τὸ δʼ εἰς ἓν συμφέρεσθαι τὰ τοσαῦτα ὀνόματα καὶ τὴν ἐνοῦσαν θεολογίαν ἐν τῇ περὶ αὐτῶν ἱστορίᾳ νῦν ἐπισκεπτέον. κοινὸν δὴ τοῦτο καὶ τῶν Ἑλλήνων καὶ τῶν βαρβάρων ἐστὶ τὸ τὰς ἱεροποιίας μετὰ ἀνέσεως ἑορταστικῆς ποιεῖσθαι, τὰς μὲν σὺν ἐνθουσιασμῷ τὰς δὲ χωρίς, καὶ τὰς μὲν μετὰ μουσικῆς τὰς δὲ μή, καὶ τὰς μὲν μυστικῶς τὰς δὲ ἐν φανερῷ· καὶ τοῦθʼ ἡ φύσις οὕτως ὑπαγορεύει. ἥ τε γὰρ ἄνεσις τὸν νοῦν ἀπάγει ἀπὸ τῶν ἀνθρωπικῶν ἀσχολημάτων, τὸν δὲ ὄντως νοῦν τρέπει πρὸς τὸ θεῖον· ὅ τε ἐνθουσιασμὸς ἐπίπνευσίν τινα θείαν ἔχειν δοκεῖ καὶ τῷ μαντικῷ γένει πλησιάζειν· ἥ τε κρύψις ἡ μυστικὴ τῶν ἱερῶν σεμνοποιεῖ τὸ θεῖον, μιμουμένη τὴν φύσιν αὐτοῦ φεύγουσαν ἡμῶν τὴν αἴσθησιν· ἥ τε μουσικὴ περί τε ὄρχησιν οὖσα καὶ ῥυθμὸν καὶ μέλος ἡδονῇ τε ἅμα καὶ καλλιτεχνίᾳ πρὸς τὸ θεῖον ἡμᾶς συνάπτει κατὰ τοιαύτην αἰτίαν. εὖ μὲν γὰρ εἴρηται καὶ τοῦτο, τοὺς ἀνθρώπους τότε μάλιστα μιμεῖσθαι τοὺς θεοὺς ὅταν εὐεργετῶσιν· ἄμεινον δʼ ἂν λέγοι τις, ὅταν εὐδαιμονῶσι· τοιοῦτον δὲ τὸ χαίρειν καὶ τὸ ἑορτάζειν καὶ τὸ φιλοσοφεῖν καὶ μουσικῆς ἅπτεσθαι· μὴ γὰρ εἴ τις ἔκπτωσις πρὸς τὸ χεῖρον γένηται, τῶν μουσικῶν εἰς ἡδυπαθείας τρεπόντων τὰς τέχνας ἐν τοῖς συμποσίοις καὶ θυμέλαις καὶ σκηναῖς καὶ ἄλλοις τοιούτοις, διαβαλλέσθω τὸ πρᾶγμα, ἀλλʼ ἡ φύσις ἡ τῶν παιδευμάτων ἐξεταζέσθω τὴν ἀρχὴν ἐνθένδε ἔχουσα.
We are now to consider how the names of these people agree together, and the theology, which is contained in their history.
Now this is common both to the Greeks and the Barbarians, to perform their religious ceremonies with the observance of a festival, and a relaxation from labour; some are performed with enthusiasm, others without any emotion; some accompanied with music, others without music; some in mysterious privacy, others publicly; and these are the dictates of nature. For relaxation from labour withdraws the thoughts from human occupations, and directs the reflecting mind to the divinity: enthusiasm seems to be attended with a certain divine inspiration, and to approach the prophetic character; the mystical concealment of the sacred rites excites veneration for the divinity, and imitates his nature, which shuns human senses and perception; music also, accompanied with the dance, rhythm, and song, for the same reason brings us near the deity by the pleasure which it excites, and by the charms of art. For it has been justly said, that men resemble the gods chiefly in doing good, but it may be said more properly, when they are happy; and this happiness consists in rejoicing, in festivals, in philosophy, and in music. For let not the art be blamed, if it should sometimes be abused by the musician employing it to excite voluptuousness in convivial meetings at banquets, on the stage, or under other circum stances, but let the nature of the institutions which are founded on it be examined.
