they were saving those who claimed to have an education, taking them as teachers for their children, but they were killing all the others. They said that some of them who had fled and returned, when asked by the Athenians about some who were important to them, had said EITHER HE IS DEAD OR HE IS TEACHING LETTERS. And what about THE GOAT THE KNIFE? One might think [it was said]—so that I may first set down what is said about it—that the proverb was surely said because the goat being sacrificed looks toward the knife. But the ancients certainly did not say this; for what was said would not have been a proverb if this were so (for this was a logical thing to understand from what is apparent), but they say this was said of those who bring evils upon themselves. For they say that Medea, after killing her children in Corinth, hid the knife there; and that the Corinthians, sacrificing a black goat according to an oracle given to them, were at a loss for a knife, but the goat, pawing with its foot, found Medea's knife and was sacrificed with it. And what does ENOUGH OF THE OAK signify? someone says; for it is not possible to know the proverb offhand. The ancients, as they said, before the cultivation of grain, were acorn-eaters, and since, as they thought, this fruit was later discovered, paying attention to that and rejoicing in the change, they would say ENOUGH OF THE OAK; and they said this was the proverb. And again, since another proverb has been mentioned by most of the wise men among them in many and various books, it is necessary at present to recall what those who chose to interpret the proverbs have written about it, * * * but so that we might refute Asterius, who, although from his secular learning knew precisely the special character of the proverb, yet in the present instance pretended ignorance, so that he might seem to construct his own argument persuasively through the use of the proverbial saying. And it is THE ART OF GLAUCUS. The pagan wise men, having mentioned this proverb, have explained it in different ways. For one of them said that a certain Glaucus, being an expert in a certain art † which was the most wonderful of many, perished along with it at sea, with no one yet having heard of it. Another, having testified to Glaucus' extreme expertise in music, says that the four bronze discs constructed by him produced a harmonious symphony of notes for a certain melodious striking; and that from this the proverb was said. And another says that a wonderful mixing-bowl and stand were dedicated among the votive offerings of Alyattes, a work of Glaucus of Chios. Another says that Glaucus himself dedicated a bronze tripod at Delphi, having