He who is quick to believe that he has thrown away his benefits, does really throw them away; but he who presses on and adds new benefits to his former ones, forces out gratitude even from a hard and forgetful breast. In the face of many kindnesses, your friend will not dare to raise his eyes; let him see you whithersoever he turns himself to escape from his remembrance of you; encircle him with your benefits. As for the power and property of these, I will explain it to you if first you will allow me to glance at a matter which does not belong to our subject, as to why the Graces are three in number, why they are sisters, why hand in hand, and why they are smiling and young, with a loose and transparent dress. Some writers think that there is one who bestows a benefit, one who receives it, and a third who returns it; others say that they represent the three sorts of benefactors, those who bestow, those who repay, and those who both receive and repay them. But take whichever you please to be true; what will this knowledge profit us? What is the meaning of this dance of sisters in a circle, hand in hand? It means that the course of a benefit is from hand to hand, back to the giver; that the beauty of the whole chain is lost if a single link fails, and that it is fairest when it proceeds in unbroken regular order. In the dance there is one. esteemed beyond the others, who represents the givers of benefits. Their faces are cheerful, as those of men who give or receive benefits are wont to be. They are young, because the memory of benefits ought not to grow old. They are virgins, because benefits are pure and untainted, and held holy by all; in benefits there should be no strict or binding conditions, therefore the Graces wear loose flowing tunics, which are transparent, because benefits love to be seen. People who are not under the influence of Greek literature may say that all this is a matter of course; but there can be no one who would think that the names which Hesiod has given them bear upon our subject. He named the eldest Aglaia, the middle one Euphrosyne, the third Thalia. Every one, according to his own ideas, twists the meaning of these names, trying to reconcile them with some system, though Hesiod merely gave his maidens their names from his own fancy. So Homer altered the name of one of them, naming her Pasithea, and betrothed her to a husband, in order that you may know that they are not vestal virgins. 1

I could find another poet, in whose writings they are girded, and wear thick or embroidered Phrygian robes. Mercury stands with them for the same reason, not because argument or eloquence commends benefits, but because the painter chose to do so. Also Chrysippus, that man of piercing intellect who saw to the very bottom of truth, who speaks only to the point, and makes use of no more words than are necessary to express his meaning, fills his whole treatise with these puerilities, insomuch that he says but very little about the duties of giving, receiving, and returning a benefit, and has not so much inserted fables among these subjects, as he has inserted these subjects among a mass of fables. For, not to mention what Hecaton borrows from him, Chrysippus tells us that the three Graces are the daughters of Jupiter and Eurynome, that they are younger than the Hours, and rather more beautiful, and that on that account they are assigned as companions to Venus. He also thinks that the name of their mother bears upon the subject, and that she is named Eurynome because to distribute benefits requires a wide inheritance; as if the mother usually received her name after her daughters, or as if the names given by poets were true. In truth, just as with a ‘nomenclator’ audacity supplies the place of memory, and he invents a name for every one whose name he cannot recollect, so the poets think that it is of no importance to speak the truth, but are either forced by the exigencies of metre, or attracted by sweetness of sound, into calling every one by whatever name runs neatly into verse. Nor do they suffer for it if they introduce another name into the list, for the next poet makes them bear what name he pleases. That you may know that this is so, for instance Thalia, our present subject of discourse, is one of the Graces in Hesiod’s poems, while in those of Homer she is one of the Muses.