καὶ διὰ τοῦτο μουσικὴν ἐκάλεσε Πλάτων καὶ ἔτι πρότερον οἱ Πυθαγόρειοι τὴν φιλοσοφίαν, καὶ καθʼ ἁρμονίαν τὸν κόσμον συνεστάναι φασί, πᾶν τὸ μουσικὸν εἶδος θεῶν ἔργον ὑπολαμβάνοντες. οὕτω δὲ καὶ αἱ Μοῦσαι θεαὶ καὶ Ἀπόλλων μουσηγέτης καὶ ἡ ποιητικὴ πᾶσα ὑμνητική. ὡσαύτως δὲ καὶ τὴν τῶν ἠθῶν κατασκευὴν τῇ μουσικῇ προσνέμουσιν, ὡς πᾶν τὸ ἐπανορθωτικὸν τοῦ νοῦ τοῖς θεοῖς ἐγγὺς ὄν. οἱ μὲν οὖν Ἕλληνες οἱ πλεῖστοι τῷ Διονύσῳ προσέθεσαν καὶ τῷ Ἀπόλλωνι καὶ τῇ Ἑκάτῃ καὶ ταῖς Μούσαις καὶ Δήμητρι, νὴ Δία, τὸ ὀργιαστικὸν πᾶν καὶ τὸ βακχικὸν καὶ τὸ χορικὸν καὶ τὸ περὶ τὰς τελετὰς μυστικόν, Ἴακχόν τε καὶ τὸν Διόνυσον καλοῦσι καὶ τὸν ἀρχηγέτην τῶν μυστηρίων, τῆς Δήμητρος δαίμονα· δενδροφορίαι τε καὶ χορεῖαι καὶ τελεταὶ κοιναὶ τῶν θεῶν εἰσι τούτων· αἱ δὲ Μοῦσαι καὶ ὁ Ἀπόλλων αἱ μὲν τῶν χορῶν προεστᾶσιν ὁ δὲ καὶ τούτων καὶ τῶν κατὰ μαντικήν· πρόπολοι δὲ τῶν Μουσῶν οἱ πεπαιδευμένοι πάντες, καὶ ἰδίως οἱ μουσικοί, τοῦ δʼ Ἀπόλλωνος οὗτοί τε καὶ οἱ περὶ μαντικήν, Δήμητρος δὲ οἵ τε μύσται καὶ δᾳδοῦχοι καὶ ἱεροφάνται, Διονύσου δὲ Σειληνοί τε καὶ Σάτυροι καὶ Τίτυροι καὶ Βάκχαι, Λῆναί τε καὶ Θυῖαι καὶ Μιμαλλόνες καὶ Ναΐδες καὶ Νύμφαι προσαγορευόμεναι.
Hence Plato, and, before his time, the Pythagoreans, called music philosophy. They maintained that the world subsisted by harmony, and considered every kind of music to be the work of the gods. It is thus that the muses are regarded as deities, and Apollo has the name of President of the Muses, and all poetry divine, as being conversant about the praises of the gods. Thus also they ascribe to music the formation of manners, as everything which refines the mind approximates to the power of the gods.
The greater part of the Greeks attribute to Bacchus, Apollo, Hecate, the Muses, and Ceres, everything connected with orgies and Bacchanalian rites, dances, and the mysteries attended upon initiation. They call also Bacchus, Dionysus, and the chief Daemon of the mysteries of Ceres. The carrying about of branches of trees, dances, and initiations are common to the worship of these gods. But with respect to Apollo and the Muses, the latter preside over choirs of singers and dancers; the former presides both over these and divination. All persons instructed in science, and particularly those who have cultivated music, are ministers of the Muses; these and also all who are engaged in divination are ministers of Apollo. Those of Ceres, are the Mystae, torch-bearers and Hierophants; of Dionysus, Seileni, Satyri, Tityri, Bacchae Lenae, Thyiae, Mimallones, Naïdes, and Nymphae, as they are called.
