For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; just as the Corybantian The Corybantes were priests of Cybele or Rhea, mother of Zeus and other Olympian gods, and she was worshipped with wild music and frenzied dancing which, like the bacchic revels or orgies of women in honor of Dionysus, carried away the participants despite and beyond themselves. Cf. Eurip. worshippers do not dance when in their senses, so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession—as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers—that the soul of the lyric poets does the same thing, by their own report. For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts in certain gardens and glades of the Muses—like the bees, and winging the air as these do. A beginning of this comparison appears in Aristophanes’ praise of the early tragedian Phrynichus—he sipped the fruits of ambrosial lays, ever bringing away sweet song.Aristoph. Birds 750f. And what they tell is true. For a poet is a light and winged and sacred thing, and is unable ever to indite until he has been inspired and put out of his senses, and his mind is no longer in him: every man, whilst he retains possession of that, is powerless to indite a verse or chant an oracle. Seeing then that it is not by art that they compose and utter so many fine things about the deeds of men— as you do about Homer—but by a divine dispensation, each is able only to compose that to which the Muse has stirred him, this man dithyrambs, another laudatory odes, another dance-songs, another epic or else iambic verse; but each is at fault in any other kind. For not by art do they utter these things, but by divine influence; since, if they had fully learnt by art to speak on one kind of theme, they would know how to speak on all. And for this reason God takes away the mind of these men and uses them as his ministers, just as he does soothsayers and godly seers, in order that we who hear them may know that it is not they who utter these words of great price, when they are out of their wits, but that it is God himself who speaks and addresses us through them. A convincing proof of what I say is the case of Tynnichus, Nothing else is known of this poet. the Chalcidian, who had never composed a single poem in his life that could deserve any mention, and then produced the paean A hymn in honor of a god, usually Apollo. which is in everyone’s mouth, almost the finest song we have, simply—as he says himself—an invention of the Muses. For the god, as it seems to me, intended him to be a sign to us that we should not waver or doubt that these fine poems are not human or the work of men, but divine and the work of gods; and that the poets are merely the interpreters of the gods, according as each is possessed by one of the heavenly powers. To show this forth, the god of set purpose sang the finest of songs through the meanest of poets: or do you not think my statement true, Ion?