or festival of the Charites, at Orchomenos, the rivalry of the poets in their various modes of composition both began and continued as the predominant feature:[113] and the inestimable treasures yet remaining to us of Attic tragedy and comedy, are gleanings from the once numerous dramas exhibited at the solemnity of the Dionysia. The Ephesians gave considerable rewards for the best hymns in honor of Artemis, to be sung at her temple.[114] And the early lyric poets of Greece, though their works have not descended to us, devoted their genius largely to similar productions, as may be seen by the titles and fragments yet remaining. [111] The legend which Ephorus followed about the establishment of the Delphian temple was something radically different from the Homeric Hymn (Ephori Fragm. 70, ed. Didot): his narrative went far to politicize and rationalize the story. The progeny of Apollo was very numerous, and of the most diverse attributes; he was father of the Korybantes (Pherekydes, Fragm. 6, ed. Didot), as well as of Asklêpios and Aristæus (Schol. Apollôn. Rhod. ii. 500; Apollodôr. iii. 10, 3). [112] Strabo, ix. p. 421. Menander the Rhetor (Ap. Walz. Coll. Rhett. t. ix. p. 136) gives an elaborate classification of hymns to the gods, distinguishing them into nine classes,—κλητικοὶ, ἀποπεμπτικοὶ, φυσικοὶ, μυθικοὶ, γενεαλογικοὶ, πεπλασμένοι, εὐκτικοὶ, ἀπευκτικοὶ, μικτοί:—the second class had reference to the temporary absences or departure of a god to some distant place, which were often admitted in the ancient religion. Sappho and Alkman in their _kletic_ hymns invoked the gods from many different places,—τὴν μὲν γὰρ Ἄρτεμιν ἐκ μυρίων μὲν ὄρεων, μυρίων δὲ πόλεων, ἔτι δὲ ποτάμων, ἀνακαλεῖ,—also Aphroditê and Apollo, etc. All these songs were full of adventures and details respecting the gods,—in other words of legendary matter. [113] Pindar, Olymp. xiv.; Boeckh, Staatshaushaltung der Athener, Appendix, § xx. p. 357. [114] Alexander Ætolus, apud Macrobium, Saturn. v. 22.