ἐν δὲ τῇ Κρήτῃ καὶ ταῦτα καὶ τὰ τοῦ Διὸς ἱερὰ ἰδίως ἐπετελεῖτο μετʼ ὀργιασμοῦ καὶ τοιούτων προπόλων οἷοι περὶ τὸν Διόνυσόν εἰσιν οἱ Σάτυροι· τούτους δʼ ὠνόμαζον Κουρῆτας, νέους τινὰς ἐνόπλιον κίνησιν μετʼ ὀρχήσεως ἀποδιδόντας, προστησάμενοι μῦθον τὸν περὶ τῆς τοῦ Διὸς γενέσεως, ἐν ᾧ τὸν μὲν Κρόνον εἰσάγουσιν εἰθισμένον καταπίνειν τὰ τέκνα ἀπὸ τῆς γενέσεως εὐθύς, τὴν δὲ Ῥέαν πειρωμένην ἐπικρύπτεσθαι τὰς ὠδῖνας καὶ τὸ γεννηθὲν βρέφος ἐκποδὼν ποιεῖν καὶ περισώζειν εἰς δύναμιν, πρὸς δὲ τοῦτο συνεργοὺς λαβεῖν τοὺς Κουρῆτας, οἳ μετὰ τυμπάνων καὶ τοιούτων ἄλλων ψόφων καὶ ἐνοπλίου χορείας καὶ θορύβου περιέποντες τὴν θεὸν ἐκπλήξειν ἔμελλον τὸν Κρόνον καὶ λήσειν ὑποσπάσαντες αὐτοῦ τὸν παῖδα, τῇ δʼ αὐτῇ ἐπιμελείᾳ καὶ τρεφόμενον ὑπʼ αὐτῶν παραδίδοσθαι· ὥσθʼ οἱ Κουρῆτες ἤτοι διὰ τὸ νέοι καὶ κόροι ὄντες ὑπουργεῖν ἢ διὰ τὸ κουροτροφεῖν τὸν Δία (λέγεται γὰρ ἀμφοτέρως) ταύτης ἠξιώθησαν τῆς προσηγορίας, οἱονεὶ Σάτυροί τινες ὄντες περὶ τὸν Δία. οἱ μὲν οὖν Ἕλληνες τοιοῦτοι περὶ τοὺς ὀργιασμούς.
But in Crete both these, and the sacred rites of Jupiter in particular, were celebrated with the performance of orgies, and by ministers, like the Satyri, who are employed in the worship of Dionysus. These were called Curetes, certain youths who executed military movements in armour, accompanied with dancing, exhibiting the fable of the birth of Jupiter, in which Saturn was introduced, whose custom it was to devour his children immediately after their birth; Rhea attempts to conceal the pains of childbirth, and to remove the new-born infant out of sight, using her utmost endeavours to preserve it. In this she has the assistance of the Curetes who surround the goddess, and by the noise of drums and other similar sounds, by dancing in armour and by tumult, endeavour to strike terror into Saturn, and escape notice whilst removing his child. The child is then delivered into their hands to be brought up with the same care by which he was rescued. The Curetes therefore obtained this appellation, either because they were boys (κόροι), or because they educated Jupiter in his youth (κουροτροθεῖν), for there are two explanations, inasmuch as they acted the same part with respect to Jupiter as the Satyri (with respect to Dionysus). Such then is the worship of the Greeks, as far as relates to the celebration of orgies.
οἱ δὲ Βερέκυντες Φρυγῶν τι φῦλον καὶ ἁπλῶς οἱ Φρύγες καὶ τῶν Τρώων οἱ περὶ τὴν Ἴδην κατοικοῦντες Ῥέαν μὲν καὶ αὐτοὶ τιμῶσι καὶ ὀργιάζουσι ταύτῃ, μητέρα καλοῦντες θεῶν καὶ Ἄγδιστιν καὶ Φρυγίαν θεὸν μεγάλην, ἀπὸ δὲ τῶν τόπων Ἰδαίαν καὶ Δινδυμήνην καὶ Σιπυληνὴν καὶ Πεσσινουντίδα καὶ Κυβέλην . οἱ δʼ Ἕλληνες τοὺς προπόλους αὐτῆς ὁμωνύμως Κουρῆτας λέγουσιν, οὐ μήν γε ἀπὸ τῆς αὐτῆς μυθοποιίας, ἀλλʼ ἑτέρους ὡς ἂν ὑπουργούς τινας, τοῖς Σατύροις ἀνὰ λόγον· τοὺς δʼ αὐτοὺς καὶ Κορύβαντας καλοῦσι.
But the Berecyntes, a tribe of Phrygians, the Phrygians in general, and the Trojans, who live about Mount Ida, themselves also worship Rhea, and perform orgies in her honour; they call her mother of gods, Agdistis, and Phrygia, the Great Goddess; from the places also where she is worshipped, Idaea, and Dindymene, Sipylene, Pessinuntis, and Cybele. The Greeks call her ministers by the same name Curetes, not that they follow the same mythology, but they mean a different kind of persons, a sort of agents analogous to the Satyri. These same ministers are also called by them Corybantes.
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