VI. Then Serapion: ‘Yes, we are sick, Boethus, sick in ears and in eyes; luxury and softness have accustomed us to think things beautiful as they are more sweet, and to call them so. Soon we shall actually be finding fault with the Pythia because [Sidenote: 397] she does not speak with a more thrilling voice than Glauce the singing-girl, or use costly ointments, or put on purple robes to go down into the sanctuary, or burn on her censer cassia, mastic, and frankincense, but only bay leaves and barley meal. Do you not see’, he went on, ‘what grace the songs of Sappho have, how they charm and soothe the hearers, while the Sibyl “with raving mouth”, as Heraclitus says, “utters words with no laughter, no adornment, no spices”,[86] yet makes her voice carry to ten thousand years, because of the God. And Pindar[87] tells us that Cadmus heard from the God “right music”, not [Sidenote: B] sweet music, or delicate music, or twittering music. What is passionless and pure gives no admission to pleasure; she was cast out in this very place, together with pain,[88] and the most of her has dribbled away, it seems, into the ears of men.’ VII. When Serapion had done, Theon smiled. ‘Serapion’, he said, ‘has paid his usual tribute to his own proclivities, making capital out of the turn which the conversation had taken about pain and pleasure! But for us, Boethus, even if these verses are inferior to Homer, let us never suppose that the God has composed them; he only gives the initial impulse according to the capacity of each prophetess. Why, suppose the answers had [Sidenote: C] to be written, not spoken. I do not think we should suppose that the letters were made by the God, and find fault with the calligraphy as below royal standard. The strain is not the God’s, but the woman’s, and so with the voice and the phrasing and the metre; he only provides the fantasies, and puts light into her soul to illuminate the future; for that is what inspiration is. To put it plainly, there is no escaping you prophets of Epicurus—yes, you too, Boethus, are drifting that way—you blame those old prophetesses because they used bad poetry, and you also blame those of to-day because they speak their answers in [Sidenote: D] prose, and use the first words which come, that they may not be overhauled by you for headless, hollow, crop-tailed lines.’ Then Diogenianus: ‘Do not jest, in Heaven’s name, no! but help us to solve the problem which is common to us all. There is not a Greek[89] living who is not in search of a rational account of the fact that the oracle has ceased to use verse, epic or other.’ Theon interrupted: ‘At the present moment, my young friend, we seem to be doing a shabby turn by the guides, taking the bread out of their mouths. Suffer them first to do [Sidenote: E] their office, afterwards you shall discuss in peace whatever you wish.’