Aelian, On Animals 10.49
Particularly in Klaros do the inhabitants and all Greeks pay honour to the son of Zeus and Leto. And so the land there is untrodden by poisonous creatures and is also highly obnoxious to them. The god wills it so, and the creatures in any case dread him, since the god can not only save life but is also the begetter of Asklepios, man’s saviour and champion against diseases. Moreover Nakandros also bears witness to what I say, and his words are : ‘No viper, nor harmful spiders, nor deep-wounding scorpion dwell in the groves of Klaros, for Apollon veiled its deep grotto with ash-trees and purged its grassy floor of noxious creatures.’
Aelian, On Animals 11. 8
In the island of Leukas there is a high promontory on which a temple of Apollon has been built, and worshippers style him Apollon of Aktion. Now when the festival is about to be held there in which they make the Leap in honour of the god, men sacrifice an ox to the flies, and when the latter have sated themselves with the blood they disappear.
Aelian, On Animals 12.1
There is a bay at Myra in Lykia and it has a spring and there is a shrine of Apollon there, and the priest of this god scatters the flesh of calves that have been sacrificed to the god, and sea-perch come swimming up in shoals and eat the flesh, as though they were guests invited to the feast. And the sacrificers are delighted, for they believe that this feasting of fishes is a good omen for them, and they say that the god is propitious because the fish gorged themselves on the flesh. If however the fish cast the food ashore with their tails as though they despised it and regarded it as tainted, this is believed to signify the wrath of the god. And the fish recognise the priest’s voice, and if they obey his summons they gladded those on whose behalf they have been summoned; in the opposite even they cause them grief.
Apollodoros, Bibliotheka 1.18
Apollon and Thaleia had the Korybantes.
Apollodoros, Bibliotheka 1.24
Apollon also slew Marsyas, the son of Olympos. This fellow had come upon the flute which Athene had thrown away because it made her face misshapen, and he proceeded to face Apollon in a musical contest. It was decided that the winner could do whatever he wanted with the loser. During the contest Apollon played lyre in a reverse position, and invited Marsyas to do the same. But Marsyas was incapable of this feat, and so Apollon won. He finished off Marsyas by hanging him from a lofty pine and flaying him.
Apollonios Rhodios, Argonautika 2.685–693
At last Orpheus made this declaration to the heroes: “Come, let us name the sacred island of Apollo Heoïus, because he appeared at dawn to us all as he passed by, and let us set up an altar on the shore and sacrifice whatever is at hand. And if hereafter he grants us a safe return to the Haemonian land, then indeed we shall place on his altar the thighs of horned goats. But for now, I bid you propitiate him as best we can with the savor of meat and libations. Be gracious, lord, be gracious, you who appeared to us.”
Apollonius Rhodios, Argonautika 2.703
Orpheus told them in song how Apollon long ago, when he was still a beardless youth rejoicing in his locks, slew the monster Delphyne with his bow beneath the rocky brow of Parnassos.
Apollonios Rhodios, Argonautika 4.1547–1555
And suddenly Orpheus advised taking Apollo’s great tripod from the ship and placing it as a propitiary offering to the indigenous divinities to secure their return. So they disembarked and were setting up Phoebus’ gift on the shore, and wide-ruling Triton met them in the guise of a young man. He picked up a clod of earth and offered it as a guest-gift to the heroes, and said: “Take this, friends, since I do not now have here with me any magnificent guest-gift to give to suppliants.”
Clement of Alexandria, Book Two of Exhortation to the Greeks
Athene, to resume our account, having abstracted the heart of Dionysos received the name Pallas from its palpitating (pallein). And the Titans who had torn him limb from limb, setting a caldron on a tripod, and throwing into it the members of Dionysos, first boiled them down, and then fixing them on spits, “held them over the fire.” But Zeus having appeared, since he was a god, having speedily perceived the savour of the pieces of flesh that were being cooked,–that savour which your gods agree to have assigned to them as their perquisite, assails the Titans with his thunderbolt, and consigns the members of Dionysos to his son Apollo to be interred. And he–for he did not disobey Zeus–bore the dismembered corpse to Parnassus, and there deposited it.
