De Pythiae oraculis

Plutarch’s essay on the changed custom at Delphi is quite as interesting for its digressions as for its treatment of the main topic. Portents, coincidences, history, a little philosophy, stories of persons like Croesus, Battus, Lysander, Rhodope, finally lead up to the statement that many oracles used to be delivered in prose, although still more in early times were delivered in verse; but the present age calls for simplicity and directness instead of the ancient obscurity and grandiloquence.

We possess a considerable body of Delphic oracles preserved in Greek literature, as, for example, the famous oracle of the wooden wall (Herodotus, vii. 141). Practically all of these are in hexameter verse. Many more records of oracles merely state that someone consulted the oracle and was told to perform a certain deed, or was told that something would or might happen, often with certain limitations. We have, therefore, no means of determining the truth of Plutarch’s statement, but there is little doubt that he is right. If we possessed his lost work, Χρησμῶν συναγωγή (no. 171 in Lamprias’s list), we should have more abundant data on which to base our decision.

The essay often exhibits Plutarch at his best. Hartman thinks that Plutarch hoped that the.work

The essay stands as no. 116 in Lamprias’s catalogue. It is found in only two mss. and in a few places the tradition leaves us in doubt, but, for the most part, the text is fairly clear.

The references to the topography and monuments of Delphi have become more intelligible since the site was excavated by the French. Pomtow, in the Berliner Pkilologische Wochenschrift, 1912, p. 1170, gives an account of the monuments visited by the company in this essay.

(The persons who take part in the dialogue are Basilocles and Philinus, who serve to introduce the later speakers; Diogenianus, Theon, Sarapion, Boethus, as well as Philinus himself and some professional guides.)

BASILOCLES. You people have kept it up till well into the evening, Philinus, escorting the foreign visitor around among the statues and votive offerings. For my part, I had almost given up waiting for you.

PHILINUS. The fact is, Basilocles, that wre went slowly, sowing words, and reaping them straightway with strife, like the men sprung from the Dragon’s teeth, words with meanings behind them of the contentious sort, which sprang up and flourished along our way.

BASILOCLES. Will it be necessary to call in someone else of those who were with you; or are you willing, as a favour, to relate in full what your conversation was and who took part in it?

PHILINUS. It looks, Basilocles, as if I shall have that to do. In fact, it would not be easy for you to find anyone of the others in the town, for I saw most of them once more on their way up to the Cory ei an cave and Lycoreia[*](Pausanias, x. 6. 2-3.) with the foreign visitor.

BASILOCLES. Our visitor is certainly eager to see the sights, and an unusually eager listener.

PHILINUS. But even more is he a scholar and a student. However, it is not this that most deserves our admiration, but a winning gentleness, and his willingness to argue and to raise questions, which comes from his intelligence, and shows no dissatisfaction nor contrariety with the answers. So, after being with him but a short time, one would say, O child of a goodly father! [*](Cf. Plato, Republic, 368 a.) You surely know Diogenianus, one of the best of men.

BASILOCLES. I never saw him myself, Philinus, but I have met many persons who expressed a strong approval of the man’s words and character, and who had other compliments of the same nature to say of the young man. But, my friend, what was the beginning and occasion of your conversation?

PHILINUS. The guides were going through their prearranged programme, paying no heed to us who begged that they would cut short their harangues and their expounding of most of the inscriptions. The appearance and technique of the statues had only a moderate attraction for the foreign visitor, who, apparently, was a connoisseur in works of art. He did, however, admire the patina of the bronze, for it bore no resemblance to verdigris or rust, but the bronze was smooth and shining with a deep blue tinge, so that it gave an added touch to the sea-captains[*](Presumably the thirty-seven statues of Lysander and his officers (erected after the battle of Aegospotami), which stood near the entrance inside the sacred precinct. Cf. Life of Lysander, chap. xviii. (443 a).) (for he had begun his sight-seeing with them), as they stood there with the true complexion of the sea and its deepest depths.

Was there, then, said he, some process of alloying and treating used by the artizans of early times for bronze, something like what is called the tempering of swords, on the disappearance of which bronze carne to have a respite from employment in war? As a matter of fact, he continued, it was not by art, as they say, but by accident that the Corinthian bronze[*](Tempering in the water of Peirene was held to be one important factor in the production of Corinthian bronze. Cf. e.g. Pausanias, ii. 3. 3. On the whole subject of Corinthian bronze, it is worth while to consult an article by T. Leslie Shear, A Hoard of Coins found in Corinth in 1930, in the American Journal of Archaeology, xxv. (1931) pp. 139-151, which records the results of chemical analyses of samples of the bronze.) acquired its beauty of colour; a fire consumed a house containing some gold and silver and a great store of copper, and when these were melted and fused together, the great mass of copper furnished a name because of its preponderance.

Theon, taking up the conversation, said, We have heard another more artful account, how a worker in bronze at Corinth, when he had come upon a hoard containing much gold, fearing detection, broke it off a little at a time and stealthily mixed it with his bronze, which thus acquired a wondrous composition. He sold it for a goodly price since it was very highly esteemed for its colour and beauty. However, both this story and that are fiction, but there was apparently some process of combination and preparation; for even now they alloy gold with silver[*](Making the ancient electrum, which was often used for coinage, plate, and similar purposes.) and produce a peculiar and extraordinary, and, to my eyes, a sickly paleness and an unlovely perversion.