(3) It is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of music from the Egyptians, who, in turn, considered Hermes the founder of the art. According to one legend, this god constructed the first lyre by stretching strings across the concavity of a turtle shell. Both Isis and Osiris were patrons of music and poetry. Plato, in describing the antiquity of these arts among the Egyptians, declared that songs and poetry had existed in Egypt for at least ten thousand years, and that these were of such an exalted and inspiring nature that only gods or godlike men could have composed them. In the Mysteries the lyre was regarded as the secret symbol of the human constitution, the body of the instrument representing the physical form, the strings the nerves, and the musician the spirit. Playing upon the nerves, the spirit thus created the harmonies of normal functioning, which, however, became discords if the nature of man were defiled.

(14) Pythagoras evinced such a marked preference for stringed instruments that he even went so far as to warn his disciples against allowing their ears to be defiled by the sounds of flutes or cymbals. He further declared that the soul could be purified from its irrational influences by solemn songs sung to the accompaniment of the lyre. In his investigation of the therapeutic value of harmonics, Pythagoras discovered that the seven modes--or keys--of the Greek system of music had the power to incite or allay the various emotions. It is related that while observing the stars one night he encountered a young man befuddled with strong drink and mad with jealousy who was piling faggots about his mistress' door with the intention of burning the house. The frenzy of the youth was accentuated by a flutist a short distance away who was playing a tune in the stirring Phrygian mode. Pythagoras induced the musician to change his air to the slow, and rhythmic Spondaic mode, whereupon the intoxicated youth immediately became composed and, gathering up his bundles of wood, returned quietly to his own home.

(1) Since, however, we are narrating the wisdom employed by Pythagoras in instructing his disciples, it will not be unappropriate to relate that which is proximate in a following order to this, viz. how he invented the harmonic science, and harmonic ratios. But for this purpose we must begin a little higher. Intently considering once, and reasoning with himself, whether it would be possible to devise a certain instrumental assistance to the hearing, which should be firm and unerring, such as the sight obtains through the compass and the rule, or, by Jupiter, through a dioptric instrument; or such as the touch obtains through the balance, or the contrivance of measures;—thus considering, as he was walking near a brazier’s shop, he heard from a certain divine casualty the hammers beating out a piece of iron on an anvil, and producing sounds that accorded with each other, one combination only excepted.

But he recognized in those sounds, the diapason, the diapente, and the diatessaron, harmony. He saw, however, that the sound which was between the diatessaron and the diapente was itself by itself dissonant, yet, nevertheless, gave completion to that which was the greater sound among them. Being delighted, therefore, to find that the thing which he was anxious to discover had succeeded to his wishes by divine assistance, he went into the brazier’s shop, and found by various experiments, that the difference of sound arose from the magnitude of the hammers, but not from the force of the strokes, nor from the figure of the hammers, nor from the transposition of the iron which was beaten. When, therefore, he had accurately examined the weights and the equal counterpoise of the hammers, he returned home, and fixed one stake diagonally to the walls, lest if there were many, a certain difference should arise from this circumstance, or in short, lest the peculiar nature of each of the stakes should cause a suspicion of mutation.

Afterwards, from this stake he suspended four chords consisting of the same materials, and of the same magnitude and thickness, and likewise equally twisted. To the extremity of each chord also he tied a weight. And when he had so contrived, that the chords were perfectly equal to each other in length, he afterwards alternately struck two chords at once, and found the before-mentioned symphonies, viz. a different symphony in a different combination. For he discovered that the chord which was stretched by the greatest weight, produced, when compared with that which was stretched by the smallest, the symphony diapason. But the former of these weights was twelve pounds, and the latter six. And, therefore, being in a duple ratio, it exhibited the consonance diapason; which the weights themselves rendered apparent.

But again, he found that the chord from which the greatest weight was suspended compared with that from which the weight next to the smallest depended, and which weight was eight pounds, produced the symphony diapente. Hence he discovered that this symphony is in a sesquialter ratio, in which ratio also the weights were to each other. And he found that the chord which was stretched by the greatest weight, produced, when compared with that which was next to it in weight, and was nine pounds, the symphony diatessaron, analogously to the weights. This ratio, therefore, he discovered to be sesquitertian; but that of the chord from which a weight of nine pounds was suspended, to the chord which had the smallest weight [or six pounds,] to be sesquialter.