Heraclides, in his work, Regarding the Building of Temples in Acarnania, says that, at the place where the promontory of Actium is, and the temple of Apollo of Actium, they offer to the flies the sacrifice of an ox.
Eratosthenes, Vat. Fragm. 24
When he descended to the underworld to recover his wife, Orpheus saw things there and ceased to honor Dionysos, through whom he had gained glory. Instead, he considered Helios the greatest of the gods, calling him Apollon.
Etymologicum Magnum s.v. Delphoi
The Titans tore apart the limbs of Dionysos, cast them into a lebes and gave them to Apollon. This was set upon the tripod by the brother.
Euripides, Alcestis 962-72
I have flown aloft thanks to the Muse and although I have grappled with many doctrines, I have found nothing stronger than Necessity; no remedy in the Thracian writing tablets which the voice of Orpheus wrote down, nor in the drugs which Phoebus gave to the sons of Asclepius, cutting herbal antidotes for mortals who suffer much.
Hyginus, Astronomica 1.2
The Lyre was put among the constellations for the following reason, as Eratosthenes says. Made at first by Mercury from a tortoise shell, it was given to Orpheus, son of Calliope and Oeagrus, who was passionately devoted to music. It is thought that by his skill he could charm even wild beasts to listen. When, grieving for his wife Eurydice, he descended to the Lower World, he praised the children of the gods in his song, all except Father Liber; him he overlooked and forgot, as Oeneus did Diana in sacrifice. Afterwards, then, when Orpheus was taking delight in song, seated, as many say, on Mt. Olympus, which separates Macedonia from Thrace, or on Pangaeum, as Eratosthenes says, Liber is said to have roused the Bacchanals against him. They slew him and dismembered his body. But others say that this happened because he had looked on the rites of Liber. The Muses gathered the scattered limbs and gave them burial, and as the greatest favour they could confer, they put as a memorial his lyre, pictured with stars, among the constellations. Apollo and Jove consented, for Orpheus had praised Apollo highly, and Jupiter granted this favour to his daughter.
Hyginus, Astronomica 2.25
Others call her a daughter of Apollo by Chrysothemis, an infant, named Parthenos. Because she died young she was put by Apollo among the constellations.
Lucian, Against the Unlettered Bibliomaniac 11
When the Thracian women dismembered Orpheus, they say that his head, together with his lyre, having fallen into the Hebrus, was cast into the Black Gulf and that the head sailed on the lyre, singing a lament for Orpheus, as the story goes, whilst the lyre echoed in answer as the winds fell on the chords. Thus they approached Lesbos to the sound of music, and the Lesbians, taking them up, buried the head where their Baccheion now is and dedicated the lyre in the shrine of Apollo, where, for a long time, it was preserved.
Malalas, Chronographia 2.15
The members of the assembly and the citizens of the city of Kadmeia did not accept Dionysos as administrator of their kingdom. They said that he killed his own cousin without being king; if he became king, he would destroy Boiotia. They summoned Lykourgos, a learned man, pleaded with him and told him what had happened. Lykourgos took up arms against Dionysos, and expelled him from the city of Kadmeia and from Boiotia. When Dionysos realized that Lykourgos had taken up arms against him, he fled from him and went to Delphi where he died. Dionysos’s body was laid there in a tomb, and he hung up his weapons there in the temple, as the most learned Deinarchos has written about Dionysos himself. Equally, the most learned Philochoros has written the same thing; in his account of Dionysos he said: ‘His burial-place could be seen at Delphi, next to the golden Apollon. His tomb is identified by a certain base on which is written, “Here in death lies Dionysos, the son of Semele”’. Likewise, the most learned Kephalion has stated these matters in his writings.
