(81) And the same Orpheus speaks thus: "But to the word divine, looking, attend, Keeping aright the heart's receptacle Of intellect, and tread the straight path well, And only to the world's immortal King Direct thy gaze."

(13) Lo, to thee I pour as a libation the sparkling gleam of Bromius."He signifies, as I think, the soul's first milk-like nutriment of the four-and-twenty elements, after which solidified milk comes as food. And last, he teaches of the blood of the vine of the Word, the sparkling wine, the perfecting gladness of instruction. And Drops is the operating Word, which, beginning with elementary training, and advancing to the growth of the man, inflames and illumines man up to the measure of maturity. The third is said to be a writing copy for children -marptes, sfigx klwy, zxnkqhdos. And it signifies, in my opinion, that by the arrangement of the elements and of the world, we must advance to the knowledge of what is more perfect, since eternal salvation is attained by force and toil; for maryai is to grasp. And the harmony of the world is meant by the Sphinx; and zunkqhdon means difficulty; and klwys means at once the secret knowledge of the Lord and day. Well! does not Epigenes, in his book on the Poetry of Orpheus, in exhibiting the peculiarities found in Orpheus, say that by " the curved rods" (keraisi) is meant "ploughs;"and by the warp (sthmosi), the furrows; and the woof (mitos) is a figurative expression for the seed; and that the tears of Zeus signify a shower; and that the "parts" (moirai) are, again, the phases of the moon, the thirtieth day, and the fifteenth, and the new moon, and that Orpheus accordingly calls them "white-robed," as being parts of the light?

(88) "And He, from good, to mortals planteth ill, And cruel war, and tearful woes," according to Orpheus.

THE holy king of Gods and men I call, Celestial Law, the righteous seal of all; The seal which stamps whate'er the earth contains, Nature's firm basis, and the liquid plains: Stable, and starry, of harmonious frame, Preserving laws eternally the same: Thy all-composing pow'r in heaven appears, Connects its frame, and props the starry spheres; And shakes weak Envy with tremendous sound, Toss'd by thy arm in giddy whirls around. 'Tis thine, the life of mortals to defend, And crown existence with a blessed end; For thy command and alone, of all that lives Order and rule to ev'ry dwelling gives: Ever observant of the upright mind, And of just actions the companion kind; Foe to the lawless, with avenging ire, Their steps involving in destruction dire. Come, bless, abundant pow'r, whom all revere, By all desir'd, with favr'ing mind draw near; Give me thro' life, on thee to fix my fight, And ne'er forsake the equal paths of right. Next: LXIV: To Mars Sacred Texts | Classics « Previous: The Initiations of Orpheus: LXII: To Equity Index Next: The Initiations of Orpheus: LXIV: To Mars » Sacred Texts | Classics

THEE, Nemesis I call, almighty queen, By whom the deeds of mortal life are seen: Eternal, much rever'd, of boundless sight, Alone rejoicing in the just and right: Changing the counsels of the human breast For ever various, rolling without rest. To every mortal is thy influence known, And men beneath thy righteous bondage groan; For ev'ry thought within the mind conceal'd Is to thy fight perspicuously reveal'd. The soul unwilling reason to obey By lawless passion rul'd, thy eyes survey. All to see, hear, and rule, O pow'r divine Whose nature Equity contains, is thine. Come, blessed, holy Goddess, hear my pray'r, And make thy mystic's life, thy constant care: Give aid benignant in the needful hour, And strength abundant to the reas'ning pow'r; And far avert the dire, unfriendly race Of counsels impious, arrogant, and base. Next: LXI: To Justice Sacred Texts | Classics « Previous: The Initiations of Orpheus: LIX: To the Graces Index Next: The Initiations of Orpheus: LXI: To Justice » Sacred Texts | Classics

(47) Further, Onomacritus the Athenian, who is said to have been the author of the poems ascribed to Orpheus, is ascertained to have lived in the reign of the Pisistratidae, about the fiftieth Olympiad. And Orpheus, who sailed with Hercules, was the pupil of Musaeus. Amphion precedes the Trojan war by two generations. And Demodocus and Phemius were posterior to the capture of Troy; for they were famed for playing on the lyre, the former among the Phaeacians, and the latter among the suitors. And the Orades ascribed to Musaeus are said to be the production of Onomacritus, and the Crateres of Orpheus the production of Zopyrus of Heraclea, and The Descent to Hades that of Prodicus of Samos. Ion of Chios relates in the Triagmi, that Pythagoras ascribed certain works [of his own] to Orpheus. Epigenes, in his book respecting The Poetry attributed to Orpheus, says that The Descent to Hades and the Sacred Discourse were the production of Cecrops the Pythagorean; and the Peplus and the Physics of Brontinus. Some also make Terpander out ancient. Hellanicus, accordingly, relates that he lived in the time of Midas: but Phanias, who places Lesches the Lesbian before Terpander, makes Terpander younger than Archilochus, and relates that Lesches contended with Arctinus, and gained the victory. Xanthus the Lydian says that he lived about the eighteenth Olympiad; as also Dionysius says that Thasus was built about the fifteenth Olympiad: so that it is clear that Archilochus was already known after the twentieth Olympiad. He accordingly relates the destruction of Magnetes as having recently taken place. Simonides is assigned to the time of Archilochus. Callinns is not much older; for Archilochus refers to Magnetes as destroyed, while the latter refers to it as flourishing.

