Protrepticus
OF CLEMENT STROMATEUS
EXHORTATION TO THE GREEKS
Amphion the Theban and Arion of Methymna, "both were skilled in song, and both are a myth" (and this song is still sung by the choir of the Hellenes), with the art of music, the one having lured a fish, the other having walled Thebes. And another sophist, a Thracian (this is another Hellenic myth), tamed the wild beasts with his bare song, and indeed the trees, the oaks, he transplanted with his music. I could relate to you another myth and singer, a brother to these, Eunomus the Locrian and the Pythian cicada; a Hellenic festival was being held at Pytho over a dead serpent, with Eunomus singing a funeral ode for the reptile; the song was a hymn or a dirge for a snake, I cannot say. And there was a contest and Eunomus was playing the cithara in the heat of midday, when the cicadas were singing under the leaves on the mountains, warmed by the sun. But they were singing, it seems, not to the dead serpent, the Pythian one, but to the all-wise God a song of their own law, better than the measures of Eunomus. A string breaks for the Locrian; the cicada flies to the yoke; it chirped on the instrument as on a branch; and the singer, harmonizing with the cicada's song, filled in for the missing string. The cicada, therefore, is not drawn by the song of Eunomus, as the myth would have it, which set up a bronze statue at Pytho of Eunomus with his cithara and the Locrian's fellow-competitor; but it flies willingly and sings willingly. But to the Greeks it seemed to have become a musical performer. How then have you believed in empty myths, supposing that animals are charmed by music? But the bright face of Truth alone, it seems, appears to you to be a counterfeit and has fallen under the eyes of disbelief. Cithaeron then, and Helicon, and the mountains of the Odrysians, and the initiatory rites of the Thracians, the mysteries of error, have been deified and celebrated in hymns. I for one, even if they are a myth, am indignant at so many calamities being made into tragedies; but for you even the records of evils have become dramas, and the actors of the dramas spectacles for your delight. But come, let us confine the dramas and the Lenaean poets—now completely drunken, having crowned them somewhere with ivy, behaving senselessly in Bacchic rite—with the satyrs themselves and the mad thiasus, along with the rest of the choir of demons, to Helicon and Cithaeron, which have grown old, and let us bring down from heaven above Truth, along with most radiant Wisdom, to the holy mountain of God and the holy prophetic choir. And may she, flashing forth a light as far-shining as possible, shine down everywhere on those who are wallowing in darkness and deliver men from error, stretching forth her supreme right hand, understanding, for their salvation; and may they, looking up and raising their heads, leave Helicon and Cithaeron, and dwell in Zion; "For out of Zion shall go forth the law, and the word of the Lord from Jerusalem," a heavenly word, the true champion being crowned in the theater of the whole world. And my Eunomus sings not the strain of Terpander nor that of Capion, nor indeed the Phrygian, or Lydian, or Dorian, but the eternal strain of the new harmony, that which bears the name of God, the new song, the Levitical, "banishing sorrow and anger, making one forget all ills;" a certain sweet and true medicine of persuasion has been mixed into the song. To me, therefore, that Thracian Orpheus and the Theban and the Methymnaean seem to have been certain men, yet not men, deceivers, who under the pretext of music corrupted life, by a certain artful sorcery