Olympiodoros, Commentary on Plato’s Phaedo 43
The soul descends after the manner of Kore into generation, but is distributed into generation Dionysiacally, and she is bound in body Prometheiacally and Titanically: she frees herself therefore from its bonds by exercising the strength of Herakles; but she is collected into one through the assistance of Apollon and the savior Athene, by philosophical discipline of mind and heart purifying the nature.
Olympiodoros, Commentary on Plato’s Phaedo 67c
Dionysos, when he saw his image reflected in the mirror, began to pursue it and so was torn to pieces. But Apollon put Dionysos back together and brought him back to life because he was a purifying god and the true savior.
Pausanias, Description of Greece 1.31.4
Phlya and Myrrhinos have altars of Apollon Dionysodotos, Artemis Selasphoros (Light-bearer), Dionysos the Flower-god, the Nymphai Ismeniai and Gaia.
Pausanias, Description of Greece 2.7.7-9
Within the market-place is a sanctuary of Peitho (Persuasion); this too has no image. The worship of Peitho was established among them for the following reason. When Apollon and Artemis had killed Pytho they came to Aigialeia to obtain purification. Dread coming upon them at the place now named Fear, they turned aside to Karmanor in Crete, and the people of Aigialeia were smitten by a plague. When the seers bade them propitiate Apollon and Artemis, they sent seven boys and seven maidens as suppliants to the river Sythas. They say that the deities, persuaded by these, came to what was then the citadel, and the place that they reached first is the sanctuary of Peitho. Conformable with this story is the ceremony they perform at the present day; the children go to the Sythas at the feast of Apollon, and having brought, as they pretend, the deities to the sanctuary of Peitho, they say that they take them back again to the temple of Apollon. The temple stands in the modern market-place, and was originally, it is said, made by Proitos, because in this place his daughters recovered from their madness. It is also said that in this temple Meleagros dedicated the spear with which he slew the Kalydonian boar. There is also a story that the flutes of Marsyas are dedicated here. When the Silenos met with his disaster, the river Marsyas carried the flutes to the Maiandros; reappearing in the Asopos they were cast ashore in the Sikyonian territory and given to Apollon by the shepherd who found them. I found none of these offerings still in existence, for they were destroyed by fire when the temple was burnt. The temple that I saw, and its image, were dedicated by Pythokles.
Pausanias, Description of Greece 2.9.7
Hard by the market-place is a sanctuary of Apollo Lykeios, now fallen into ruins and not worth any attention. For wolves once so preyed upon their flocks that there was no longer any profit therefrom, and the god, mentioning a certain place where lay a dry log, gave an oracle that the bark of this log mixed with meat was to be set out for the beasts to eat. As soon as they tasted it the bark killed them, and that log lay in my time in the sanctuary of Lykeios, but not even the guides of the Sikyonians knew what kind of tree it was.
Pausanias, Description of Greece 3.13.4-5
Karneios, whom they surname Oiketes, had honors in Sparta even before the return of the Herakleidai, his seat being in the house of a seer, Krios the son of Theokles. The daughter of this Krios was met as she was filling her pitcher by spies of the Dorians, who entered into conversation with her, visited Krios and learned from him how to capture Sparta. The cult of Apollo Karneios has been established among all the Dorians ever since Karnos, an Akarnanian by birth, who was a seer of Apollon. When he was killed by Hippotes the son of Phylas, the wrath of Apollon fell upon the camp of the Dorians Hippotes went into banishment because of the bloodguilt, and from this time the custom was established among the Dorians of propitiating the Akarnanian seer. But this Karnos is not the Lakedaimonian Karneios Oiketes, who was worshipped in the house of Krios the seer while the Achaians were still in possession of Sparta. The poetess Praxilla represents Karneios as the son of Europa, Apollon and Leto being his nurses. There is also another account of the name; in Trojan Ida there grew in a grove of Apollon cornel-trees, which the Greeks cut down to make the Wooden Horse. Learning that the god was wroth with them they propitiated him with sacrifices and named Apollon Karneios from the cornel-tree (kraneia), a custom prevalent in the olden time making them transpose the r and the a.