For 9 is to 6 in a sesquialter ratio. In like manner, the chord next to that from which the smallest weight depended, was to that which had the smallest weight, in a sesquitertian ratio, [for it was the ratio of 8 to 6,] but to the chord which had the greatest weight, in a sesquialter ratio [for such is the ratio of 12 to 8.] Hence, that which is between the diapente and the diatessaron, and by which the diapente exceeds the diatessaron, is proved to be in an epogdoan ratio, or that of 9 to 8. But either way it may be proved that the diapason is a system consisting of the diapente in conjunction with the diatessaron, just as the duple ratio consists of the sesquialter and sesquitertian, as for instance, 12, 8, and 6; or conversely, of the diatessaron and the diapente, as in the duple ratio of the sesquitertian and sesquialter ratios, as for instance 12, 9, and 6.

After this manner, therefore, and in this order, having conformed both his hand and his hearing to the suspended weights, and having established according to them the ratio of the habitudes, he transferred by an easy artifice the common suspension of the chords from the diagonal stake to the limen of the instrument, which he called chordotonon . But he produced by the aid of pegs a tension of the chords analogous to that effected by the weights.

(4) While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonials, also to complement their poetry and drama, it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical foundation. Although it is said that he himself was not a musician, Pythagoras is now generally credited with the discovery of the diatonic scale. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. How he actually solved the problem is unknown, but the following explanation has been invented.

(2) Employing this method, therefore, as a basis, and as it were an infallible rule, he afterwards extended the experiment to various instruments; viz. to the pulsation of patellæ or pans, to pipes and reeds, to monochords, triangles, and the like. And in all these he found an immutable concord with the ratio of numbers. But he denominated the sound which participates of the number 6 hypate : that which participates of the number 8 and is sesquitertian, mese ; that which participates of the number 9, but is more acute by a tone than mese, he called paramese , and epogdous ; but that which participates of the dodecad, nete . Having also filled up the middle spaces with analogous sounds according to the diatonic genus, he formed an octochord from symphonious numbers, viz. from the double, the sesquialter, the sesquitertian, and from the difference of these, the epogdous.

And thus he discovered the [harmonic] progression, which tends by a certain physical necessity from the most grave [i. e. flat] to the most acute sound, according to this diatonic genus. For from the diatonic, he rendered the chromatic and enharmonic genus perspicuous, as we shall some time or other show when we treat of music. This diatonic genus, however, appears to have such physical gradations and progressions as the following; viz. a semitone, a tone, and then a tone; and this is the diatessaron, being a system consisting of two tones, and of what is called a semitone. Afterwards, another tone being assumed, viz. the one which is intermediate, the diapente is produced, which is a system consisting of three tones and a semitone.

In the next place to this is the system of a semitone, a tone, and a tone, forming another diatessaron, i. e. another sesquitertian ratio. So that in the more ancient heptachord indeed, all the sounds, from the most grave, which are with respect to each other fourths, produce every where with each other the symphony diatessaron; the semitone receiving by transition, the first, middle, and third place, according to the tetrachord. In the Pythagoric octachord, however, which by conjunction is a system of the tetrachord and pentachord, but if disjoined is a system of two tetrachords separated from each other, the progression is from the most grave sound. Hence all the sounds that are by their distance from each other fifths, produce with each other the symphony diapente; the semitone successively proceeding into four places, viz. the first, second, third, and fourth. After this manner, therefore, it is said that music was discovered by Pythagoras. And having reduced it to a system, he delivered it to his disciples as subservient to every thing that is most beautiful.