(399) under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave. And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking. Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale? I suppose not. Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments? Certainly not. But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute? Clearly not. There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country. That is surely the conclusion to be drawn from the argument. The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said. Not at all, he replied. And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious. And we have done wisely, he replied. Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of

(2) For first advances the Singer, bearing some one of the symbols of music. For they say that he must learn two of the books of Hermes, the one of which contains the hymns of the gods, the second the regulations for the king's life.

(10) And Nymphodorus of Amphipolis, in the third book of the Institutions of Asia, says that the bull Apis, dead and laid in a coffin (soros), was deposited in the temple of the god (daimonos) there worshipped, and thence was called Soroapis, and afterwards Serapis by the custom of the natives. And Apis is third after Inachus. Further, Latona lived in the time of Tityus. "For he dragged Latona, the radiant consort of Zeus." Now Tityus was contemporary with Tantalus. Rightly, therefor, the Boeotian Pindar writes, "And in time was Apollo born;" and no wonder when he is found along with Hercules, serving Admetus "for a long year." Zethus and Amphion, the inventors of music, lived about the age of Cadmus. And should one assert that Phemonoe was the first who sang oracles in verse to Acrisius, let him know that twenty-seven years after Phemonoe, lived Orpheus, and Musaeus, and Linus the teacher of Hercules. And Homer and Hesiod are much more recent than the Trojan war; and after them the legislators among the Greeks are far more recent, Lycurgus and Solon, and the seven wise men, and Pherecydes of Syros, and Pythagoras the great, who lived later, about the Olympiads, as we have shown. We have also demonstrated Moses to be more ancient, not only than those called poets and wise men among the Greeks, but than the most of their deities. Nor he alone, but the Sibyl also is more ancient than Orpheus. For it is said, that respecting her appellation and her oracular utterances there are several accounts; that being a Phrygian, she was called Artemis; and that on her arrival at Delphi, she sang- "O Delphians, ministers of far-darting Apollo, I come to declare the mind of Ægis-bearing Zeus, Enraged as I am at my own brother Apollo."

(364) sins by sacrifices or charms, with rejoicings and feasts; and they promise to harm an enemy, whether just or unjust, at a small cost; with magic arts and incantations binding heaven, as they say, to execute their will. And the poets are the authorities to whom they appeal, now smoothing the path of vice with the words of Hesiod;— ‘Vice may be had in abundance without trouble; the way is smooth and her dwelling-place is near. But before virtue the gods have set toil 6 ,’ and a tedious and uphill road: then citing Homer as a witness that the gods may be influenced by men; for he also says:— ‘The gods, too, may be turned from their purpose; and men pray to them and avert their wrath by sacrifices and soothing entreaties, and by libations and the odour of fat, when they have sinned and transgressed 7 .’ And they produce a host of books written by Musaeus and Orpheus, who were children of the Moon and the Muses—that is what they say—according to which they perform their ritual, and persuade not only individuals, but whole cities, that expiations and atonements for sin may be made by sacrifices and amusements which fill a vacant hour, and are equally at the service of the living and the dead; the latter

The FUMIGATION from MANNA. HEAR me, O Goddess! whose emerging ray Leads on the broad refulgence of the day; Blushing Aurora, whose celestial light Beams on the world with red'ning splendours bright: Angel of Titan, whom with constant round, Thy orient beams recall from night profound: Labour of ev'ry kind to lead is thine, Of mortal life the minister divine. Mankind in thee eternally delight, And none presumes to shun thy beauteous sight. Soon as thy splendours break the bands of rest, And eyes unclose with pleasing sleep oppress'd; Men, reptiles, birds, and beasts, with gen'ral voice, And all the nations of the deep, rejoice; For all the culture of our life is thine. Come, blessed pow'r! and to these rites incline: Thy holy light increase, and unconfin'd Diffuse its radiance on thy mystic's mind. Next: LXXVIII: To Themis Sacred Texts | Classics « Previous: The Initiations of Orpheus: LXXVI: To Mnemosyne, or the G... Index Next: The Initiations of Orpheus: LXXVIII: To Themis » Sacred Texts | Classics

(2) Nor is it without cause the Muses’ choir hath been sent down by Highest Deity unto the host of men; in order that, forsooth, the terrene world should not seem too uncultured, had it lacked the charm of measures, but rather that with songs and praise of men accompanied with music, He might be lauded,—He who alone is all, or is the Sire of all; and so not even on the earths, should there have been an absence of the sweetness of the harmony of heavenly praise.