Protrepticus
ΚΛΗΜΕΝΤΟΣ ΣΤΡΩΜΑΤΕΩΣ
ΠΡΟΤΡΕΠΤΙΚΟΣ ΠΡΟΣ ΕΛΛΗΝΑΣ
Ἀμφίων ὁ Θηβαῖος καὶ Ἀρίων ὁ Μηθυμναῖος "ἄμφω μὲν ἤστην ᾠδικώ, μῦθος δὲ ἄμφω" (καὶ τὸ ᾆσμα εἰσέτι τοῦτο Ἑλλήνων ᾄδεται χορῷ), τέχνῃ τῇ μουσικῇ ὃ μὲν ἰχθὺν δελεάσας, ὃ δὲ Θήβας τειχίσας. Θρᾴκιος δὲ ἄλλος σοφιστὴς (ἄλλος οὗτος μῦθος Ἑλληνικός) ἐτιθάσευε τὰ θηρία γυμνῇ τῇ ᾠδῇ καὶ δὴ τὰ δένδρα, τὰς φηγούς, μετεφύτευε τῇ 1.1.2 μουσικῇ. Ἔχοιμ' ἄν σοι καὶ ἄλλον τούτοις ἀδελφὸν διηγή σασθαι μῦθον καὶ ᾠδόν, Εὔνομον τὸν Λοκρὸν καὶ τέττιγα τὸν Πυθικόν· πανήγυρις Ἑλληνικὴ ἐπὶ νεκρῷ δράκοντι συνεκροτεῖτο Πυθοῖ, ἐπιτάφιον ἑρπετοῦ ᾄδοντος Εὐνόμου· ὕμνος ἢ θρῆνος ὄφεως ἦν ἡ ᾠδή, οὐκ ἔχω λέγειν. Ἀγὼν δὲ ἦν καὶ ἐκιθάριζεν ὥρᾳ καύματος Εὔνομος, ὁπηνίκα οἱ τέττιγες ὑπὸ τοῖς πετάλοις ᾖδον ἀνὰ τὰ ὄρη θερόμενοι ἡλίῳ. Ἦιδον δὲ ἄρα οὐ τῷ δράκοντι τῷ νεκρῷ, τῷ Πυθικῷ, ἀλλὰ τῷ θεῷ τῷ πανσόφῳ αὐτόνομον ᾠδήν, τῶν Εὐνόμου βελτίονα νόμων. Ῥήγνυται χορδὴ τῷ Λοκρῷ· ἐφίπταται ὁ τέττιξ τῷ ζυγῷ· ἐτερέτιζεν ὡς ἐπὶ κλάδῳ τῷ ὀργάνῳ· καὶ τοῦ τέττιγος τῷ ᾄσματι ἁρμοσάμενος ὁ ᾠδὸς τὴν 1.1.3 λείπουσαν ἀνεπλήρωσε χορδήν. Οὔκουν ᾠδῇ τῇ Εὐνόμου ἄγεται ὁ τέττιξ, ὡς ὁ μῦθος βούλεται, χαλκοῦν ἀναστήσας Πυθοῖ τὸν Εὔνομον αὐτῇ τῇ κιθάρᾳ καὶ τὸν συναγωνιστὴν τοῦ Λοκροῦ· ὃ δὲ ἑκὼν ἐφίπταται καὶ ᾄδει ἑκών. Ἕλλησι δ' ἐδόκει ὑποκριτὴς γεγονέναι μουσικῆς. 1.2.1 Πῇ δὴ οὖν μύθοις κενοῖς πεπιστεύκατε, θέλγεσθαι μουσικῇ τὰ ζῷα ὑπολαμβάνοντες; Ἀληθείας δὲ ὑμῖν τὸ πρόσωπον τὸ φαιδρὸν μόνον, ὡς ἔοικεν, ἐπίπλαστον εἶναι δοκεῖ καὶ τοῖς ἀπιστίας ὑποπέπτωκεν ὀφθαλμοῖς. Κιθαιρὼν δὲ ἄρα καὶ Ἑλικὼν καὶ τὰ Ὀδρυσῶν ὄρη καὶ Θρᾳκῶν τελεστήρια, τῆς πλάνης τὰ μυστήρια, τεθείασται καὶ 1.2.2 καθύμνηται. Ἐγὼ μέν, εἰ καὶ μῦθός εἰσι, δυσανασχετῶ τοσαύταις ἐκτραγῳδουμέναις συμφοραῖς· ὑμῖν δὲ καὶ τῶν κακῶν αἱ ἀναγραφαὶ γεγόνασι δράματα καὶ τῶν δραμάτων οἱ ὑποκριταὶ θυμηδίας θεάματα. Ἀλλὰ γὰρ τὰ μὲν δράματα καὶ τοὺς ληναΐζοντας ποιητάς, τέλεον ἤδη παροινοῦντας, κιττῷ που ἀναδήσαντες, ἀφραίνοντας ἐκτόπως τελετῇ βακχικῇ, αὐτοῖς σατύροις καὶ θιάσῳ μαινόλῃ, σὺν καὶ τῷ ἄλλῳ δαιμόνων χορῷ, Ἑλικῶνι καὶ Κιθαιρῶνι κατακλείσωμεν γεγηρακόσιν, κατάγωμεν δὲ ἄνωθεν ἐξ οὐρανῶν ἀλήθειαν ἅμα φανοτάτῃ φρονήσει εἰς ὄρος ἅγιον 1.2.3 θεοῦ καὶ χορὸν τὸν ἅγιον τὸν προφητικόν. Ἣ δὲ ὡς ὅτι μάλιστα τηλαυγὲς ἀποστίλβουσα φῶς καταυγαζέτω πάντῃ τοὺς ἐν σκότει κυλινδουμένους καὶ τῆς πλάνης τοὺς ἀνθρώπους ἀπαλλαττέτω, τὴν ὑπερτάτην ὀρέγουσα δεξιάν, τὴν σύνεσιν, εἰς σωτηρίαν· οἳ δὲ ἀνανεύσαντες καὶ ἀνακύψαντες Ἑλικῶνα μὲν καὶ Κιθαιρῶνα καταλειπόντων, οἰκούντων δὲ Σιών· "ἐκ γὰρ Σιὼν ἐξελεύσεται νόμος, καὶ λόγος κυρίου ἐξ Ἱερου σαλήμ", λόγος οὐράνιος, ὁ γνήσιος ἀγωνιστὴς ἐπὶ τῷ 1.2.4 παντὸς κόσμου θεάτρῳ στεφανούμενος. Αἴδει δέ γε ὁ Εὔνομος ὁ ἐμὸς οὐ τὸν Τερπάνδρου νόμον οὐδὲ τὸν Κηπίωνος, οὐδὲ μὴν Φρύγιον ἢ Λύδιον ἢ ∆ώριον, ἀλλὰ τῆς καινῆς ἁρμονίας τὸν ἀίδιον νόμον, τὸν φερώνυμον τοῦ θεοῦ, τὸ ᾆσμα τὸ καινόν, τὸ Λευιτικόν, "νηπενθές τ' ἄχολόν τε, κακῶν ἐπίληθες ἁπάντων"· γλυκύ τι καὶ ἀληθινὸν φάρμα κον πειθοῦς ἐγκέκραται τῷ ᾄσματι. 1.3.1 Ἐμοὶ μὲν οὖν δοκοῦσιν ὁ Θρᾴκιος ἐκεῖνος Ὀρφεὺς καὶ ὁ Θηβαῖος καὶ ὁ Μηθυμναῖος, ἄνδρες τινὲς οὐκ ἄνδρες, ἀπατηλοὶ γεγονέναι, προσχήματι μουσικῆς λυμηνάμενοι τὸν βίον, ἐντέχνῳ τινὶ γοητείᾳ