(5) One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

(1) Conceiving, however, that the first attention which should be paid to men, is that which takes place through the senses; as when some one perceives beautiful figures and forms, or hears beautiful rythms and melodies, he established that to be the first erudition which subsists through music, and also through certain melodies and rythms, from which the remedies of human manners and passions are obtained, together with those harmonies of the powers of the soul which it possessed from the first. He likewise devised medicines calculated to repress and expel the diseases both of bodies and souls. And by Jupiter that which deserves to be mentioned above all these particulars is this, that he arranged and adapted for his disciples what are called apparatus and contrectations, divinely contriving mixtures of certain diatonic, chromatic, and euharmonic melodies, through which he easily transferred and circularly led the passions of the soul into a contrary direction, when they had recently and in an irrational and clandestine manner been formed; such as sorrow, rage, and pity, absurd emulation and fear, all-various desires, angers, and appetites, pride, supineness, and vehemence.

For he corrected each of these by the rule of virtue, attempering them through appropriate melodies, as through certain salutary medicines. In the evening, likewise, when his disciples were retiring to sleep, he liberated them by these means from diurnal perturbations and tumults, and purified their intellective power from the influxive and effluxive waves of a corporeal nature; rendered their sleep quiet, and their dreams pleasing and prophetic. But when they again rose from their bed, he freed them from nocturnal heaviness, relaxation and torpor, through certain peculiar songs and modulations, produced either by simply striking the lyre, or employing the voice. Pythagoras, however, did not procure for himself a thing of this kind through instruments or the voice, but employing a certain ineffable divinity, and which it is difficult to apprehend, he extended his ears, and fixed his intellect in the sublime symphonies of the world, he alone hearing and understanding, as it appears, the universal harmony and consonance of the spheres, and the stars that are moved through them, and which produce a fuller and more intense melody than any thing effected by mortal sounds.

This melody also was the result of dissimilar and variously differing sounds, celerities, magnitudes, and intervals, arranged with reference to each other in a certain most musical ratio, and thus producing a most gentle, and at the same time variously beautiful motion and convolution. Being therefore irrigated as it were with this melody, having the reason of his intellect well arranged through it, and as I may say, exercised, he determined to exhibit certain images of these things to his disciples as much as possible, especially producing an imitation of them through instruments, and through the mere voice alone. For he conceived that by him alone, of all the inhabitants of the earth, the mundane sounds were understood and heard, and this from a natural fountain itself and root.

He therefore thought himself worthy to be taught, and to learn something about the celestial orbs, and to be assimilated to them by desire and imitation, as being the only one on the earth adapted to this by the conformation of his body, through the dæmoniacal power that inspired him. But he apprehended that other men ought to be satisfied in looking to him, and the gifts he possessed, and in being benefited and corrected through images and examples, in consequence of their inability to comprehend truly the first and genuine archetypes of things. Just, indeed, as to those who are incapable of looking intently at the sun, through the transcendent splendor of his rays, we contrive to exhibit the eclipses of that luminary, either in the profundity of still water, or through melted pitch, or through some darkly-splendid mirror; sparing the imbecility of their eyes, and devising a method of representing a certain repercussive light, though less intense than its archetype, to those who are delighted with a thing of this kind. Empedocles also appears to have obscurely signified this about Pythagoras, and the illustrious and divinely-gifted conformation of his body above that of other men, when he says:

(27) Many early instruments had seven Strings, and it is generally conceded that Pythagoras was the one who added the eighth string to the lyre of Terpander. The seven strings were always related both to their correspondences in the human body and to the planets. The names of God were also conceived to be formed from combinations of the seven planetary harmonies. The Egyptians confined their sacred songs to the seven primary sounds, forbidding any others to be uttered in their temples. One of their hymns contained the following invocation: "The seven sounding tones praise Thee, the Great God, the ceaseless working Father of the whole universe." In another the Deity describes Himself thus: "I am the great indestructible lyre of the whole world, attuning the songs of the heavens. (See Nauman's History of Music.)

(1) Pythagoras was likewise of opinion that music contributed greatly to health, if it was used in an appropriate manner. For he was accustomed to employ a purification of this kind, but not in a careless way. And he called the medicine which is obtained through music by the name of purification. But he employed such a melody as this about the vernal season. For he placed in the middle a certain person who played on the lyre, and seated in a circle round him those who were able to sing. And thus, when the person in the centre struck the lyre, those that surrounded him sung certain pæans, through which they were seen to be delighted, and to become elegant and orderly in their manners.

