The third is said to be a writing copy for children—μάρπτες σφίγξ, κλώψ ζυνχθηδόν. And it signifies, in my opinion, that by the arrangement of the elements and of the world, we must advance to the knowledge of what is more perfect, since eternal salvation is attained by force and toil; for μάρψαι is to grasp. And the harmony of the world is meant by the Sphinx; and ζυνχθηδόν means difficulty; and κλὼψς means at once the secret knowledge of the Lord and day. Well! does not Epigenes, in his book on the Poetry of Orpheus, in exhibiting the peculiarities found in Orpheus, say that by “the curved rods” (κεραίσι) is meant “ploughs;” and by the warp (στήμοσι), the furrows; and the woof (μίτος) is a figurative expression for the seed; and that the tears of Zeus signify a shower; and that the “parts” (μοῖραι) are, again, the phases of the moon, the thirtieth day, and the fifteenth, and the new moon, and that Orpheus accordingly calls them “white-robed,” as being parts of the light? Again, that the Spring is called “flowery,” from its nature; and Night “still,” on account of rest; and the Moon “Gorgonian,” on account of the face in it; and that the time in which it is necessary to sow is called Aphrodite by the “Theologian.” In the same way, too, the Pythagoreans figuratively called the planets the “dogs of Persephone;” and to the sea they applied the metaphorical appellation of “the tears of Kronus.” Myriads on myriads of enigmatical utterances by both poets and philosophers are to be found; and there are also whole books which present the mind of the writer veiled, as that of Heraclitus On Nature, who on this very account is called “Obscure.” Similar to this book is the Theology of Pherecydes of Syrus; for Euphorion the poet, and the Causes of Callimachus, and the Alexandra of Lycophron, and the like, are proposed as an exercise in exposition to all the grammarians.