Pausanias, Description of Greece 3.18.9-19.6
Bathykles of Magnesia, who made the throne of Amyklaios, dedicated, on the completion of the throne, Charites and an image of Artemis Leukophryene. Whose pupil this Bathykles was, and who was king of Lakedaimon when he made the throne, I pass over; but I saw the throne and will describe its details. It is supported in front, and similarly behind, by two Charites and two Horai. On the left stand Echidna and Typhos, on the right Tritons. To describe the reliefs one by one in detail would have merely bored my readers; but to be brief and concise (for the greater number of them are not unknown either) Poseidon and Zeus are carrying Taygete, daughter of Atlas, and her sister Alkyone. There are also reliefs of Atlas, the single combat of Herakles and Kyknos, and the battle of the Centaurs at the cave of Pholos. I cannot say why Bathykles has represented the so-called Minotaur bound, and being led along alive by Theseus. There is also on the throne a band of Phaiakian dancers, and Demodokos singing. Perseus, too, is represented killing Medousa. Passing over the fight of Herakles with the giant Thourios and that of Tyndareus with Eurytos, we have next the rape of the daughters of Leukippos. Here are Dionysos, too, and Herakles; Hermes is bearing the infant Dionysos to heaven, and Athena is taking Herakles to dwell henceforth with the gods. There is Peleus handing over Achilles to be reared by Cheiron, who is also said to have been his teacher. There is Kephalos, too, carried off by Hemera because of his beauty. The gods are bringing gifts to the marriage of Harmonia. There is wrought also the single combat of Achilles and Memnon, and Herakles avenging himself upon Diomedes the Thracian, and upon Nessos at the river Euenus. Hermes is bringing the goddesses to Alexandros to be judged. Adrastos and Tydeus are staying the fight between Amphiaraos and Lykourgos the son of Pronax. Hera is gazing at Io, the daughter of Inachos, who is already a cow, and Athena is running away from Hephaistos, who chases her. Next to these have been wrought two of the exploits of Herakles – his slaying the Hydra, and his bringing up the Hound of Hell. Anaxias and Mnasinous are each seated on horseback, but there is one horse only carrying Megapenthes, the son of Menelaos, and Nikostratos. Bellerophontes is destroying the beast in Lykia, and Herakles is driving off the cows of Geryones. At the upper edge of the throne are wrought, one on each side, the sons of Tyndareus [the Dioskouroi] on horses. There are sphinxes under the horses, and beasts running upwards, on the one side a leopard, by Polydeukes a lioness. On the very top of the throne has been wrought a band of dancers, the Magnesians who helped Bathykles to make the throne. Underneath the throne, the inner part away from the Tritones contains the hunting of the Kalydonian boar and Herakles killing the children of Aktor. Kalais and Zetes are driving the Harpies away from Phineus. Peirithous and Theseus have seized Helen, and Herakles is strangling the lion. Apollon and Artemis are shooting Tityos. There is represented the fight between Herakles and Oreios the Centaur, and also that between Theseus and the Bull of Minos. There are also represented the wrestling of Herakles with Achelous, the fabled binding of Hera by Hephaistos, the games Akastos held in honor of his father, and the story of Menelaus and the Egyptian Proteus from the Odyssey. Lastly there is Admetos yoking a boar and a lion to his chariot, and the Trojans are bringing libations to Hektor.
