They rashly assume in this manner, that whatsoever things have been said and done by all men, (may be made to harmonize) with their own particular mental view, alleging that all things become spiritual. Whence likewise they assert, that those exhibiting themselves in theatres,—not even these say or do anything without premeditation. Therefore, he says, when, on the people assembling in the theatres, any one enters clad in a remarkable robe, carrying a harp and playing a tune (upon it, accompanying it) with a song of the great mysteries, he speaks as follows, not knowing what he says: “Whether (thou art) the race of Saturn or happy Jupiter, or mighty Rhea, Hail, Attis, gloomy mutilation of Rhea. Assyrians style thee thrice-longed-for Adonis, and the whole of Egypt (calls thee) Osiris, celestial horn of the moon; Greeks denominate (thee) Wisdom; Samothracians, venerable Adam; Hæmonians, Corybas; and them Phrygians (name thee) at one time Papa, at another time Corpse, or God, or Fruitless, or Aipolos, or green Ear of Corn that has been reaped, or whom the very fertile Amygdalus produced—a man, a musician.” This, he says, is multiform Attis, whom while they celebrate in a hymn, they utter these words: “I will hymn Attis, son of Rhea, not with the buzzing sounds of trumpets, or of Idæan pipers, which accord with (the voices of) the Curetes; but I will mingle (my song) with Apollo’s music of harps, ‘evoe, evan,’ inasmuch as thou art Pan, as thou art Bacchus, as thou art shepherd of brilliant stars.”