Amphion of Thebes and Arion of Methymna were both minstrels, and both were renowned in story. They are celebrated in song to this day in the chorus of the Greeks; the one for having allured the fishes, and the other for having surrounded Thebes with walls by the power of music. Another, a Thracian, a cunning master of his art (he also is the subject of a Hellenic legend), tamed the wild beasts by the mere might of song; and transplanted trees—oaks—by music. I might tell you also the story of another, a brother to these—the subject of a myth, and a minstrel—Eunomos the Locrian and the Pythic grasshopper. A solemn Hellenic assembly had met at Pytho, to celebrate the death of the Pythic serpent, when Eunomos sang the reptile’s epitaph. Whether his ode was a hymn in praise of the serpent, or a dirge, I am not able to say. But there was a contest, and Eunomos was playing the lyre in the summer time: it was when the grasshoppers, warmed by the sun, were chirping beneath the leaves along the hills; but they were singing not to that dead dragon, but to God All-wise,—a lay unfettered by rule, better than the numbers of Eunomos. The Locrian breaks a string. The grasshopper sprang on the neck of the instrument, and sang on it as on a branch; and the minstrel, adapting his strain to the grasshopper’s song, made up for the want of the missing string. The grasshopper then was attracted by the song of Eunomos, as the fable represents, according to which also a brazen statue of Eunomos with his lyre, and the Locrian’s ally in the contest, was erected at Pytho. But of its own accord it flew to the lyre, and of its own accord sang, and was regarded by the Greeks as a musical performer.
How, let me ask, have you believed vain fables and supposed animals to be charmed by music; while Truth’s shining face alone, as would seem, appears to you disguised, and is looked on with incredulous eyes? And so Cithæron, and Helicon, and the mountains of the Odrysi, and the initiatory rites of the Thracians, mysteries of deceit, are hallowed and celebrated in hymns. For me, I am pained at such calamities as form the subjects of tragedy, though but myths; but by you the records of miseries are turned into dramatic compositions.
But the dramas and the raving poets, now quite intoxicated, let us crown with ivy; and distracted outright as they are, in Bacchic fashion, with the satyrs, and the frenzied rabble, and the rest of the demon crew, let us confine to Cithæron and Helicon, now antiquated.
But let us bring from above out of heaven, Truth, with Wisdom in all its brightness, and the sacred prophetic choir, down to the holy mount of God; and let Truth, darting her light to the most distant points, cast her rays all around on those that are involved in darkness, and deliver men from delusion, stretching out her very strong right hand, which is wisdom, for their salvation. And raising their eyes, and looking above, let them abandon Helicon and Cithæron, and take up their abode in Sion. “For out of Sion shall go forth the law, and the word of the Lord from Jerusalem,”—the celestial Word, the true athlete crowned in the theatre of the whole universe. What my Eunomos sings is not the measure of Terpander, nor that of Capito, nor the Phrygian, nor Lydian, nor Dorian, but the immortal measure of the new harmony which bears God’s name—the new, the Levitical song.
“Soother of pain, calmer of wrath, producing forgetfulness of all ills.”
Sweet and true is the charm of persuasion which blends with this strain.
To me, therefore, that Thracian Orpheus, that Theban, and that Methymnæan,—men,
and yet unworthy of the name,—seem to have been deceivers, who, under the pretence of poetry corrupting human life, possessed by a spirit of artful sorcery for purposes of destruction, celebrating crimes in their orgies, and making human woes the materials of religious worship, were the first to entice men to idols; nay, to build up the stupidity of the nations with blocks of wood and stone,—that is, statues and images,—subjecting to the yoke of extremest bondage the truly noble freedom of those who lived as free citizens under heaven by their songs and incantations. But not such is my song, which has come to loose, and that speedily, the bitter bondage of tyrannizing demons; and leading us back to the mild and loving yoke of piety, recalls to heaven those that had been cast prostrate to the earth. It alone has tamed men, the most intractable of animals; the frivolous among them answering to the fowls of the air, deceivers to reptiles, the irascible to lions, the voluptuous to swine, the rapacious to wolves. The silly are stocks and stones, and still more senseless than stones is a man who is steeped in ignorance. As our witness, let us adduce the voice of prophecy accordant with truth, and bewailing those who are crushed in ignorance and folly: “For God is able of these stones to raise up children to Abraham;” and He, commiserating their great ignorance and hardness of heart who are petrified against the truth, has raised up a seed of piety, sensitive to virtue, of those stones—of the nations, that is, who trusted in stones. Again, therefore, some venomous and false hypocrites, who plotted against righteousness, He once called “a brood of vipers.” But if one of those serpents even is willing to repent, and follows the Word, he becomes a man of God.
Others he figuratively calls wolves, clothed in sheep-skins, meaning thereby monsters of rapacity in human form. And so all such most savage beasts, and all such blocks of stone, the celestial song has transformed into tractable men. “For even we ourselves were sometime foolish, disobedient, deceived, serving divers lusts and pleasures, living in malice and envy, hateful, hating one another.” Thus speaks the apostolic Scripture: “But after that the kindness and love of God our saviour to man appeared, not by works of righteousness which we have done, but according to His mercy, He saved us.” Behold the might of the new song! It has made men out of stones, men out of beasts. Those, moreover, that were as dead, not being partakers of the true life, have come to life again, simply by becoming listeners to this song. It also composed the universe into melodious order, and tuned the discord of the elements to harmonious arrangement, so that the whole world might become harmony. It let loose the fluid ocean, and yet has prevented it from encroaching on the land. The earth, again, which had been in a state of commotion, it has established, and fixed the sea as its boundary. The violence of fire it has softened by the atmosphere, as the Dorian is blended with the Lydian strain; and the harsh cold of the air it has moderated by the embrace of fire, harmoniously arranging these the extreme tones of the universe. And this deathless strain,—the support of the whole and the harmony of all,—reaching from the centre to the circumference, and from the extremities to the central part, has harmonized this universal frame of things, not according to the Thracian music, which is like that invented by Jubal, but according to the paternal counsel of God, which fired the zeal of David. And He who is of David, and yet before him, the Word of God, despising the lyre and harp, which are but lifeless instruments, and having tuned by the Holy Spirit the universe, and especially man,—who, composed of body and soul, is a universe in miniature,—makes melody to God on this instrument of many tones; and to this instrument—I mean man—he sings accordant: “For thou art my harp, and pipe, and temple.”—a harp for harmony—a pipe by reason of the Spirit—a temple by reason of the word; so that the first may sound, the second breathe, the third contain the Lord. And David the king, the harper whom we mentioned a little above, who exhorted to the truth and dissuaded from idols, was so far from celebrating demons in song, that in reality they were driven away by his music. Thus, when Saul was plagued with a demon, he cured him by merely playing. A beautiful breathing instrument of music the Lord made man, after His own image. And He Himself also, surely, who is the supramundane Wisdom, the celestial Word, is the all-harmonious, melodious, holy instrument of God. What, then, does this instrument—the Word of God, the Lord, the New Song—desire? To open the eyes of the blind, and unstop the ears of the deaf, and to lead the lame or the erring to righteousness, to exhibit God to the foolish, to put a stop to corruption, to conquer death, to reconcile disobedient children to their father. The instrument of God loves mankind. The Lord pities, instructs, exhorts, admonishes, saves, shields, and of His bounty promises us the kingdom of heaven as a reward for learning; and the only advantage He reaps is, that we are