The part of the throne where the god would sit is not continuous; there are several seats, and by the side of each seat is left a wide empty space, the middle, whereon the image stands, being the widest of them. I know of nobody who has measured the height of the image, but at a guess one would estimate it to be as much as thirty cubits. It is not the work of Bathykles, being old and uncouth; for though it has face, feet, and hands, the rest resembles a bronze pillar. On its head it has a helmet, in its hands a spear and a bow. The pedestal of the statue is fashioned into the shape of an altar and they say that Hyakinthos is buried in it, and at the Hyakinthia, before the sacrifice to Apollon, they devote offerings to Hyakinthos as to a hero into this altar through a bronze door, which is on the left of the altar. On the altar are wrought in relief, here an image of Biris, there Amphitrite and Poseidon. Zeus and Hermes are conversing; near stand Dionysos and Semele, with Ino by her side. On the altar are also Demeter, Kore, Plouton, next to them Moirai and Horai, and with them Aphrodite, Athena and Artemis. They are carrying to heaven Hyakinthos and Polyboia, the sister, they say, of Hyakinthos, who died a maid . . . Wrought on the altar is also Herakles; he too is being led to heaven by Athena and the other gods. On the altar are also the daughters of Thestios, the Mousai and Horai. As for Zephryos, how Apollon unintentionally killed Hyakinthos, and the story of the flower, we must be content with the legends, although perhaps they are not true history. Amyklai was laid waste by the Dorians, and since that time has remained a village. The natives worship the Amyklaian god and Dionysos.
Pausanias, Description of Greece 9.11.7-12.1
Beyond the Chastiser stone is an altar of Apollon surnamed Spodios (God of Ashes); it is made out of the ashes of the victims. The customary mode of divination here is from voices (kledones), which is used by the Smyrnaians, to my knowledge, more than by any other Greeks. The Thebans in ancient days used to sacrifice bulls to Apollon of the Ashes. Once when the festival was being held, the hour of the sacrifice was near but those sent to fetch the bull had not arrived. And so, as a wagon happened to be near by, they sacrificed to the god one of the oxen, and ever since it has been the custom to sacrifice working oxen
Pausanias, Description of Greece 10.6.5
The most widespread tradition has it that the victim of Apollon’s arrows rotted here, and that this was the reason why the city received the name Pytho. For the men of those days used pythesthai for the verb ‘to rot’ … The poets say that the victim of Apollon was a dragon posted by Ge to be a guard for the oracle. It is also said that he was a violent son of Krios, a man with authority around Euboia. He pillaged the sanctuary of the god, and he also pillaged the houses of rich men. But when he was making a second expedition, the Delphians besought Apollon to keep from them the danger that threatened them. Phemonoe, the prophetess of that day, gave them an oracle verse :–‘At close quarters a grievous arrow shall Apollon shoot at the spoiler of Parnassos; and of his blood-guilt the Cretans shall cleanse his hands but the renown shall never die.’ It seems that from the beginning the sanctuary at Delphoi has been plotted against by a vast number of men. Attacks were made against it by this Euboian pirate.
Philostratos, Life of Apollonios of Tyana 4.14
He also visited in passing the shrine of Orpheus when he had put in at Lesbos. And they tell that it was here that Orpheus once on a time loved to prophesy, before Apollon had turned his attention to him. For when the latter found that men no longer flocked to Gryneium for the sake of oracles nor to Klaros nor to Delphi where is the tripod of Apollon, and that Orpheus was the only oracle, his head having come from Thrace, he presented himself before the giver of oracles and said: “Cease to meddle with my affairs, for I have already put up long enough with your vaticinations.”
