ἐκ τούτου γενομένης σιωπῆς, πάλιν οἱ περιηγηταὶ προεχειρίζοντο τὰς ῥήσεις. χρησμοῦ δέ τινος ἐμμέτρου λεχθέντος, οἶμαι, περὶ τῆς Αἴγωνος τοῦ Ἀργείου βασιλείας, πολλάκις ἔφη θαυμάσαι τῶν ἐπῶν ὁ Διογενιανός, ἐν οἷς οἱ χρησμοὶ λέγονται, τὴν φαυλότητα καὶ τὴν εὐτέλειαν. καίτοι μουσηγέτης ὁ θεός, καὶ τῆς λεγομένης λογιότητος οὐχ ἧττον αὐτῷ καλὸν ἢ τῆς περὶ μέλη καὶ ᾠδὰς εὐφωνίας μετεῖναι, καὶ πολὺ τὸν Ἡσίοδον εὐεπείᾳ καὶ τὸν Ὅμηρον ὑπερφθέγγεσθαι· τοὺς δὲ πολλοὺς τῶν χρησμῶν ὁρῶμεν καὶ τοῖς μέτροις καὶ τοῖς ὀνόμασι πλημμελείας καὶ φαυλότητος ἀναπεπλησμένους. παρὼν οὖν Ἀθήνηθεν ὁ ποιητὴς Σαραπίων εἶτʼ ἔφη ταῦτα τὰ ἔπη τοῦ θεοῦ πιστεύοντες εἶναι, τολμῶμεν αὖ πάλιν, ὡς λείπεται κάλλει τῶν Ὁμήρου καὶ Ἡσιόδου, λέγειν, καὶ οὐ χρησόμεθα τούτοις ὡς ἄριστα καὶ κάλλιστα πεποιημένοις, ἐπανορθούμενοι τὴν αὑτῶν κρίσιν προκατειλημμένην ὑπὸ φαύλης συνηθείας ὑπολαβὼν οὖν Βόηθος ὁ γεωμέτρης ʽ οἶσθα γὰρ τὸν ἄνδρα μεταταττόμενον ἢδη πρὸς τὸν Ἐπίκουρονʼ , ἆρʼ οὖν ἔφη τὸ τοῦ ζωγράφου Παύσωνος ἀκήκοας;ʼ οὐκ ἔγωγʼ εἶπεν ὁ Σαραπίων. ἀλλὰ μὴν ἄξιον. ἐκλαβὼν γὰρ ὡς ἔοικεν ἵππον ἀλινδούμενον γράψαι τρέχοντʼ ἔγραψεν. ἀγανακτοῦντος δὲ τάνθρώπου, γελάσας ὁ Παύσων κατέστρεψε τὸν πίνακα· καὶ γενομένων ἄνω τῶν κάτω, πάλιν ὁ ἵππος τρέχων ἀλλʼ ἀλινδούμενος ἐφαίνετο. τοῦτό φησιν ὁ Βίων ἐνίους τῶν λόγων πάσχειν, ὅταν ἀναστρέφωσι. διὸ καὶ τοὺς χρησμοὺς; ἔνιοι φήσουσιν εὖ καὶ καλῶς ἔχειν, ὅτι τοῦ θεοῦ εἰσιν· ἄλλοι τοῦ θεοῦ μὴ εἶναι, ὅτι φαύλως ἔχουσιν. ἐκεῖνο μὲν γὰρ ἐν ἀδήλῳ· τὸ δʼ οὐκ εὖ τὰ ἔπη πεποιῆσθαι τὰ περὶ τοὺς χρησμοὺς καὶ σοὶ κριτῇ δήπουθεν, ὦ φίλε Σαραπίων, εἶπεν, ἐναργές; ἐστι. ποιήματα γὰρ γράφεις τοῖς μὲν πράγμασι φιλοσόφως καὶ αὐστηρῶς, δυνάμει δὲ καὶ χάριτι καὶ κατασκευῇ τῇ περὶ λέξιν ἐοικότα τοῖς Ὁμήρου καὶ Ἡσιόδου μᾶλλον ἢ τοῖς ὑπὸ τῆς Πυθίας ἐκφερομένοις.
