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Those who sacrifice to Hera do not consecrate the gall, but bury it beside the altar, as it is necessary for the life of husband and wife together to be without passion and without gall and pure from all anger and bitterness. 3.1.3 This symbolic form is more in tales and myths. For example, they relate that Hera, while being raised in Euboea and still a maiden, was stolen by Zeus and, having been brought here, was hidden, Cithaeron having provided for them a certain shady nook and a natural chamber. And when Macris came in search—for she was Hera's nurse—and wished to investigate, Cithaeron did not allow her to meddle nor to approach the place, saying that Zeus was resting and spending time there with Leto. And when Macris had departed, Hera thus escaped notice at that time, but later, in grateful memory of Leto, she established a shared altar and a shared temple, so that they even sacrifice beforehand to Leto in the Nook; but some say 'of the Night'; and in either name what is secret and hidden is signified. Some say that Hera herself, being with Zeus there in secret and remaining hidden, was thus called Leto of the Night; but when the marriage became public and their union was revealed first here around Cithaeron and Plataea, she was called Hera Teleia and Gamelia. 3.1.4 But those who interpret the myth more physically and fittingly thus bring Hera together with Leto in the same way: Hera is the earth, as has been said, and Leto is night, being a kind of oblivion for those turning to sleep, and night is nothing other than the earth's shadow; for when it, approaching the western regions, hides the sun, spreading wide it blackens the air, and this is the eclipsing slip of the full moons, when as the moon revolves the shadow of the earth touches and dims its light. 3.1.5 That Leto is no other than Hera, you might learn from this: we call Artemis the daughter of Leto, but we also name the same one Eileithyia; therefore Hera and Leto are two appellations for one goddess. Again, from Leto came Apollo, and from Hera came Ares, but the power of both is one, and he is called Ares as a helper in circumstances of violence and battle, and Apollo as one who delivers and frees man from the morbid affections concerning the body. Wherefore also of the most fiery and fire-blazing stars, the sun is called Apollo, and the reddish one is named Ares. And it is not out of place for the same goddess to be called Gamelia and to be considered mother of Eileithyia and of the sun. For the end of marriage is birth, and birth is the journey from darkness