in∣ferred from the Distinction of one sound from another, by the Sense.
• * 1.12

  Art. 12. The same con∣firmed by the A••ctority of Pythagoras, Plato, and Ari∣stotle.
• * 1.13

  Art. 13. And by the Capacity of the most subtle parts of the Aer.
• * 1.14

  Art. 14. The Reason 〈…〉〈…〉.
• * 1.15

  Art. 15. The most sub∣tle Particles of the Aer onely, the material of Sounds.
• * 1.16

  PARAD••X.

  Art. 16. One and the sa••e nu••e••i∣ca•• v••yc••, not heard by two men, no•• ••oth ears of one man.
• * 1.17

  Art. 17. A PRO∣BLEM not yet solved by any Philo∣sopher: viz. How such in∣fi••ite Variety of Words is formed onely by the various motions of the Tongue and Lips.
• * 1.18

  Art. 18. A Second (also yet unconque∣red) Difficulty, viz. the deter∣minate Perni∣city of the Aers motion, when exploded from the Lungs, in Speech.
• * 1.19

  Art. 19. All Sounds Created by M••tion, and that either when that in∣termediate Aer is confracted by two solids, mutually resi∣stent; or when the aer is per∣cust by one Solid; or when a solid is per∣cust by the Aer.
• * 1.20

  Art. 20. Rapidity of motion neces∣sary to the Creation of a Sound, not in the First Case.
• * 1.21

  Art. 21. But, in the S••∣••••nd and Last.
• * 1.22

  Art. 22. 〈…〉〈…〉 are of 〈…〉〈…〉 the D••lati∣on.
• * 1.23

  Art. 23. The Rea••on thereof.
• * 1.24

  Art. 24. To measure the Velocity of great Sounds.
• * 1.25

  Art. 25. Sounds, ••oe subject to R••∣••ardat••••n▪ ••••om adve••se▪ no•• Acceleration, fr••m Secun•• Winds.