Lucian of Samosata Toxaris vel amicitia 6

[6] All that the went through in each other’s company or for eac other’s sake our ancestors inscribed on a tablet of bronze which they set up in the Oresteum; ¹ and they made it the law that the first study and lesson for their children should be this tablet and the memorising of all that had been written upon it. In point of fact, every one of them would sooner forget the name of his own father than fail to know the achievements of Orestes and Pylades. But in the temple close, too, the very same matters that are set forth on the tablet are to be seen represented in paintings by the ancients; Orestes voyaging with his friend, and then, after his ship had been destroyed on the rocks, his arrest and preparation for the sacrifice; Iphigenia is already consecrating them. Opposite this, on the other wall, he is depicted as just out of his fetters, slaying Thoas and many more of the Scythians. Finally, they are sailing off, with Iphigenia and the goddess; the Scythians meanwhile are vainly laying hold of the ship, which is already under way, hanging to the rudders and trying to get aboard; then, unable to accomplish anything, they swim back to land, some of them because they are wounded, others for fear of that. It is just there that one may see how much good-will they displayed in each other’s interest; I mean, in the engagement with the Scythians. For the artist has portrayed each of them paying no heed to the foemen opposite himself, but encountering those who are assailing the other, trying to meet their missiles in his stead, and counting it nothing to die if he saves his friend and intercepts with his own body the stroke that is being directed at the other.

[6] The sufferings they endured with and for one another our ancestors recorded -on a brazen pillar in the Oresteum; and they made it law, that the education of their children should begin with committing to memory all that is inscribed thereon. More easily shall a child forget his own father’s name than be at fault in the achievements of Orestes and Pylades. Again, in the temple corridor are pictures by the artists of old, illustrating the story set forth on the pillar. Orestes is first shown on shipboard, with his friend at his side. Next, the ship has gone to pieces on the rocks; Orestes is captured and bound; already Iphigenia prepares the two victims for sacrifice. But on the opposite wall we see that Orestes has broken free; he slays Thoas and many a Scythian; and the last scene shows them sailing away, with Iphigenia and the Goddess; the Scythians clutch vainly at the receding vessel; they cling to the rudder, they strive to clamber on board; at last, utterly baffled, they swim back to the shore, wounded or terrified. It is at this point in their conflict with the Scythians that the devotion of the friends is best illustrated: the painter makes each of them disregard his own enemies, and ward off his friend’s assailants, seeking to intercept the arrows before they can reach him, and counting lightly of death, if he can save his friend, and receive in his own person the wounds that are meant for the other.