V. Here there was an interval of silence; the guides were again getting their speeches in hand. A certain oracle given in verse was mentioned—I think it was one about the reign of Aegon the Argive—when Diogenianus observed that he had often been surprised at the badness and common quality of the verses in which the oracles are delivered. Yet the God is Choirmaster of the Muses, and eloquent language is no less [Sidenote: D] his function than beauty of ode or tune, and he should have a voice far above that of Homer and Hesiod in verse. Here we have most of the oracles saturated with bad taste and poverty of metre and diction. Then Serapion, the poet, who was with us from Athens, said: ‘Then do we really believe that these verses are the God’s, yet venture to say that they fall behind Homer and Hesiod in beauty? Shall we not rather take them for all that is best and most beautiful in poetry, and revise our judgement of them prejudiced by familiarity with a bad standard?’ Boethus, the geometer—you know the man, [Sidenote: E] already on his way to the camp of Epicurus—broke in: ‘Have you ever heard the story of Pauson the painter?’ ‘Not I’, said Serapion. ‘Well, it is worth hearing. It appears that he had contracted to paint a horse rolling, and painted him galloping. The owner was indignant; so Pauson laughed and turned the canvas upside down, with the result that the lower parts became the upper, and there was the horse rolling, not galloping. So [Sidenote: F] it is, Bion tells us, with certain syllogisms when converted. Thus some will tell us not that the oracles are quite beautiful because they are the God’s, but that they are not the God’s because they are bad! That point may be left unsettled. But that the verses used in the oracles are bad poetry,’ he went on, ‘is made clear also in your judgement, my dear Serapion, is it not so? For you write poems which are philosophical and severe as to matter, but in force and grace and diction more like the work of Homer and Hesiod than the utterances of the Pythia.’