IX. ‘Then if any one ask “What is all this to Apollo?”[59] Much, we will answer, not to Apollo only but also to Dionysus, who has no less to do with Delphi than has Apollo. Now we [Sidenote: F] hear theologians saying or singing, in poems or in plain prose, that the God subsists indestructible and eternal, and that, by force of some appointed plan and method, he passes through changes of his person; at one time he sets fire to Nature and so makes all like unto all, at another passes through all phases of difference—shapes, sufferings, powers—at the present time, for instance, he becomes “Cosmos”, and that is his most familiar name. The wiser people disguise from the vulgar the change [Sidenote: 389] into fire, and call him “Apollo[60]” from his isolation, “Phoebus[61]” from his undefiled purity. As for his passage and distribution into waves and water, and earth, and stars, and nascent plants and animals, they hint at the actual change undergone as a rending and dismemberment, but name the God himself Dionysus or Zagreus or Nyctelius or Isodaites. Deaths too and vanishings do they construct, passages out of life and new births, all riddles and tales to match the changes mentioned. So they sing to Dionysus dithyrambic strains, charged with sufferings and a change wherein are wanderings and dismemberment. [Sidenote: B] _In mingled cries_ (says Aeschylus)[62] _the dithyramb should ring, With Dionysus revelling, its King._ ‘But Apollo has the Paean, a set and sober music. Apollo is ever ageless and young; Dionysus has many forms and many shapes as represented in paintings and sculpture, which attribute to Apollo smoothness and order and a gravity with no admixture, to Dionysus a blend of sport and sauciness with seriousness and frenzy: _God that sett’st maiden’s blood Dancing in frenzied mood, Blooming with pageantry! Evoe! we cry._ ‘So do they summon him, rightly catching the character of either change. But since the periods of change are not equal, that [Sidenote: C] called “satiety” being longer, that of “stint” shorter, they here preserve a proportion, and use the Paean with their sacrifice for the rest of the year, but at the beginning of winter awake the dithyramb, and stop the Paean, and invoke this God instead of the other, supposing that this ratio of three to one is that of the “Arrangement” to the “Conflagration”.[63] X. ‘But perhaps this has been drawn out at too great length for the present opportunity. This much is clear, that they do associate the Pempad with the God, as it now produces its own [Sidenote: D] self like fire, and again produces the Decad out of itself like the universe. Now take music, which the God favours so highly, are we not to suppose that this number has its share here?