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 together.” This strange life is inspired in them by the almighty and invisible God, who sent no angel or subordinate messenger to teach them, but His own Son by whom He created the universe. No man could have known God, had He not thus declared Himself. “If thou too wouldst have this faith, learn first the knowledge of the Father. For God loved men, for whose sake He made the world Knowing Him, thou wilt love Him and imitate His goodness; and marvel not if a man can imitate God; he can, if God will.” By kindness to the needy, by giving them what God has given to him, a man can become “a god of them that receive, an imitator of God.” “Then shalt thou on earth behold God’s life in heaven; then shalt thou begin to speak the mysteries of God.” A few lines after this the letter suddenly breaks off.

Even this rapid summary may show that the writer was a man of no ordinary power, and there is no other early Christian writing outside the New Testament which appeals so strongly to modern readers. The letter has been often classed with the writings of the Apostolic Fathers, and in some ways it seems to mark the transition from the sub-apostolic age to that of the Apologists. Bishop Lightfoot, who speaks of the letter as “one of the noblest and most impressive of early Christian apologies,” places it c. 150, and inclines to identify Diognetus with the tutor of Marcus Aurelius. Harnack and others would place it later, perhaps in the 3rd century. There are some striking parallels in method and language to the (q.v.), and also to the early “Preaching of Peter.”

The one manuscript which contained this letter perished by fire at Strassburg in 1870, but happily it had been accurately collated by Reuss nine years before. It formed part of a collection of works supposed to be by Justin Martyr, and to this mistaken attribution its preservation is no doubt due. Both thought and language mark the author off entirely from Justin. The end of the letter is lost, but there followed in the codex the end of a homily, which was attached without a break to the epistle: this points to the loss in some earlier codex of pages containing the end of the letter and the beginning of the homily.

 DIOMEDES, in Greek legend, son of Tydeus, one of the bravest of the heroes of the Trojan War. In the Iliad he is the favourite of Athena, by whose aid he not only overcomes all mortals who venture to oppose him, but is even enabled to attack the gods. In the post-Homeric story, he made his way with Odysseus by an underground passage into the citadel of Troy and carried off the Palladium, the presence of which within the walls secured Troy against capture (Virgil, Aeneid, ii. 164). On his return to Argos, finding that his wife had been unfaithful, he removed to Aetolia, and thence to Daunia (Apulia), where he married the daughter of King Daunus. He was buried or mysteriously disappeared on one of the islands in the Adriatic called after him Diomedeae, his sorrowing companions being changed into birds by the gods out of compassion (Ovid, Metam. xiv. 457 ff.). He was the reputed founder of Argyrippa (Arpi) and other Italian cities (Aeneid, xi. 243 ff.). He was worshipped as a hero not only in Greece, but on the coast of the Adriatic, as at Thurii and Metapontum. At Argos, his native place, during the festival of Athena, his shield was carried through the streets as a relic, together with the Palladium, and his statue was washed in the river Inachus.

 DIOMEDES, Latin grammarian, flourished at the end of the 4th century He was the author of an extant Ars grammatica in three books, dedicated to a certain Athanasius. The third book is the most important, as containing extracts from Suetonius’s De poëtis. Diomedes wrote about the same time as (q.v.) and used the same sources independently. The works of both grammarians are valuable, but whereas much of Charisius has been lost, the Ars of Diomedes has come down to us complete. In book i. he treats of the eight parts of speech; in ii. of the elementary ideas of grammar and of style; in iii. of quantity and metres.

 DION, tyrant of Syracuse (408–353 ), the son of Hipparinus, and brother-in-law of Dionysius the Elder. In his youth he was an admirer and pupil of Plato, whom Dionysius had invited to Syracuse; and he used every effort to inculcate the maxims of his master in the mind of the tyrant. The stern morality of Dion was distasteful to the younger Dionysius, and the historian Philistus, a faithful supporter of despotic power, succeeded in procuring his banishment on account of alleged intrigues with the Carthaginians. The exiled philosopher retired to Athens, where he was at first permitted to enjoy his revenues in peace; but the intercession of Plato (who had again visited Syracuse to procure Dion’s recall) only served to exasperate the tyrant, and at length provoked him to confiscate the property of Dion, and give his wife to another. This last outrage roused Dion. Assembling a small force at Zacynthus, he sailed to Sicily (357) and was received with demonstrations of joy. Dionysius, who was in Italy, returned to Sicily, but was defeated and obliged to flee. Dion himself was soon after supplanted by the intrigues of Heracleides, and again banished. The incompetency of the new leader and the cruelties of Apollocrates, the son of Dionysius, soon led to his recall. He had, however, scarcely made himself master of Sicily when the people began to express their discontent with his tyrannical conduct, and he was assassinated by Callippus, an Athenian who had accompanied him in his expedition.

 DIONE, in the earliest Greek mythology, the wife of Zeus. As such she is associated with Zeus Naïus (the god of fertilizing moisture) at Dodona (Strabo vii. p. 329), by whose side she sits, adorned with a bridal veil and garland and holding a sceptre. As the oracle declined in importance, her place as the wife of Zeus was taken by Hera. It is probable that in very early times the cult of Dione existed in Athens, where she had an altar before the Erechtheum. After her admission to the general religious system of the Greeks, Dione was variously described. In the Iliad (v. 370) she is the mother by Zeus of Aphrodite, who is herself in later times called Dione (the epithet Dionaeus was given to Julius Caesar as claiming descent from Venus). In Hesiod (Theog. 353) she is one of the daughters of Oceanus; in Pherecydes (ap. schol. Iliad, xviii. 486), one of the nymphs of Dodona, the nurses of Dionysus; in Euripides (frag. 177), the mother of Dionysus; in Hyginus (fab. 9. 82), the daughter of Atlas, wife of Tantalus and mother of Pelops and Niobe. Others make her a Titanid, the daughter of Uranus and Gaea (Apollodorus i. 1). Speaking generally, Dione may be regarded as the female embodiment of the attributes of Zeus, to whose name her own is related as Juno (= Jovino) to Jupiter.

 DIONYSIA, festivals in honour of the god Dionysus generally, but in particular the festivals celebrated in Attica and by the branches of the Attic-Ionic race in the islands and in Asia Minor. In Attica there were two festivals annually. (1) The lesser Dionysia, or , was held in the country places for four days (about the 19th to the 22nd of December) at the first tasting of the new wine. It was accompanied by songs, dance, phallic processions and the impromptu performances of itinerant players, who with others from the city thronged to take part in the excitement of the rustic sports. A favourite amusement was the Ascoliasmus, or dancing on one leg upon a leathern bag ( ), which had been smeared with oil. (2) The greater Dionysia, or , was held in the city of Athens for six days (about the 28th of March to the 2nd of April). This was a festival of joy at the departure of winter and the promise of summer, Dionysus being regarded as having delivered the people from the wants and troubles of winter. The religious act of the festival was the conveying of the ancient image of the god, which had been brought from Eleutherae to Athens, from the ancient sanctuary of the Lenaeum to a small temple near the Acropolis and back again, with a chorus of boys and a procession carrying masks and singing the dithyrambus. The festival culminated in the production of tragedies, comedies and satyric dramas in the great theatre of Dionysus. Other festivals in honour of Dionysus were the