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might change the dialect in which they were originally written. For is it to be supposed that the Orphic Hymns would have been used in the
Eleusinian mysteries, as we have demonstrated they were, if they had been spurious productions; or that the fraud would not have been long ago discovered by some of the many learned and wise men that flourished after Onomacritus ; and that the detection of this fraud would not have been transmitted so as to reach even the present times? Or indeed, is it probable that such a forgery could have existed at all, at a period when other learned men, as well as Onomacritus, had access to the genuine writings of Orpheus, and were equally capable with himself of changing them from one dialect into another? Even at a late period of antiquity, will any man who is at all familiar with the writings of Proclus, Hermias, and Olympio dorus, for a moment believe that men of such learning, profundity, and sagacity, would have transmitted to us so many verses as Orphic, though not in the Doric dialect, when at the same time they were the productions of Onomacritus? We may therefore, I think, confidently conclude, that though Onomacritus altered the dialect, he did not either add to or diminish, or in any respect adulterate the works of Orpheus; for it is impossible he should have committed such a fraud without being ultimately, if not immediately, detected.
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as I may say
Solonically; or might arbitrarily add or take away what he thought proper, which, as we are informed by Herodotus, was his practice with respect to the Oracles.” Gesner adds, “that it does not appear probable to him, that Onomacritus would dare to invent all that he wrote, since Orpheus must necessarily, at that time, have been much celebrated, and a great variety of his verses must have been in circulation.” And he concludes with observing, “that the objection of the Doric dialect ought to be of no more weight against the antiquity of the present works than the Pelasgic letters, which Orpheus, according to Diodorus Siculus, used.
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dialect; yet the
Athenian Onomacritus, who according to the general opinion of antiquity is the author of all the works now extant ascribed to Orpheus, might either, preserving the sentences and a great part of the words, only change the dialect, and teach the ancient Orpheus to speak Homerically, or
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In the last place, it is requisite to speak of the author of these Hymns, and in addition to the evidence already adduced of their genuine antiquity, to vindicate them against those who contend that they are spurious, and were not written by
Orpheus, but either by Onomacritus, or some poet who lived
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In this extract, Gesner is certainly right in asserting that
Onomacritus would not dare to invent all that he wrote, and afterwards publish it as Orphic; but I add, that it is unreasonable in the extreme to suppose that he in the least interpolated or altered the genuine works of Orpheus, though he
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With respect to those who contend that the works which are at present extant under the name of
Orpheus were written during the decline and fall of the Roman empire, I trust every intelligent reader will deem it almost needless to say, in confutation of such an opinion, that it is an insult to the
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understanding of all the celebrated men of that period, by whom these writings have been quoted as genuine productions, and particularly to such among them as rank among the most learned, the most sagacious, and wisest of mankind.
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observes, “that it ought to be no objection to their antiquity. For though according to
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Javier Martínez, "Onomacritus the Forger, Hipparchus' Scapegoat?"
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poems. He was a collector and forger of oracles and poems.
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made the Titans the authors of the god's sufferings."
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