This said, after short silence, the guides began again to cite certain words of an ancient oracle in verse, which, as it seemed to me, pointed at the sovereignty of Aegon king of Argos. I have often wondered, said Diogenianus, at the meanness and ill-contrived hobbling of the verses which conveyed the ancient oracles into the world. And yet Apollo is called the chief of the Muses; whom it therefore behooved to take no less care of elegancy and beauty in style and language, than of the voice and manner of singing. Besides, he must needs be thought to surpass in a high degree either Homer or Hesiod in poetic skill. Nevertheless we find several of the oracles lame and erroneous, as well in reference to the measure as to the words. Upon which the poet Serapio, newly come from Athens, being then in company, said: If we believe that those verses were composed by Apollo, can we acknowledge what you allege, that they come short of the beauty and elegancy which adorn the writings of Homer and Hesiod; and shall we not make use of them as examples of neatness and curiosity, correcting our judgment anticipated and forestalled by evil custom? To whom Boethus the geometer (the person who you know has lately gone over to the camp of Epicurus) said: Have you not heard the story of Pauson the painter? Not I, replied Serapio. It is worth your attention, answered Boethus. He, having contracted to paint a horse wallowing upon his back, drew the horse galloping at full speed; at which when the person that had agreed with him seemed to be not a little displeased, Pauson fell a laughing, and turned the picture upside downward; by which means the posture was quite altered, and the horse that seemed to run before lay tumbling now upon the ground. This (as Bion says) frequently happens to propositions, when they are once inverted; for some will deny the oracles to be elegant, because they come from Apollo; others will deny Apollo to be the author, because of their rude and shapeless composure. For the one is dubious and uncertain; but this is manifest, that the verses wherein the oracles are generally delivered are no way laboriously studied. Nor can I appeal to a better judge than yourself, whose compositions and poems are not only written so gravely and philosophically, but, for invention and elegance, more like to those of Homer and Hesiod than the homely Pythian raptures.
καὶ ὁ Σαραπίων νοσοῦμεν γάρ εἶπεν ὦ Βόηθε, καὶ τὰ ὦτα καὶ τὰ ὄμματα, συνειθισμένοι διὰ τρυφὴν καὶ μαλακίαν τὰ ἡδίω καλὰ νομίζειν καὶ ἀποφαίνεσθαι. τάχα δὴ μεμψόμεθα τὴν Πυθίαν, ὅτι Γλαύκης οὐ φθέγγεται τῆς κιθαρῳδοῦ λιγυρώτερον, οὐδὲ χριομένη μύροις οὐδʼ ἁλουργίδας ἀμπεχομένη κάτεισιν εἰς τὸ ἄδυτον, οὐδʼ ἐπιθυμιᾷ κασίαν ἢ λήδανον ἢ λιβανωτὸν ἀλλὰ δάφνην καὶ κρίθινον ἄλευρον. οὐχ ὁρᾷς, εἶπεν, ὅσην χάριν ἔχει τὰ Σαπφικὰ μέλη κηλοῦντα καὶ καταθέλγοντα τοὺς ἀκροωμένους; Σίβυλλα δὲ μαινομένῳ στόματι καθʼ Ηράκλειτον ἀγέλαστα καὶ ἀκαλλώπιστα καὶ ἀμύριστα φθεγγομένη, χιλίων ἐτῶν ἐξικνεῖται τῇ φωνῇ διὰ τὸν θεόν. ὁ δὲ Πίνδαρος ἀκοῦσαι φησὶ τοῦ θεοῦ τὸν Κάδμον μουσικὰν ὀρθάν οὐχ ἡδεῖαν οὐδὲ τρυφερὰν οὐδʼ ἐπικεκλασμένην τοῖς μέλεσιν. ἡδονὴν γὰρ οὐ προσίεται τὸ ἀπαθὲς καὶ ἁγνόν, ἀλλʼ ἐνταῦθα μετὰ τῆς Ἄτης ἐρρίφη καὶ τὸ πλεῖστον αὐτῆς; καὶ ὡς ἔοικεν εἰς τὰ ὦτα τῶν ἀνθρώπων συνερρύηκεν.
To whom Serapio: We labor, Boethus, said he, under the distempered senses both of sight and hearing, being accustomed through niceness and delicacy to esteem and call that elegant which most delights; and perhaps we may find fault with the Pythian priestess because she does not warble so charmingly as the fair lyric songstress Glauca, or else because she does not perfume herself with precious odors or appear in rich and gaudy habit. And some may mislike her because she burns for incense rather barley-meal and laurel than frankincense, ladanon, and cinnamon. Do you not see, some one will say, what a grace there is in Sappho’s measures, and how they delight and tickle the ears and fancies of the hearers? Whereas the Sibyl with her frantic grimaces, as Heraclitus says, uttering sentences altogether thoughtful and serious, neither bespiced nor perfumed, continues her voice a thousand years by the favor of the Deity that speaks within her. Pindar therefore tells us that Cadmus heard from heaven a sort of music that was neither lofty nor soft, nor shattered into trills and divisions; for severe holiness will not admit the allurements of pleasure, that was for the most part thrown into the world and flowed (as it appears) into the ears of men at the same time with the Goddess of mischief.