But at another time they used music in the place of medicine. And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires. He likewise used dancing; but employed the lyre as an instrument for this purpose. For he conceived that the pipe was calculated to excite insolence, was a theatrical instrument, and had by no means a liberal sound. Select verses also of Homer and Hesiod were used by him, for the purpose of correcting the soul.

Among the deeds of Pythagoras likewise, it is said, that once through the spondaic song of a piper, he extinguished the rage of a Tauromenian lad, who had been feasting by night, and intended to burn the vestibule of his mistress, in consequence of seeing her coming from the house of his rival. For the lad was inflamed and excited [to this rash attempt] by a Phrygian song; which however Pythagoras most rapidly suppressed. But Pythagoras, as he was astronomizing, happened to meet with the Phrygian piper at an unseasonable time of night, and persuaded him to change his Phrygian for a spondaic song; through which the fury of the lad being immediately repressed, he returned home in an orderly manner, though a little before this, he could not be in the least restrained, nor would in short, bear any admonition; and even stupidly insulted Pythagoras when he met him.

When a certain youth also rushed with a drawn sword on Anchitus, the host of Empedocles, because, being a judge, he had publicly condemned his father to death, and would have slain him as a homicide, Empedocles changed the intention of the youth, by singing to his lyre that verse of Homer,

(15) There is also an account of how Empedocles, a disciple of Pythagoras, by quickly changing the mode of a musical composition he was playing, saved the life of his host, Anchitus, when the latter was threatened with death by the sword of one whose father he had condemned to public execution. It is also known that Esculapius, the Greek physician, cured sciatica and other diseases of the nerves by blowing a loud trumpet in the presence of the patient.

(2) "How this worthy Science was first begunne, I shall tell. Before Noah's Flood, there was a man called Lameck as it is written in the 4 Chap. of Gen.: and this Lameck had two Wives. The one was called Adah, and the other Zillah; by the first wife Adah he gott two Sons, the one called Jaball, and the other Juball, and by the other wife Zillah he got a Son and Daughter, and the four children found the beginning of all Crafts in the world. This Jaball was the elder Son, and he found the Craft of Geometric, and he parted flocks, as of Sheep and Lambs in the fields, and first wrought Houses of Stone and Tree, as it is noted in the Chap, aforesaid, and his Brother Juball found the crafte of Musick, of Songs, Organs and Harp. The Third Brother [Tubal-cain] found out Smith's craft to work Iron and steel, and their sister Naamah found out the art of Weaving. These children did know thatt God would take Vengeance for Sinne, either by fire or water, wherefor they wrote these Sciences which they had found in Two Pillars of stone, thatt they might be found after the Flood. The one stone was called Marbell--cannott burn with Fire, and the other was called Laturus [brass?], thatt cannott drown in the Water." The author of this Constitution there upon declares that one of these pillars was later discovered by Hermes, who communicated to mankind the secrets thereon inscribed.

(1) Since, however, we have thus generally, and with arrangement, discussed what pertains to Pythagoras and the Pythagoreans; let us after this narrate such scattered particulars relative to this subject, as do not fall under the above-mentioned order. It is said, therefore, that each of the Greeks who joined himself to this community of the Pythagoreans, was ordered to use his native language. For they did not approve of the use of a foreign tongue. Foreigners also united themselves to the Pythagoric sect, viz. the Messenians, the Lucani, Picentini, and the Romans. And Metrodorus the son of Thyrsus who was the father of Epicharmus, and who transferred the greater part of his doctrine to medicine, says in explaining the writings of his father to his brother, that Epicharmus, and prior to him Pythagoras, conceived that the best dialect, as well as the best harmony of music, is the Doric; that the Ionic and the Æolic participate of the chromatic harmony; but that the Attic dialect is replete with this in a still greater degree. They were also of opinion, that the Doric dialect, which consists of vocal letters, is enharmonic.