The FUMIGATION from STORAX. O Jove much-honor'd, Jove supremely great, To thee our holy rites we consecrate, Our pray'rs and expiations, king divine, For all things round thy head exalted shine. The earth is thine, and mountains swelling high, The sea profound, and all within the sky. Saturnian king, descending from above, Magnanimous, commanding, sceptred Jove; All-parent, principle and end of all, Whose pow'r almighty, shakes this earthly ball; Ev'n Nature trembles at thy mighty nod, Loud-sounding, arm'd with light'ning, thund'ring God. Source of abundance, purifying king, O various-form'd from whom all natures spring; Propitious hear my pray'r, give blameless health, With peace divine, and necessary wealth. Next: XV: To Juno Sacred Texts | Classics « Previous: The Initiations of Orpheus: XIII: To Rhea Index Next: The Initiations of Orpheus: XV: To Juno » Sacred Texts | Classics

(10) Further, as an example of music, let us adduce David, playing at once and prophesying, melodiously praising God. Now the Enarmonic s suits best the Dorian harmony, and the Diatonic the Phrygian, as Aristoxenus says. The harmony, therefore, of the Barbarian psaltery, which exhibited gravity of strain, being the most ancient, most certainly became a model for Terpander, for the Dorian harmony, who sings the praise of Zeus thus: "O Zeus, of all things the Beginning, Rule, of, all; O Zeus, I send thee this beginning of hymns."

(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,

(531) their ears before their understanding. You mean, I said, those gentlemen who tease and torture the strings and rack them on the pegs of the instrument: I might carry on the metaphor and speak after their manner of the blows which the plectrum gives, and make accusations against the strings, both of backwardness and forwardness to sound; but this would be tedious, and therefore I will only say that these are not the men, and that I am referring to the Pythagoreans, of whom I was just now proposing to enquire about harmony. For they too are in error, like the astronomers; they investigate the numbers of the harmonies which are heard, but they never attain to problems—that is to say, they never reach the natural harmonies of number, or reflect why some numbers are harmonious and others not. That, he said, is a thing of more than mortal knowledge. A thing, I replied, which I would rather call useful; that is, if sought after with a view to the beautiful and good; but if pursued in any other spirit, useless. Very true, he said. Now, when all these studies reach the point of inter-communion and connection with one another, and come to be considered in their mutual affinities, then, I think, but not till then, will the pursuit of them have a value for our objects; otherwise there is no profit in them. I suspect so; but you are speaking, Socrates, of a vast work. What do you mean? I said; the prelude or what? Do you not know that all this is but the prelude to the actual strain which we have to learn? For you surely would not

(42) With his guards of state surrounding his palace, Though he needed no guards for the purpose Of warding off robbers and vagabonds; For he who is a just king knows everything, Justice is the guardian of his steps, His purpose in having this band of music was this, The wailing of horn and the thunder of drum Resemble in some sort that dread "trumpet blast." Wherefore philosophers say that we have learned The song of the spheres in their revolutions

The FUMIGATION from FRANKINCENSE. HERMES, draw near, and to my pray'r incline, Angel of Jove, and Maia's son divine; Studious of contests, ruler of mankind, With heart almighty, and a prudent mind. Celestial messenger, of various skill, Whose pow'rful arts could watchful Argus kill: With winged feet, 'tis thine thro' air to course, O friend of man, and prophet of discourse: Great life-supporter, to rejoice is thine, In arts gymnastic, and in fraud divine: With pow'r endu'd all language to explain, Of care the loos'ner, and the source of gain. Whose hand contains of blameless peace the rod, Corucian, blessed, profitable God; Of various speech, whose aid in works we find, And in necessities to mortals kind: Dire weapon of the tongue, which men revere, Be present, Hermes, and thy suppliant hear; Assist my works, conclude my life with peace, Give graceful speech, and me memory's increase. Next: XXVIII: To Proserpine Sacred Texts | Classics « Previous: The Initiations of Orpheus: XXVI: To The Mother of the Gods Index Next: The Initiations of Orpheus: XXVIII: To Proserpine » Sacred Texts | Classics

(6) As they by law are orderly dispos’d;

And reverence thy oath, but honor next

Th’ illustrious heroes.

Hence a certain Pythagorean, being compelled by law to take an oath, yet in order that he might preserve a Pythagoric dogma, though he would have sworn religiously, chose instead of swearing to pay three talents, this being the fine which he was condemned to pay to the defendant. That Pythagoras however thought that nothing was from chance and fortune, but that all events happened conformably to divine providence, and especially to good and pious men, is confirmed by what is related by Androcydes in his treatise on Pythagoric Symbols, of Thymaridas the Tarentine, and a Pythagorean. For when through a certain circumstance he was about to sail from his own country, and his friends who were present were embracing him, and bidding him farewell, some one said to him, when he had now ascended into the ship, May such things happen to you from the Gods, O Thymaridas, as are conformable to your wishes! But he replied, predict better things; for I should rather wish that such things may happen to me as are conformable to the will of the Gods. For he thought it was more scientific and equitable, not to resist or be indignant with divine providence. If, therefore, any one wishes to learn what were the sources whence these men derived so much piety, it must be said, that a perspicuous paradigm of the Pythagoric theology according to numbers, is in a certain respect to be found in the writings of Orpheus. Nor is it to be doubted, that Pythagoras receiving auxiliaries from Orpheus, composed his treatise Concerning the Gods, which on this account also he inscribed the Sacred Discourse, because it contains the flower of the most mystical place in Orpheus; whether this work was in reality written by Pythagoras, as by most authors it is said to have been, or as some of the Pythagoric school who are both learned and worthy of belief assert, was composed by Telauges; being taken by him from the commentaries which were left by Pythagoras himself to his daughter Damo, the sister of Telauges, and which it is said after her death were given to Bitale the daughter of Damo, and to Telauges the son of Pythagoras, and the husband of Bitale, when he was of a mature age. For when Pythagoras died, he was left very young with his mother Theano. In this Sacred Discourse also, or treatise concerning the Gods (for it has both these inscriptions), who it was that delivered to Pythagoras what is there said concerning the Gods, is rendered manifest. For it says: “ that Pythagoras the son of Mnesarchus was instructed in what pertains to the Gods, when he celebrated orgies in the Thracian Libethra, being initiated in them by Aglaophemus; and that Orpheus the son of Calliope, having learnt wisdom from his mother in the mountain Pangæus, said, that the eternal essence of number is the most providential principle of the universe , of heaven and earth, and the intermediate nature; and farther still, that it is the root of the permanency of divine natures, of Gods and dæmons .” From these things, therefore, it is evident that he learnt from the Orphic writers that the essence of the Gods is defined by number. Through the same numbers also, he produced an admirable fore-knowledge and worship of the Gods, both which are especially most allied to numbers. This, however, may be known from hence; for it is necessary to adduce a certain fact, in order to procure belief of what is said. When Abaris performed sacred rites in his accustomed manner, he procured a fore-knowledge of future events, which is studiously cultivated by all the Barbarians, through sacrificing animals, and especially birds; for they are of opinion that the viscera of such animals are subservient to a more accurate inspection. Pythagoras, therefore, not wishing to suppress his ardent pursuit of truth, but to impart it to him through a certain safer way, and without blood and slaughter, and also because he thought that a cock was sacred to the sun, furnished him with a consummate knowledge of all truth, as it is said, through the arithmetical science . He also obtained from piety, faith concerning the Gods. For Pythagoras always proclaimed, that nothing admirable pertaining to the Gods or divine dogmas should be disbelieved , because the Gods are able to accomplish all things. And the divine dogmas in which it is requisite to believe, are those which Pythagoras delivered. Thus, therefore, the Pythagoreans believed in, and assumed the things about which they dogmatised, because they were not the progeny of false opinion. Hence Eurytus the Crotonian, the auditor of Philolaus said, that a shepherd feeding his sheep near the tomb of Philolaus, heard some one singing. But the person to whom this was related, did not at all disbelieve the narration, but asked what kind of harmony it was. Pythagoras himself, also, being asked by a certain person what was indicated by seeming in sleep to converse with his father who was dead, answered that it indicated nothing. For neither, said he, is any thing portended by your speaking with me.

(3) Orpheus, then, having composed the line: "Since nothing else is more shameless and wretched than woman," Homer plainly says: "Since nothing else is more dreadful and shameless than a woman." And Musaeus having written: "Since art is greatly superior to strength," Homer says: "By art rather than strength is the woodcutter greatly superior." Again, Musaeus having composed the lines: "And as the fruitful field produceth leaves, And on the ash trees some fade, others grow, So whirls the race of man its leaf," Homer transcribes: "Some of the leaves the wind strews on the ground.