into the sun and light. And well the poet says: 'But when Eileithyia, goddess of the pains of child-birth, brought him forth to the light and he saw the rays of the sun.' Well did the poet compress the compound with the preposition, showing the violence of the birth-pang, and he made seeing the sun the end of birth. Therefore the same goddess made marriage come together, in order to prepare for birth. 3.1.6 But perhaps it is necessary to tell the more simple-minded myth as well. For it is said that Zeus, when Hera was at odds with him and no longer wished to come to the same place, but was hiding herself, at a loss and wandering, happened upon Alalcomenes the autochthon and was taught by him that Hera must be deceived by pretending to marry another. And with Alalcomenes helping, they secretly cut a well-wrought and all-beautiful oak, and shaped it and dressed it as a bride, having named it Daedala. Then they sang the marriage hymn, and the Tritonian nymphs brought the bridal baths, and Boeotia provided flutes and revels. And when these things were being accomplished, Hera could no longer endure it, but came down from Cithaeron with the Plataean women following her, and in anger and jealousy she ran to Zeus, and when the trick became clear, she was reconciled and with joy and laughter she herself led the bridal procession; and she added honor to the wooden image and named the festival Daedala, but nevertheless she burned it down, though it was lifeless, out of jealousy. 3.1.7

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οἱ θύοντες Ἥρᾳ τὴν χολὴν οὐ καθαγίζουσιν, ἀλλὰ κατορύττουσι παρὰ τὸν βωμόν, ὡς δέον ἄθυμον καὶ ἄχολον καὶ καθαρεύουσαν ὀργῆς καὶ πικρίας ἁπάσης τὴν γυναικὸς καὶ ἀνδρὸς εἶναι συμβίωσιν. 3.1.3 Τοῦτο δὴ τὸ συμβολικὸν εἶδος ἐν τοῖς λόγοις καὶ τοῖς μύθοις ἐστὶν μᾶλλον. οἷον ἱστοροῦσι τὴν Ἥραν ἐν τῇ Εὐβοίᾳ τρεφομένην ἔτι παρθένον ὑπὸ τοῦ ∆ιὸς κλαπῆναι καὶ διακομισθεῖσαν ἐνταῦθα κρύπτεσθαι, Κιθαιρῶνος αὐτοῖς μυχὸν ἐπίσκιόν τινα καὶ θάλαμον αὐτοφυῆ παρασχόντος. ἐλθούσης δὲ τῆς Μακρίδος κατὰ ζήτησιν-ἦν δὲ Ἥρας τιθήνη-καὶ βουλομένης ἐρευνᾶν οὐκ ἐᾶν τὸν Κιθαιρῶνα πολυπραγμονεῖν οὐδὲ τῷ χωρίῳ προσάγειν, ὡς τοῦ ∆ιὸς ἐκεῖ τῇ Λητοῖ συναναπαυομένου καὶ συνδιατρίβοντος. ἀπελθούσης δὲ τῆς Μακρίδος, οὕτω τότε μὲν διαλαθεῖν τὴν Ἥραν, ὕστερον δὲ τῇ Λητοῖ χάριν ἀπομνημονεύουσαν ὁμοβώμιον θέσθαι καὶ σύνναον, ὥστε καὶ Λητοῖ Μυχίᾳ προθύεσθαι· τινὲς δὲ Νυχίαν λέγουσιν· σημαίνεται δὲ ἐν ἑκατέρῳ τῶν ὀνομάτων τὸ κρύφιον καὶ διαλεληθός. ἔνιοι δὲ τὴν Ἥραν αὐτὴν ἐκεῖ τῷ ∆ιὶ λάθρᾳ συνοῦσαν καὶ λανθάνουσαν οὕτω φασὶ Λητὼ Νυχίαν προσηγορεῦσθαι· φανερῶν δὲ τῶν γάμων γενομένων καὶ περὶ τὸν Κιθαιρῶνα πρῶτον ἐνταῦθα καὶ τὰς Πλαταιὰς τῆς ὁμιλίας ἀνακαλυφθείσης Ἥραν Τελείαν καὶ Γαμήλιον αὐτὴν προσαγορευθῆναι. 