And, therefore, in the case of a young man who had every other imaginable virtue, this one fault alone, that he did not honour Venus, was the cause of his destruction. And neither Diana, who loved him exceedingly, nor any other of the gods or demi-gods could defend him; and accordingly, in the words of the same poet,— Whoe'er denies that Love's the only god,[54] Is foolish, ignorant of all that's true, And knows not him who is the greatest deity Acknowledged by all nations. And the wise Anacreon, who is in everybody's mouth, is always celebrating love. And, accordingly, the admirable Critias also speaks of him in the following manner:— Teos brought forth, a source of pride to Greece, The sweet Anacreon, who with sweet notes twined A wreath of tuneful song in woman's praise, The choicest ornament of revelling feasts, The most seductive charm; a match for flutes' Or pipes' shrill aid, or softly moving lyre: O Teian bard, your fame shall never die; Age shall not touch it; while the willing slave Mingles the wine and water in the bowl, And fills the welcome goblet for the guests; While female hands, with many twinkling feet, Lead their glad nightly dance; while many drops, Daughters of these glad cups, great Bacchus' juice, Fall with good omen on the cottabus dish. 75. But Archytas the Harmonist, as Chamæleon calls him, says that Alcman was the original poet of amatory songs, and that he was the first poet to introduce melodies inciting to lawless indulgence, ... being, with respect to women.... On which account he says in one of his odes— But Love again, so Venus wills, Descends into my heart, And with his gentle dew refreshes me. He says also that he was in a moderate degree in love with Megalostrate, who was a poetess, and who was able to allure lovers to her by the charms of her conversation. And he speaks thus concerning her— This gift, by the sweet Muse inspired, That lovely damsel gave, The golden-hair'd Megalostrate. And Stesichorus, who was in no moderate degree given to amorous pursuits, composed many poems of this kind; which in ancient times were called παιδιὰ and παιδικά. And, in fact, there was such emulation about composing poems of this sort, and so far was any one from thinking lightly of the amatory poets, that Æschylus, who was a very great poet, and Sophocles, too, introduced the subject of the loves of men on the stage in their tragedies: the one describing the love of Achilles for Patroclus, and the other, in his Niobe, the mutual love of her sons (on which account some men have given an ill name to that tragedy); and all such passages as those are very agreeable to the spectators. 76. Ibycus, too, of Rhegium, speaks loudly as follows—