Afterwards, when Neanthus, the son of Pittacus the tyrant, found that the lyre drew trees and wild beasts with its harmony, he earnestly desired its possession; and having corrupted the priest privately with money, he took the Orphean lyre, and fixed another similar to it, in the temple.
But Neanthus considering that he was not safe in the city in the day time, departed from it by night; having concealed the lyre in his bosom, on which he began to play.
But as he was a rude and unlearned youth, he confounded the chords; yet pleasing himself with the sound, and fancying he produced a divine harmony, he considered himself as the blessed successor of Orpheus.
p.
10 However, in the midst of his transports, the neighbouring dogs, roused by the sound, fell upon the unhappy harper and tore him to pieces.
The former part of this fable is thus excellently explained by Proclus in his commentaries (or rather fragments of commentaries) on Plato's Republic; a work I would earnestly recommend to the liberal, for the great light it affords to the recondite theology of the Greeks.
Orpheus, says he, on account of his perfect erudition, is reported to have been destroyed in various ways; because, in my opinion, men of that age, participated partially of the Orphic harmony; for they could not receive a universal and perfect science.
But the principal part of his melody was received by the Lesbians; and on this account, perhaps, the head of Orpheus, when seperated from his body, is said to have been carried to Lesbos.
Fables of this p.
11 kind, therefore, are related of Orpheus, no otherwise than of Bacchus, of whose mysteries he was the priest.
Thus far Proclus, and thus much concerning the first, or Thracian Orpheus.
The second Orpheus was an Arcadian, or, according to others, a Ciconian, from Bisaltia of Thrace; and is reported to be more ancient than Homer, and the Trojan war.
He composed figments of fables called (μυθοποιϊα) and epigrams; and is, according to Gyraldus, the author of the following hymns; though I rather chuse to refer them, with the Fathers Vossius and Eschenbach, to Onomacritus, or the fourth Orpheus, of Crotonia.
The third Orpheus was of Odrysius, a city of Thrace, near the river Hebrus; but Dionysius, in Suidas, denies his existence.
The fourth Orpheus was of Crotonia, who flourished in the time of Pisistratus, about the fiftieth Olympiad; and is doubtless the same p.
12 Onomacritus the author of these hymns.
He writ Decennalia, δεκαετηρια, and, in the opinion of Gyraldus, the Argonautics, which are now extant under the name of Orpheus, with other writings called Orphical, but which, according to Cicero d , some ascribe to Cecrops the Pythagorean.
The last Orpheus, was Camarinæus, a most excellent versifier; and the same according to Gyraldus whose descent into hell is so universally known.
And thus much for the life of Orpheus.
Footnotes 4:a Syntag,.
Poet.
p.
54.
7:b Opusc.
Mythol.
p.
45 8:c In Oratione ad Indoctum.
12:d In 1.
De Nat.
Deor.
Themes
◆Cosmic Sympathycosmology
The Stoic and Plotinian doctrine that all parts of the cosmos are bound by hidden affinities, so that a movement in one part resonates through the whole; the metaphysical basis for astrology, magic, and divination.
The passage explicitly states that the lyre 'drew trees and wild beasts with its harmony,' illustrating the sympathetic connection between music and nature.
Transgressive knowing acquired against divine prohibition — the Watchers' teaching of metallurgy, sorcery, and cosmetics in 1 Enoch, the Gnostic Eve narratives, the Promethean mytheme; explicitly contrasted with gnosis_direct_knowledge, which is salvific.
Neanthus steals the sacred lyre through corruption and plays it without skill, leading to his destruction, representing transgressive access to divine power.
[auto] The passage explicitly describes the soul of Orpheus being destined to descend into another body and choosing the form of a swan to avoid human birth.