3.1.4 Οἱ δὲ φυσικῶς μᾶλλον καὶ πρεπόντως ὑπολαμβάνοντες τὸν μῦθον οὕτως εἰς τὸ αὐτὸ τῇ Λητοῖ συνάγουσιν τὴν Ἥραν· γῆ μέν ἐστιν ἡ Ἥρα, καθάπερ εἴρηται, νὺξ δὲ ἡ Λητώ, ληθώ τις οὖσα τῶν εἰς ὕπνον τρεπομένων, νὺξ δὲ οὐδέν ἐστιν ἄλλο πλὴν σκιὰ γῆς· ὅταν γὰρ πλησιάσασα ταῖς δυσμαῖς ἀποκρύψῃ τὸν ἥλιον, ἀναπλατυνομένη μελαίνει τὸν ἀέρα, καὶ τοῦτο ἔστι τὸ ἐκλειπτικὸν ὀλίσθημα τῶν πανσελήνων, ὅταν τῆς σελήνης περιφερομένης ἡ σκιὰ τῆς γῆς ἐπιψαύσῃ καὶ διαθολώσῃ τὸ φέγγος. 3.1.5 Ὅτι δὲ οὐκ ἄλλη τίς ἐστιν τῆς Ἥρας ἡ Λητώ, μάθοιτ' ἂν ἐνθένδε· τὴν Ἄρτεμιν ἤδη που θυγατέρα Λητοῦς καλοῦμεν, ἀλλὰ καὶ Εἰλείθυιαν τὴν αὐτὴν ὀνομάζομεν· οὐκοῦν ἥ τε Ἥρα καὶ ἡ Λητὼ δύο εἰσὶ μιᾶς θεοῦ προσηγορίαι. πάλιν, ἐκ μὲν Λητοῦς ὁ Ἀπόλλων, ἐκ δὲ Ἥρας ὁ Ἄρης γέγονεν, μία δέ ἐστινἀμφοτέρων δύναμις, καὶ κέκληται Ἄρης μὲν ὡς ἀρήγων τοῖς κατὰ βίαν καὶ μάχην συμπτώμασιν, Ἀπόλλων δὲ ὡς ἀπαλλάττων καὶ ἀπολύων τῶν περὶ σῶμα νοσηματικῶν παθῶν τὸν ἄνθρωπον. διὸ καὶ τῶν ἐμπυρωτάτων ἄστρων καὶ πυριφλεγεστάτων ὁ μὲν ἥλιος Ἀπόλλων κέκληται, ὁ δὲ πυρροειδὴς Ἄρης ἐπωνόμασται. καὶ οὐκ ἀπὸ τρόπου ἐστὶν τὴν αὐτὴν θεὸν Γαμήλιον λέγεσθαι καὶ μητέρα Εἰλειθυίας καὶ ἡλίου νομίζεσθαι. γάμου μὲν γὰρ τέλος γένεσίς ἐστιν, γένεσις δὲ ἡ εἰς ἥλιον καὶ φῶς ἐκ σκότους πορεία. καὶ καλῶς ὁ ποιητής· Αὐτὰρ ἐπειδὴ τόν γε μογοστόκος Εἰλείθυια ἐξάγαγε πρὸ φόωσδε καὶ ἠελίου ἴδεν αὐγάς. εὖ ὁ ποιητὴς τῇ μὲν προθέσει τὴν σύνθεσιν ἔθλιψεν, ἐμφαίνων τὸ βεβιασμένον τῆς ὠδῖνος, τέλος δὲ τῆς γενέσεως ἐποίησεν ἥλιον ἰδεῖν. οὐκοῦν ἡ αὐτὴ θεὸς ἐποίησεν καὶ γάμον συνελθεῖν, ἵνα γένεσιν παρασκευάσῃ. 3.1.6 ∆εῖ δὲ ἴσως καὶ τὸν εὐηθέστερον μῦθον εἰπεῖν. λέγεται γὰρ ὁ Ζεύς, τῆς Ἥρας αὐτῷ διαφερομένης καὶ μηκέτι φοιτᾶν εἰς τὸ αὐτὸ βουλομένης, ἀλλὰ κρυπτούσης ἑαυτήν, ἀμηχανῶν καὶ πλανώμενος Ἀλαλκομένει τῷ αὐτόχθονι συντυχεῖν καὶ διδαχθῆναι ὑπὸ τούτου ὡς ἐξαπατητέον τὴν Ἥραν σκηψάμενον γαμεῖν ἑτέραν. συνεργοῦντος δὲ τοῦ Ἀλαλκομένους κρύφα τεμόντας αὐτοὺς εὐκτέανον καὶ παγκάλην δρῦν μορφῶσαί τε αὐτὴν καὶ καταστεῖλαι νυμφικῶς, ∆αιδάλην προσαγορεύσαντας· εἶτα οὕτως ἀναμέλπεσθαι μὲν τὸν ὑμέναιον, λουτρὰ δὲ κομίζειν τὰς Τριτωνίδας νύμφας, αὐλοὺς δὲ καὶ κώμους τὴν Βοιωτίαν παρασχεῖν· περαινομένων δὲ τούτων οὐκέτι τὴν Ἥραν καρτερεῖν, ἀλλὰ καταβᾶσαν ἐκ τοῦ Κιθαιρῶνος Πλαταια<τί>δων αὐτῇ γυναικῶν ἑπομένων, ὑπ' ὀργῆς καὶ ζηλοτυπίας θέουσαν ἐλθεῖν πρὸς τὸν ∆ία καὶ τοῦ πλάσματος φανεροῦ γενομένου διαλλαγεῖσαν μετὰ χαρᾶς καὶ γέλωτος αὐτὴν νυμφαγωγεῖν· τιμὴν δὲ τῷ ξοάνῳ προσθεῖναι καὶ ∆αίδαλα τὴν ἑορτὴν προσαγορεῦσαι, κατακαῦσαι δὲ ὅμως αὐτὸ καίπερ ἄψυχον ὂν ὑπὸ ζηλοτυπίας. 3.1.7