crafted it in such a way for those † when struck heavily, that both the feet on which it stood, and the part placed around the top and the rim on the cauldron and the rods stretched through the middle would sound with the voice of a lyre. And again another says that the proverb was said about a certain Glaucus who was thought to have done something more. You see how the difficulty of the proverb is shown through this also, through the fact that those who wished to explain this proverb did not even settle on the same interpretation. Thus the matter of the proverb seems to be something hard to discover, even among the pagans. For which reason one of their wise men, having collected the proverbs told by many and in different ways, wrote six books about them, two of the metrical ones, and four of the non-metrical. And the pagans called these 'proverbs' for no other reason, it seems to me, but because, having encountered the Proverbs of the most wise Solomon and having learned through them that it is not possible to learn anything said in them clearly and offhand, they themselves, wishing to emulate the prophetic writing, have written in the same manner as he. Then, being able to conceive of no other name more proper than that one, they also called these 'proverbs'. 126 Therefore this is what "the Lord created me as the beginning of his ways for his works" means. 127 (he said) that the Word of God prepared the human flesh to become immortal through the resurrection and, having bound it on as a kind of crown of victory, sits at the right hand of the Father. 128 (having composed some one ... treatise

ἔσῳζον τοὺς παιδείαν σκηπτομένους, διδασκάλους αὐτοὺς τοῖς παισὶν ἄγοντες, τοὺς δὲ ἄλλους πάντας ἐφόνευον, ἐξ αὐτῶν δή τινας φυγόντας καὶ ἐπανελθόντας ἐρωτωμένους τε ὑπὸ Ἀθηναίων περί τινων διαφερόντων αὐτοῖς ἔφασαν εἰρηκέναι ΑΛΛ' Η ΤΕΘΝΗΚΕΝ Η ∆Ι∆ΑΣΚΕΙ ΓΡΑΜΜΑΤΑ. τί δὲ καὶ τὸ ΑΙΞ ΤΗΝ ΜΑΧΑΙΡΑΝ; νομίσειεν ἄν τις [εἰρῆσθαι], ἵνα θῶ πρότερον τὰ περὶ αὐτῆς λεγόμενα, πάντως που διὰ τὸ τὴν θυομένην αἶγα εἰς τὴν μάχαιραν ἀφορᾶν εἰρῆσθαι τὴν παροιμίαν. ἀλλ' οὔτι γε τοῦτ' ἔφασαν οἱ παλαιοί· οὐδὲ γὰρ παροιμία ἦν ἂν ἡ λεχθεῖσα, εἴγε τοῦθ' οὕτως εἶχεν (τοῦτο γὰρ ἀκόλουθον ἦν ἐκ τῶν φαινομένων ἐννοεῖν), ἀλλ' ἐπὶ τῶν ἑαυτοῖς κακὰ προξενούντων εἰρῆσθαι τοῦτό φασιν. φασὶν γὰρ Μήδειαν ἐν Κορίνθῳ τὰ τέκνα ἀποκτείνασαν κατακρύψαι τὴν μάχαιραν αὐτόθι· τοὺς δὲ Κορινθίους κατὰ χρησμὸν αὐτοῖς δοθέντα αἶγα μέλαιναν ἐναγίζοντας ἀπορεῖν μαχαίρας, τὴν δὲ αἶγα σκάλλουσαν τῷ ποδὶ τὴν Μηδείας ἀνευρεῖν μάχαιραν καὶ αὐτῇ τυθῆναι. τί δὲ τὸ ΑΛΙΣ ∆ΡΥΟΣ σημαίνει; φησί τις· οὐ γὰρ δυνατὸν ἐκ τοῦ προχείρου γιγνώσκειν τὴν παροιμίαν. οἱ παλαιοί, ὡς ἔφασαν, πρὸ τῆς τοῦ σίτου γεωργίας βαλανηφαγοῦντες, ἐπειδὴ ὡς ᾤοντο ὁ καρπὸς οὗτος ὕστερον εὑρέθη, ἐκείνῳ προσέχοντες τὸν νοῦν καὶ τῇ μεταβολῇ προσχαίροντες ΑΛΙΣ ∆ΡΥΟΣ ἔλεγον· καὶ τοῦτο τὴν παροιμίαν ἔφασαν εἶναι. αὖθίς τε ἑτέρας παροιμίας ὑπὸ πλείστων τῶν παρ' αὐτοῖς σοφῶν ἐν πλείστοις καὶ διαφόροις βιβλίοις εἰρημένης, τίνα περὶ αὐτῆς γεγράφασιν οἱ τὰς παροιμίας ἑρμηνεῦσαι προελόμενοι ἀναγκαῖον ἐν τῷ παρόντι μνημονεῦσαι, * * * ἀλλ' ἵν' ἐλέγξωμεν Ἀστέριον, καὶ ἀπὸ τῶν ἔξωθεν αὐτὸν μαθημάτων εἰδότα μὲν ἀκριβῶς τὸ τῆς παροιμίας ἐξαίρετον, ἐν δὲ τῷ παρόντι ἄγνοιαν προσποιηθέντα, ἵνα τὸ ἑαυτοῦ βούλημα διὰ τῆς τοῦ παροιμιώδους ῥητοῦ χρήσεως πιθανῶς κατασκευάζειν δόξῃ. ἔστιν δὲ ΓΛΑΥΚΟΥ ΤΕΧΝΗ. ταύτης οἱ ἔξωθεν σοφοὶ τῆς παροιμίας μνημονεύσαντες διαφόρως αὐτὴν ἐξηγήσαντο. ὁ μὲν γὰρ αὐτῶν τις ἔφη, Γλαῦκόν τινα ἐπιστήμονα τέχνης τινὸς γεγονότα † πολλῶν οὖσαν θαυμασιωτάτην, ἀπολέσθαι ἅμα ἐκείνῳ κατὰ θάλατταν, μηδενός πω διακηκοότος αὐτῆς. ἕτερος δέ, τὴν ἐπ' ἄκρον μουσικῆς ἐμπειρίαν μαρτυρήσας τῷ Γλαύκῳ, τοὺς κατασκευασθέντας ὑπ' αὐτοῦ δίσκους χαλκοῦς φησιν τέσσαρας, πρὸς τὸ ἐμμελῆ τινα τῆς κρούσεως τὴν συμφωνίαν τῶν φθόγγων ἀποτελεῖν· ἔνθεν τε εἰρῆσθαι τὴν παροιμίαν. ἄλλος δέ τις Ἀλυαττικῶν ἀναθημάτων φησὶν ἀνακεῖσθαι κρατῆρα καὶ ὑποκρατήριον θαυμάσιον, Γλαύκου Χίου ποίημα. ἕτερος δέ, Γλαῦκον αὐτὸν ἀναθεῖναι εἰς ∆ελφοὺς τρίποδα χαλκοῦν, οὕτω δημιουργήσαντα τοῖς † παχέως τε κρουομένου, τούς τε πόδας, ἐφ' ὧν βέβηκεν, καὶ τὸ ἄνω περικείμενον καὶ τὴν στεφάνην τὴν ἐπὶ τοῦ λέβητος καὶ τὰς ῥάβδους διὰ μέσου τεταγμένας φθέγγεσθαι λύρας φωνῇ. καὶ αὖθις ἕτερος, ἀπὸ Γλαύκου τινὸς δόξαντός τι πλέον πεποιηκέναι εἰρῆσθαι τὴν παροιμίαν. ὁρᾷς, ὅπως τὸ δυσχερὲς τῆς παροιμίας καὶ διὰ τούτου δείκνυται, διὰ τοῦ μηδὲ ἐπὶ τῆς αὐτῆς ἑρμηνείας στῆναι τοὺς τὴν παροιμίαν ταύτην ἐξηγήσασθαι βουληθέντας. οὕτως δυσεύρετόν τι πρᾶγμα τὸ τῆς παροιμίας καὶ παρὰ τοῖς ἔξωθεν εἶναι δοκεῖ. διὸ καί τις τῶν παρ' αὐτοῖς σοφῶν συναγαγὼν τὰς ὑπὸ πολλῶν καὶ διαφόρως λεχθείσας παροιμίας, εἰς αὐτὰς γέγραφεν ἓξ βιβλία, δύο μὲν τῶν ἐμμέτρων, τῶν δὲ ἀμέτρων τέσσαρα. ταύτας δὲ παροιμίας ὠνόμασαν οἱ ἔξωθεν δι' οὐδὲν ἕτερον, ἐμοὶ δοκεῖν, ἀλλ' ἐπειδὴ ταῖς τοῦ σοφωτάτου Σολομῶνος Παροιμίαις ἐντυχόντες καὶ γνόντες δι' αὐτῶν ὅτι οὐδέν ἐστιν ἐκ τοῦ προχείρου σαφῶς τῶν ἐν αὐταῖς εἰρημένων μαθεῖν, καὶ αὐτοὶ ζηλῶσαι τὸ προφητικὸν βουληθέντες γράμμα τὸν αὐτὸν ἐκείνῳ γεγράφασι τρόπον. εἶτα ὡς μηδὲν ἕτερον ὄνομα κυριώτερον ἐκείνου ἐπινοῆσαι δυνηθέντες καὶ ταύτας παροιμίας ὠνόμασαν. 126 οὐκοῦν τοῦτ' ἐστιν τὸ "κύριος ἔκτισέν με ἀρχὴν ὁδῶν αὐτοῦ εἰς ἔργα αὐτοῦ". 127 (ἔφη) τὸν τοῦ θεοῦ λόγον τὴν ἀνθρωπίνην σάρκα διὰ τῆς ἀναστάσεως ἀθάνατον γενέσθαι παρεσκευακέναι καὶ ὥσπερ τινὰ νίκης στέφανον ἀναδησάμενον ἐν δεξιᾷ τοῦ πατρὸς καθέζεσθαι. 128 (ἕν τι ... σύγγραμμα συντάξας