Thus the _Myth of Man_, the Mystery of Generation, is the subject matter of the document in question, and this myth is set forth with reference to all the Mysteries, beginning with the Assyrian. Paragraph 5 runs: “Now the Assyrians call this Mystery Adonis, and whenever it is called Adonis it is Aphrodite who is in love with and desires Soul so-called, and Aphrodite is Genesis according to them.”[8] But in the next section the writer jumps from the Assyrian to the Phrygian Mysteries, saying, “But if the Mother of the Gods emasculates Attis, she too regarding him as the object of her love, it is the Blessed Nature above of the super-Cosmic, and Aeonian spaces which calls back the masculine power of Soul to herself.”[9] In a note to this Mr Mead quotes from _The Life of Isidorus:_ “I fell asleep and in a vision Attis seemed to appear to me, and on behalf of the Mother of gods to initiate me into the feast called Hilario, a mystery which discloses the way of our salvation from Hades.” Throughout the document reference is continually made to the Phrygians and their doctrine of Man. The Eleusinian Mysteries are then treated of as subsequent to the Phrygian, “after the Phrygians, the Athenians,” but the teaching is represented as being essentially identical. We have then a passage of great interest for our investigation, in which the Mysteries are sharply divided into two classes, and their separate content clearly defined. There are—“the little Mysteries, those of the Fleshly Generation, and after men have been initiated into them they should cease for a while and become initiated in the Great, Heavenly, Mysteries—for this is the Gate of Heaven, and this is the House of God, where the Good God dwells alone, into which House no impure man shall come.”[10] Hippolytus remarks that “these Naassenes say that the performers in theatres, they too, neither say nor do anything without design—for example, when the people assemble in the theatre, and a man comes on the stage clad in a robe different from all others, with lute in hand on which he plays, and thus chants the Great Mysteries, not knowing what he says: ‘Whether blest Child of Kronos, or of Zeus, or of Great Rhea, Hail Attis, thou mournful song of Rhea! Assyrians call thee thrice-longed-for Adonis;v All Egypt calls thee Osiris; The Wisdom of Hellas names thee Men’s Heavenly Horn; The Samothracians call thee august Adama;v The Haemonians, Korybas; The Phrygians name thee Papa sometimes; At times again Dead, or God, or Unfruitful, or Aipolos; Or Green Reaped Wheat-ear; Or the Fruitful that Amygdalas brought forth, Man, Piper—Attis!’ This is the Attis of many forms, of whom they sing as follows: ‘Of Attis will I sing, of Rhea’s Beloved, Not with the booming of bells, Nor with the deep-toned pipe of Idaean Kuretes; But I will blend my song with Phoebus’ music of the lyre; Evoi, Evan,—for thou art Pan, thou Bacchus art, and Shepherd of bright stars!’”[11]