Oracle Of Delphi Famous Quotes

The vast majority of all the ancient Greek literature that has survived comes from this period of imperial rule. To give a sense of scale, the work of just one of these writers – Plutarch, the second-century CE biographer, philosopher, essayist and priest of the famous Greek oracle at Delphi – extends to as many modern pages as all the surviving work of the fifth century BCE put together, from the tragedies of Aeschylus to the history of Thucydides.

From the early days of its existence, cryptology had served to obscure critical portions of writings dealing with the potent subject of magic—divinations, spells, curses, whatever conferred supernatural powers on its sorcerers. The first faint traces of this appeared in Egyptian cryptography. Plutarch reported that “sundry very ancient oracles were kept in secret writings by the priests” at Delphi. And before the fall of the Roman empire, secret writing was serving as a powerful ally of the necromancers in guarding their art from the profane. One of the most famous magic manuscripts, the so-called Leiden papyrus, discovered at Thebes and written in the third century A.D. in both Greek and a very late form of demotic, a highly simplified version of hieroglyphics, employs cipher to conceal the crucial portions of important recipes.

Art depicting the Pythia as a young, naked woman Chapter 4: Prophetic Inspiration and Oracular Response The ruins at Delphi An illustration depicting the Pythia “There are two ways opposite to each other, one leading to the house of freedom, the other to the house of slavery. Lead the people on the road that goes through courage and harmony; avoid that which leads through strife and ruin.

I know one thing: That I know nothing,” is what Socrates famously told the Oracle of Delphi when Socrates was declared the wisest man on earth. The fact that he thinks that he knows nothing makes him wise. That’s a way of thinking.

Delphi was the religious center of all the city-states. It was the home of Pythia, the famous Delphic oracle. This city-state became the shrine to the god Apollo during the Classical period.  

The picture of the Pythia breathing in vapors from a chasm below her tripod has always been the dominant model for understanding how the oracle at Delphi functioned. To such an extent that finding the mechanism of the vapors was originally regarded as the litmus test for successful archaeological investigation at Delphi. The original excavators of the site were extremely disappointed not to find a chasm below the temple—they felt almost cheated by the “deception” of the literary sources. The stakes were understandably high: at the time of Delphi’s excavation in the 1890s, interest in the oracle, and in psychic research more generally, could not have been stronger. In 1891 the burlesque opera Apollo, or The Oracle at Delphi played to great acclaim on Broadway. In the same year, John Collier painted his famous Priestess of Delphi in which a sensual priestess breathes in vapors from her tripod over a chasm (see plate 4), and the Society of Psychical Research was started by Cambridge academics and published its first volume examining the oracle at Delphi. In the wake of the disappointing excavations, thus, there was a feeling that the ancient sources had lied. The scholar A. P. Oppé in 1904 in the Journal of Hellenic Studies argued that the entire practice at Delphi was a farce, a sham, put on by the priests of Apollo, tricking the ancient world. Others sought different explanations for the Pythia’s madness: they focused on the laurel leaves, and suggested the Pythia had been high from eating laurel. One German scholar, Professor Oesterreich, even ate laurel leaves to test the theory, remarking disappointedly that he felt no different. Others opined that the answer relied not in some form of drug, but in psychology. Herbert Parke and Donald Wormell argued in the 1950s that the Pythia, in the heat of the moment after so much preparation on the particular day of consultation, and after so many years perhaps involved with the temple as one of the women guarding the sacred flame, would have found herself in an emotionally intense relationship with the god, and could easily have fallen victim to self-induced hypnosis. More recently, scholars have employed a series of anthropological approaches to understand belief in spirit possession, and applied these to how the Pythia may have functioned.