All the same, if it be granted that nothing is prophesied in our own day, otherwise than in metre, the difficulty will be so much greater about the ancients, who sometimes employed metre for the responses, sometimes not. There is nothing strange, my |B| young friend, in either one or the other, so long as we hold sound, pure views about the God, and do not suppose that it is himself who formerly used to compose the verses, or who now suggests the answers to the Pythia, speaking as it were from under a mask.
XXI. ‘However, it is worth our while to pursue this inquiry at greater length another time. For the present, let us remember our results, which are briefly these: Body uses many instruments, soul uses body and its parts, soul has been brought into being as the instrument of God. The excellence of an instrument is to imitate most closely the power which uses it, with all its |C| own natural power, and to reproduce the effect of his essential thought, but to exhibit it, not pure and passionless and free from error, as it was in the creative artist, but with a large admixture of foreign element. For in itself it is invisible to us, but appearing “other” and through another medium it is saturated with the nature of that medium. I pass over wax and gold and silver and copper, and all other varieties of moulded substance, which take on one common form of impressed likeness, but add to the copy, each its own distinct speciality. I pass over the myriad distortions of images and reflections from a single form in |D| mirrors, plane, hollow, or convex. For nothing seems better to reproduce the type, no instrument more obediently to use its own nature, than the moon. Yet taking from the sun his bright and fiery rays, she does not transmit them so to us; mingled with herself they change colour and also take on a different power; the heat has wholly disappeared, and the light fails from weakness before it reaches us. I think you know the saying found in Heraclitus, that “The King whose seat is at |E| Delphi, speaks not, nor conceals, but signifies.”[[109]] Take and add then to what is here so well said, the conception that the God of this place employs the Pythia for the hearing as the sun employs the moon for the seeing. He shows and reveals his own thoughts, but shows them mingled in their passage through a mortal body, and a soul which cannot remain at rest or present itself to the exciting power unexcited and inwardly composed, but which boils and surges and is involved in the stirrings and troublesome passions from within. As whirlpools do not keep |F| a steady hold on bodies borne round and round and also downwards, since an outer force carries them round, but they sink down of their own nature, so that there is a compound spiral movement, of a confused and distorted kind, even so what we call inspiration seems to be a mixture of two impulses, and the soul is stirred by two forces, one of which it is a passive recipient, one from its own nature. We see that inanimate and stationary bodies cannot be used or forced contrary to their own nature, that a cylinder cannot be moved as if it were a sphere or a cube, that a lyre cannot be played like a flute or a trumpet like a harp, but that the artistic use of a thing is no other than the natural use. Is it possible then that the animate and self-moving, which has both impulse and reason, can be treated in any other way than is agreeable to the habit, force, or natural condition which |405| is already existent within it? Can an unmusical mind be excited like a musical, an unlettered mind by literature, a mind untrained in reasoning, whether speculative or disciplinary, by logic? It is not to be spoken of.
XXII. ‘Again, Homer is my witness: he assumes[[110]] that nothing, so to speak, is brought about without a God; he does not, however, describe the God as using all things for all ends, but according to the art or faculty which each possesses. For do you not see, dear Diogenianus, that Athena, when she wants to persuade the Achaeans, calls in Odysseus;[[111]] when to wreck the truce, she looks for Pandarus;[[112]] when to rout the Trojans, she |B| approaches Diomede?[[113]] Why? because Diomede is a sturdy man and a fighter, Pandarus an archer and a fool, Odysseus a clever speaker and a sensible man. For Homer was not of the same mind as Pindar[[114]], if Pindar it was who wrote
Sail on a crate, if God so choose ‘twill swim.
He knew that different faculties and natural gifts are appointed for different ends; each is moved in its own way, even if the moving force be one for all. As then the force cannot move that which walks so as to make it fly, nor that which lisps to speak clearly, nor the thin voice to be melodious—why, Battus himself was sent as colonist of Libya to get his voice, because he was a lisper, with a thin voice, but withal a kingly, statesman-like, |C| prudent man—, even so it is impossible for one who has no letters and knows no verse to talk like a poet. And so she who now serves the God has been born as respectably as any man here, and has lived as good and orderly a life; but having been reared in the house of small farmer folk, she brings nothing with her from art or from any practice or faculty whatsoever, as she goes down into the sanctuary. As Xenophon[[115]] thinks that the bride should step into her husband’s home having seen as little as may be, and heard as little, so she, ignorant and untried in almost all things, and a true virgin in soul, is associated with |D| the God. Yet we, who think that the God, when he “signifies”, uses the cries of herons and wrens and ravens, and never ask that they, as the messengers and heralds of the God, should put things into clear rational phrases, do nevertheless ask that the Pythia should use a voice and style as though from the Thymele, not unembellished and plain, but with metre and elevation, and trills, and verbal metaphors, and a flute accompaniment!
XXIII. ‘What shall we say then about her older predecessors? Not one thing, I think, but several. In the first place, |E| as has been already said, they, too, for the most part, used to give the responses in prose. In the second place, those times produced temperaments and natural conditions which offered an easy and convenient channel for the stream of poetry, to which were at once superadded, in one and another, an eagerness, an impulse, a preparation of soul, all resulting in a readiness which needed but a slight initial movement from without to give the imagination a turn. So it was that not only were astronomers and philosophers drawn, as Philinus says, in their several directions, but also, when men were mellow with wine and sentiment, some undercurrent of pity or joy would come, and they would |F| glide into a song-like voice; drinking parties were filled with amorous strains and songs, books with poems in writing. When Euripides wrote:[[116]]
Love can teach, he makes
A poet of a stranger to the Muse,
he did not mean that Love implants a faculty for poetry or music; the faculty is there already, but Love stirs and warms what was latent and idle. Or are we to say, Sir Stranger, that no one now loves, that Love has gone by the heels, because there is none who, to quote Pindar,[[117]]
Scatters with easy grace