(2) Fables likewise bear testimony to the antiquity of this dialect. For in these it is said that Nereus married Doris the daughter of Ocean; by whom he had fifty daughters, one of which was the mother of Achilles. Metrodorus also says, that according to some, Hellen was the offspring of Deucalion, who was the son of Prometheus and Pyrrha the daughter of Epimetheus; and that from him came Dorus, and Æolus. He farther observes, that he learnt from the sacred rites of the Babylonians, that Hellen was the offspring of Jupiter, and that the sons of Hellen were Dorus, Xuthus, and Æolus; with which narrations Herodotus also accords. It is difficult, however, for those in more recent times to know accurately, in particulars so ancient, which of these narrations is to be preferred.

But it may be collected from each of these histories, that the Doric dialect is acknowledged to be the most ancient; that the Æolic is next to this, which received its name from Æolus; and that the Ionic ranks as the third, which derived its appellation from Ion the son of Xuthus. The Attic is the fourth, which was denominated from Creusa, the daughter of Erectheus, and is posterior to the former dialects by three generations, as it existed about the time of the Thracians, and the rape of Orithyia, as is evident from the testimony of most histories. Orpheus also, who is the most ancient of the poets, used the Doric dialect.

(11) After Pythagoras of Samos, its founder, the Italic or Pythagorean school numbers among its most distinguished representatives Empedocles, Epicharmus, Archytas, Alcmæon, Hippasus, Philolaus, and Eudoxus. Pythagoras (580-500? B.C.) conceived mathematics to be the most sacred and exact of all the sciences, and demanded of all who came to him for study a familiarity with arithmetic, music, astronomy, and geometry. He laid special emphasis upon the philosophic life as a prerequisite to wisdom. Pythagoras was one of the first teachers to establish a community wherein all the members were of mutual assistance to one another in the common attainment of the higher sciences. He also introduced the discipline of retrospection as essential to the development of the spiritual mind. Pythagoreanism may be summarized as a system of metaphysical speculation concerning the relationships between numbers and the causal agencies of existence. This school also first expounded the theory of celestial harmonics or "the music of the spheres." John Reuchlin said of Pythagoras that he taught nothing to his disciples before the discipline of silence, silence being the first rudiment of contemplation. In his Sophist, Aristotle credits Empedocles with the discovery of rhetoric. Both Pythagoras and Empedocles accepted the theory of transmigration, the latter saying: "A boy I was, then did a maid become; a plant, bird, fish, and in the vast sea swum." Archytas is credited with invention of the screw and the crane. Pleasure he declared to be a pestilence because it was opposed to the temperance of the mind; he considered a man without deceit to be as rare as a fish without bones.

(6) Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave, for doubling the weight had the same effect as halving the string. The tension of the first string being twice that of the fourth string, their ratio was said to be 2:1, or duple. By similar experimentation he ascertained that the first and third string produced the harmony of the diapente, or the interval of the fifth. The tension of the first string being half again as much as that of the third string, their ratio was said to be 3:2, or sesquialter. Likewise the second and fourth strings, having the same ratio as the first and third strings, yielded a diapente harmony. Continuing his investigation, Pythagoras discovered that the first and second strings produced the harmony of the diatessaron, or the interval of the third; and the tension of the first string being a third greater than that of the second string, their ratio was said to be 4:3, or sesquitercian. The third and fourth strings, having the same ratio as the first and second strings, produced another harmony of the diatessaron. According to Iamblichus, the second and third strings had the ratio of 8:9, or epogdoan.

(1) Universally, however, it deserves to be known, that Pythagoras discovered many paths of erudition, and that he delivered an appropriate portion of wisdom conformable to the proper nature and power of each; of which the following is the greatest argument. When Abaris, the Scythian, came from the Hyperboreans, unskilled and uninitiated in the Grecian learning, and was then of an advanced age, Pythagoras did not introduce him to erudition through various theorems, but instead of silence, auscultation for so long a time, and other trials, he immediately considered him adapted to be an auditor of his dogmas, and instructed him in the shortest way in his treatise On Nature, and in another treatise On the Gods. For Abaris came from the Hyperboreans, being a priest of the Apollo who is there worshipped, an elderly man, and most wise in sacred concerns; but at that time he was returning from Greece to his own country, in order that he might consecrate to the God in his temple among the Hyperboreans, the gold which he had collected.