εἰπόντος δὲ ταῦτα τοῦ Σαραπίωνος, ὁ Θέων μειδιάσας ὁ Σαραπίων μέν εἶπε τὸεἰωθὸς ἀποδέδωκε τῷ τρόπῳ, λόγου περὶ Ἄτης καὶ ἡδονῆς παραπεσόντος ἀπολαύσας ἡμεῖς δʼ ὦ Βόηθε, κἂν ᾖ φαυλότερα τῶν Ὁμήρου ταῦτα τὰ ἔπη, μὴ νομίζωμεν αὐτὰ πεποιηκέναι τὸν θεόν, ἀλλʼ ἐκείνου τὴν ἀρχὴν τῆς κινήσεως ἐνδιδόντος, ὡς ἑκάστη πέφυκε κινεῖσθαι τῶν προφητίδων. καὶ γὰρ εἰ γράφειν ἔδει μὴ λέγειν τοὺς· χρησμούς, οὐκ ἂν οἶμαι τοῦ θεοῦ τὰ γράμματα νομίζοντες ἐψέγομεν, ὅτι λείπεται καλλιγραφίᾳ τῶν βασιλικῶν. οὐ γὰρ ἔστι θεοῦ ἡ γῆρυς οὐδʼ ὁ φθόγγος οὐδʼ ἡ λέξις οὐδὲ τὸ μέτρον ἀλλὰ τῆς γυναικός· ἐκεῖνος δὲ μόνας τὰς φαντασίας παρίστησι καὶ φῶς ἐν τῇ ψυχῇ ποιεῖ πρὸς τὸ μέλλον· ὁ γὰρ ἐνθουσιασμὸς; τοιοῦτόν ἐστι. καθόλου δʼ εἰπεῖν, ὑμᾶς τοὺς τοῦ Ἐπικούρου προφήτας (δῆλος γὰρ εἶ καὶ αὐτὸς ὑποφερόμενος) οὐκ ἔστι διαφυγεῖν, ἀλλὰ κἀκείνας αἰτιᾶσθε τὰς πάλαι προφήτιδας ὡς φαύλοις ποιήμασι χρωμένας, καὶ τὰς νῦν καταλογάδην καὶ διὰ τῶν · ἐπιτυχόντων ὀνομάτων τοὺς χρησμοὺς λεγούσας, ὅπως ὑμῖν ἀκεφάλων καὶ λαγαρῶν μέτρων καὶ μειούρων εὐθύνας μὴ ὑπέχωσι. καὶ ὁ Διογενιανός μὴ παῖζʼ εἶπεν ὦ πρὸς θεῶν, ἀλλὰ διάλυσον ἡμῖν ταύτην τὴν ἀπορίαν κοινὴν οὖσαν. οὐδεὶς γὰρ ἔστιν Ἑλλήνων, ὃς οὐκ αἰτίαν ἐπιζητεῖ καὶ λόγον, πῶς πέπαυται τὸ μαντεῖον ἔπεσι καὶ λόγοις χρώμενον. ὑπολαβὼν οὖν ὁ Θέων ἀλλὰ καὶ νῦν εἶπεν ὦ παῖ, δοκοῦμεν ἐπηρείᾳ τινὶ τοὺς περιηγητὰς ἀφαιρεῖσθαι τὸ οἰκεῖον ἔργον. ἔασον οὖν γενέσθαι τὸ τούτων πρότερον, εἶτα περὶ ὧν βούλει καθʼ ἡσυχίαν διαπορήσεις
Serapio thus concluding, Theo with a smile proceeded. Serapio, said he, has not forgot his wonted custom of taking an opportunity to discourse of pleasure. But we, Boethus, believe not these prophetic verses to be the compositions of Apollo, if they are worse than Homer’s; but we believe that he supplied the principle of motion, and that every one of the prophetesses was disposed to receive his inspiration. For if the oracles were to be set down in writing, not verbally to be pronounced, surely we should not find fault with the hand, taking it to be Apollo’s, because the letters were not so fairly written as in the epistles of kings. For neither the voice, nor the sound, nor the word, nor the metre proceeds from the God, but from the woman. God only presents the visions, and kindles in the soul a light to discover future events; which is called divine inspiration. But in short, I find it is a hard matter to escape the hands of Epicurus’s priests (of which number I perceive you are), since you reprove the ancient priestesses for making bad verses, and the modern prophetesses for delivering the oracles in prose and vulgar language, which they do that they may escape being by you called to an account for their lame and mistaken verses. But then, Diogenianus, I beseech you, said he, in the name of all the Gods, be serious with us; unriddle this question, and explain this mystery unto us, which is now grown almost epidemical. For indeed there is hardly any person that does not with an extreme curiosity search after the reason wherefore the Pythian oracle has ceased to make use of numbers and verse. Hold, son, said Theo, we shall disoblige our historical directors by taking their province out of their hands. First suffer them to make an end, and then at leisure we will go on with what you please.
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