77. And of this sort also are those enigmatical sayings of Pythagoras, as Demetrius of Byzantium says, in the fourth book of his treatise on Poets, where, for instance, he says, "A man should not eat his heart;" meaning, "a man should cultivate cheerfulness." "One should not stir the fire with a sword;" meaning, "one should not provoke an angry man;" for anger is fire, and quarrelsomeness is a sword. "One should not step over a yoke;" meaning, "one should avoid and hate all kinds of covetousness, but seek equality." "One should not travel along the high road;" meaning, "one should not follow the opinions of the multitude, (for the common people approve of whatever they take in their heads without any fixed principle,) but one should rather go on the straight road, using sense as one's guide." "One should not sit down upon a bushel;" meaning, "one should not be content with merely considering what is sufficient for the present day, but one should always have an eye to the future" * * * * * * * * *[50] "For death is the boundary and limit of life;" and this saying is meant to forbid us approaching the subject with anxiety and grief.
ΓΡΙΦΟΙ.
78. And Dromeas the Coan used to play at riddles in much the same way as Theodectes, according to the statement of Clearchus: and so did Aristonymus, the player on the harp, without any vocal accompaniment: and so did that Cleon who was surnamed Mimaulus, who was the best actor of Italian mimes that ever appeared on the stage without a mask. For in the style of play which I have mentioned already, he was superior even to Nymphodorus. And Ischomachus the herald was an imitator of his, who used to give his representations in the middle of a crowd, and after he had become celebrated, he altered his style and used to act mimes at the jugglers' shows. And the riddles which these men used to propose were of the following kind:—A clown once had eaten too much, and was very unwell, and when the physician asked him whether he had eaten to vomit, No, said he, but I ate to my stomach. And another was,—A poor woman had a pain in her stomach, and when the physician asked her whether she had anything[51] in her stomach, How should I, said she, when I have eaten nothing for three days?
And the writings of Aristonymus were full of pompous expressions: and Sosiphanes the poet said to Cephisocles the actor, reproaching him as a man fond of long words, "I would throw a stone at your loins, if I were not afraid of wetting the bystanders." But the logical griphus is the oldest kind, and the one most suited to the natural character of such enigmatical language. "What do we all teach when we do not know it ourselves?" and, "What is the same nowhere and everywhere?" and also, "What is the same in the heavens and on the earth and in the sea?" But this is a riddle arising from an identity of name; for there is a bear, and a serpent, and an eagle, and a dog, both in the heavens and on the earth and in the sea. And the other riddle means Time; for that is the same to all people and everywhere, because it has not its nature depending on one place. And the first riddle means "How to live:" for though no one knows this himself, he teaches his neighbour.
79. And Callias the Athenian, whom we were discussing just now, and who was a little before Strattis in point of time, wrote a play which he called Grammatical Science; and the plot of it was as follows. The prologue consists of the elements, and the actor should recite it, dividing it into paragraphs, and making the termination in the manner of a dramatic catastrophe, into "Alpha, beta, gamma, delta, eta, theta. For ει is sacred to the God; iota, cappa, lambda, mu, nu, xu, the diphthong ou, pi, rho, sigma, tau, the present υ, phi, chi, which is next to psi, all down to omega." And the chorus consisted of women, in pairs, made of two elements taken together, composed in metre and lyrical odes in this fashion;—"Beta alpha ba, beta ei be, beta eta be, beta iota bi, beta ou bo, beta upsilon bu, beta omega bo." And then, again, in the antistrophe of the ode and of the metre, "Gamma alpha, gamma ei, gamma eta, gamma iota, gamma omicron, gamma upsilon, gamma omega." And in the same way he dealt with all other syllables—all which have the same melody and the same metre in the antistrophes. So that people not only suspect that Euripides drew all his Medea from this drama, but they think that it is perfectly plain that he drew the system of his choruses from it. And they say that Sophocles, after he had heard this drama, endeavoured to divide his poem in respect of the metre, and did it thus, in the Œdipus,—
I shall not grieve myself nor you,
Being convicted of this action.
On which account, all the rest admitted the system of antistrophes from his example, as it should seem, into their tragedies. Then, after this chorus, Callias introduces another speech of vowels, in this manner: (and this also the reciter must divide into paragraphs in the same way as the previous portions, in order that that delivery may be preserved which the author originally intended)—
Alpha alone, O woman; then one should
Say Ει alone in the second place: next,
Still by itself you will say, thirdly, Eta;
Fourth, still alone, Iota; fifthly, Ou.
In the sixth place, Upsilon by itself.
The last of all the seven vowels is
The slow-paced Omega. The seven vowels
In seven verses; and when you've recited
All these, then go and ponder by yourself.
80. Callias was also the first man who taught the elements of learning by iambics, in a licentious sort of language, described in the following manner—
EURIPIDES.