Passing therefore through Italy, and seeing Pythagoras, he especially assimilated him to the God of whom he was the priest. And believing that he was no other than the God himself, and that no man resembled him, but that he was truly Apollo, both from the venerable indications which he saw about him, and from those which the priest had known before, he gave Pythagoras a dart which he took with him when he left the temple, as a thing that would be useful to him in the difficulties that would befal him in so long a journey. For he was carried by it, in passing through inaccessible places, such as rivers, lakes, marshes, mountains, and the like, and performed through it, as it is said, lustrations, and expelled pestilence and winds from the cities that requested him to liberate them from these evils.

We are informed, therefore, that Lacedæmon, after having been purified by him, was no longer infested with pestilence, though prior to this it had frequently fallen into this evil, through the baneful nature of the place in which it was built, the mountains of Taygetus producing a suffocating heat, by being situated above the city, in the same manner as Cnossus in Crete. And many other similar particulars are related of the power of Abaris. Pythagoras, however, receiving the dart, and neither being astonished at the novelty of the thing, nor asking the reason why it was given to him, but as if he was in reality a God himself, taking Abaris aside, he showed him his golden thigh, as an indication that he was not [wholly] deceived [in the opinion he had formed of him;] and having enumerated to him the several particulars that were deposited in the temple, he gave him sufficient reason to believe that he had not badly conjectured [in assimilating him to Apollo].

Pythagoras also added, that he came [into the regions of mortality] for the purpose of remedying and benefiting the condition of mankind, and that on this account he had assumed a human form, lest men being disturbed by the novelty of his transcendency, should avoid the discipline which he possessed. He likewise exhorted Abaris to remain in that place, and to unite with him in correcting [the lives and manners] of those with whom they might meet; but to share the gold which he had collected, in common with his associates, who were led by reason to confirm by their deeds the dogma, that the possessions of friends are common . Thus, therefore, Pythagoras unfolded to Abaris, who remained with him, as we have just now said, physiology and theology in a compendious way; and instead of divination by the entrails of beasts, he delivered to him the art of prognosticating through numbers, conceiving that this was purer, more divine, and more adapted to the celestial numbers of the Gods.

He delivered also to Abaris other studies which were adapted to him. That we may return, however, to that for the sake of which the present treatise was written, Pythagoras endeavoured to correct and amend different persons, according to the nature and power of each. All such particulars therefore as these, have neither been transmitted to the knowledge of men, nor is it easy to narrate all that has been transmitted to us concerning him.

(17) The therapeutic music of Pythagoras is described by Iamblichus thus: "And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires." (See The Life of Pythagoras.)

(4) Besides these, likewise, he established another most beautiful species of justice, viz. the legislative; which orders indeed what ought to be done; but forbids what ought not to be done. This species, however, is more excellent than the judicial form of justice. For it resembles medicine which heals those that are diseased. It differs from it however in this, that it does not suffer disease to commence, but pays attention from afar to the health of the soul. This therefore being the case, the best of all legislators came from the school of Pythagoras: in the first place, indeed, Charondas the Catanæan; and in the next place, Zaleucus and Timaratus, who wrote laws for the Locrians. Besides these likewise there were Theætetus and Helicaon, Aristocrates, and Phytius, who became the legislators of the Rhegini.

All these likewise obtained from their citizens honors similar to those of the Gods. For Pythagoras did not act like Heraclitus, who said that he would write laws for the Ephesians, and also petulantly said, that in those laws he would order the citizens to hang themselves. But Pythagoras endeavoured to establish laws, with great benevolence and political science. Why however is it requisite to admire these men? For Zamolxis being a Thracian, and the slave of Pythagoras, after he had heard the discourses of Pythagoras, having obtained his liberty, and returned to Getæ, gave laws to them, as we have before observed in the beginning of this work, and exhorted the citizens to fortitude, having persuaded them that the soul is immortal.

Hence even at present, all the Galatæ, and Trallians, and many others of the Barbarians, persuade their children that the soul cannot be destroyed; but that it remains after death, and that death is not to be feared, but danger is to be encountered with a firm and manly mind. Having therefore instructed the Getæ in these things, and written laws for them, he was considered by them as the greatest of the Gods.