A STUDY OF MUSICAL ARCHETYPES: (I) THE SYMBOLIC OF NUMBERS (Fragment 2)         Corneliu Dan Georgescu 4. Hence, the numbers are not mere arithmetic expressions, but distinct individualities, ideas, forces,  supports for symbolical developments, eternal principles of truth ¹⁴: the principle of monad, dyad, triad,  tetrad, pentad, etc. ¹⁵ Like Plato, Nicomachus distinguishes between two kinds of numbers : the divine  Number or the Number idea (the governing archetype of the entire Universe) and the scientific number   with the Pythagoreans, the science of numbers would include arithmology (the “mystics” of the number),  arithmetics proper (the scientific number viewed as an abstraction) and computation proper   approach, arithmosophy would deal with the profound meaning of natural numbers, in distinction of  arithmetics, arithmology and arithmomancy ¹⁸. On the other hand, all that abides by Measure and Number  (the relation between numbers, surfaces, bodies, etc.) is - in the Pythagorean conception - Mousikē, a notion  denoting an essence of Universal music (or musicality) and includes rhythm (which creates space and time,  concepts that can only be experienced by the subject in its presence) ¹⁹. Together with Arithmetics,  Geometry and Astronomy, Mousikē forms the Pythagorean Quadrivium which reminds us of the condition  of music viewed as“the goal of the supreme aspiration in any art”, as “the spiritual essence of an epoch”   5. In what follows, we shall consider in compliance with the Pythagorean theory (accepted in principle also  by C. G. Jung) that the numbers are archetypes,hence they are notions irreducible in their essence,  archetypes symbolized by figures (0, 1, 2, 3, 4, 5, etc.). Obviously, each number may be assigned various  interpretations (especially as regards their concrete applications as a “carrier” of ancillary symbols in  particular cultural areas); however, they may have their own value which is communicated to the object   It is on this abstract value that we shall focus our attention in the sequel. The high degree of abstraction  itself of numerical archetypes allows the use of the latter in such contexts where they act as “vehicles of  spiritual concepts”, as a “support for any representation of the sacred” ²²     Printed in: REVUE ROUMAINE D’HISTOIRE DE L’ART - Série Théâtre, Musique, Cinéma. Tome XXI,  Bucarest 1984, p. 59-67, Editura Academiei RSR. Also printed as “Studiul arhetipurilor muzicale. I.  Simbolica numerelor.”  In: Studii de Muzicologie  XX/1987. Reprinted in Corneliu Dan Georgescu,  STUDIES ON MUSICAL ARCHETYPES. DOCOR, Berlin 2006