a fig, produce a similar result. But when [the sorcerer] has ascertained the question in this mode, he makes provision for the manner in which he ought to give the reply. And next he orders those that are present to enter, holding laurel branches and shaking them, and uttering cries, and invoking the demon Phryn. For also it becomes these to invoke him;[1] and it is worthy that they make this request from demons, which they do not wish of themselves to put forward, having lost their minds. The confused noise, however, and the tumult, prevent them directing attention to those things which it is supposed [the sorcerer] does in secret. But what these are, the present is a fair opportunity for us to declare.
Considerable darkness, then, prevails. For the [sorcerer] affirms that it is impossible for mortal nature to behold divine things, for that to hold converse [with these mysteries] is sufficient. Making, however, the attendant lie down [upon the couch], head foremost, and placing by each side two of those little tablets, upon which had been inscribed in, forsooth, Hebrew characters, as it were names of demons, he says that [a demon] will deposit the rest in their ears. But this [statement] is requisite, in order that some instrument may be placed beside the ears of the attendant, by which it is possible that he signify everything which he chooses. First, however, he produces a sound that the [attendant] youth may be terrified; and secondly, he makes a humming noise; then, thirdly, he speaks[2] through the instrument what he wishes the youth to say, and remains in expectation of the issue of the affair; next, he makes those present remain still, and directs the [attendant] to signify what he has heard from the demons. But the instrument that is placed beside his ears is a natural instrument, viz. the windpipe of long-necked cranes, or storks, or swans. And if none of these is at hand, there are also some different artifi-
