De E apud Delphos

Now if any one shall say, What is all this to Apollo? we will answer, that it concerns not Apollo only, but Bacchus also, who has no less to do with Delphi than Apollo himself. For we have heard the divines, partly in verse partly in prose, saying and singing, that the God is of his own nature incorruptible and eternal, but yet, through a certain fatal decree and reason, suffers changes of himself, having sometimes his nature kindled into a fire, and making all things alike, and otherwhiles becoming various, in different

shapes, passions, and powers, like unto the World, and is named by this best-known of names. But the wiser, concealing from the vulgar the change into fire, call him both Apollo from his unity[*](Deriving Apollo from α and πολύς (or πολλός), much. (G.)) and Phoebus from his purity and unpollutedness. But as for the passion and change of his conversion into winds, water, earth, stars, and the various kinds of plants and animals, and its order and disposition, this they obscurely represent as a certain distraction and dismembering; and they now call him Dionysus, Zagreus, Nyctelius, and Isodaetes, exhibiting and chanting forth certain corruptions, disparitions, deaths, and resurrections, which are all riddles and fables suited to the said mutations. To Dionysus or Bacchus they sing dithyrambic verses, full of passions and change, joined with a certain wandering and agitation backwards and forwards; for, as Aeschylus says,

The dithyramb, whose sounds are dissonant,

’Tis fit should wait on Bacchus.

But to Apollo they sing the well-ordered paean and a discreet song. And Apollo both in their sculptures and statues they always make to be young and never declining to old age; but Dionysus they represent in many shapes and forms. Lastly, to the one they attribute equality, order, and unmixed gravity; but to the other, a certain unequal mixture of sports, petulancy, gravity, and madness, surnaming him,

Evius Bacchus, who to rage incites

Women on tops of mountains, and delights

In frantic worship.

Thus they not unfitly touch the property of both changes. Now because the time of the revolutions in these changes is not equal, but that of the one which they call Koros (that is, satiety) is longer, and that of the other named Chresmosyne (or want) shorter; observing in this the proportion, they all the rest of the year use in their sacrifices the paean; but at the beginning of winter, rousing up the dithyramb, and laying the paean to rest, they do for three months invocate Bacchus instead of Apollo, esteeming the creation of the world to be the same in proportion of time to the conflagration of it as three to one.