Philostratus the Elder, Imagines 2.19
As for the aspect of the god, he is represented as unshorn, my boy, and with his hair fastened up so that he may box; rays of light rise from about his brow and his cheek emits a smile mingled with wrath; keen is the glance of his eyes as it follows his uplifted hands
Philostratus the Younger, Imagines 14
Let us ask the youth, my boy, who he is and what is the reason for Apollon’s presence with him, for he will not be afraid to have us, at least, look at him. Well, he says that he is Hyakinthos, the son of Oibalos; and now that we have learned this we must also know the reason for the god’s presence. The son of Leto for love of the youth promises to give him all he possesses for permission to associate with him; for he will teach him the use of the bow, and music, and understanding the art of prophecy, and not to be unskilful with the lure, and to preside over the contest of the palaestra, and he will grant to him that, riding in the chariot drawn by swans, he should visit all the lands dear to Apollon. Here is the god, painted as usual with unshorn locks; he lifts a radiant forehead above eyes that shine like rays of light, and with a sweet smile he encourages Hyakinthos, extending his right hand with the same purpose. The youth keeps his eyes steadfastly on the ground, and they are very thoughtful, for he rejoices at what he hears and tempers with modesty the confidence that is yet to come. He stands there, covering with a purple mantle the left side of his body, which is also drawn back, and he supports his right hand on a spear, the hip being thrown forward and the right side exposed to view, and this bare arm permits us to describe what is visible. He has a slender ankle below the straight lower leg, and above the latter this supple knee-joint; then come thighs not unduly developed and hip-joints which support the rest of the body; his side rounds out a full-lunged chest, his arm swells in a delicate curve, his neck is moderately erect, while the hair is not unkempt nor stiff from grime, but falls over his forehead and blends with the first down of his beard. The discus at his feet [missing text] about himself, and Eros, who is both radiant and at just the same time downcast, and Zephyros who just shows his savage eye from his place of look-out – by all this the painter suggests the death of the youth, and as Apollon makes his cast, Zephyros, by breathing athwart its course, will cause the discus to strike Hyakinthos.
Pliny the Elder, Natural History 7.19
There are a few families in the Faliscan territory, not far from the city of Rome, named the Hirpi, which at the yearly sacrifice to Apollo performed on Mount Soracte walk over a charred pile of logs without being scorched, and who consequently enjoy exemption under a perpetual decree of the senate from military service and all other burdens.
Plutarch, De sera numinis vindicta 22
Thus at length he came to a certain gaping chasm, that was fathomless downward, where he found himself deserted by that extraordinary force which brought him thither, and perceived other souls also to be there in the same condition. For hovering upon the wing in flocks together like birds, they kept flying round and round the yawning rift, but durst not enter into it. Now this same cleft within had the appearance of a Bacchic grotto with fragrant scents, arousing wondrous pleasures and such a mood as wine induces in those who are becoming tipsy; for as the souls regale themselves on the sweet odours they grew expansive and friendly with one another; and the place all about was full of Bacchic revelry and laughter and the various strains of festivity and merry-making. This was the route, the spirit said, that Dionysos had taken in his ascent and later when he brought up Semele; and the region was called the place of Lethe. On this account, although Thespesius wished to linger, the guide would not allow it, but pulled him away by main force, informing him as he did so that the intelligent part of the soul is dissolves away and liquefied by pleasure, while the irrational and carnal part is fed by its flow and puts on flesh and thus induces memory of the body; and that from such memory arises a yearning and desire that draws the soul toward birth. At length, after he had been carried as far another way as when he was transported to the yawning overture, he thought he beheld a prodigious standing goblet, into which several rivers discharged themselves; among which there was one whiter than snow or the foam of the sea, another resembled the purple color of the rainbow. The tinctures of the rest were various; besides that, they had their several lustres at a distance. But when he drew nearer, the ambient air became more subtile and rarefied, and the colors vanished, so the goblet retained no more of its flourishing beauty except the white. At the same time he saw three Daemons sitting together in a triangular aspect, and blending and mixing the rivers together with certain measures. Thus far, said the guide of Thespesius’s soul, did Orpheus come, when he sought after the soul of his wife; and not well remembering what he had seen, upon his return he raised a false report in the world, that the oracle at Delphi was in common to Night and Apollo, whereas Apollo never had any thing in common with Night. But, said the spirit, this oracle is in common to Night and to the Moon, no way included within earthly bounds, nor having any fixed or certain seat, but always wandering among men in dreams and visions. For from hence it is that all dreams are dispersed, compounded as they are of truth jumbled with falsehood, and sincerity with the various mixtures of craft and delusion.
Plutarch, Life of Theseus 14.1
Theseus, desiring to be at work, and at the same time courting the favour of the people, went out against the Marathonian bull, which was doing no small mischief to the inhabitants of the Tetrapolis. After he had mastered it, he made a display of driving it alive through the city, and then sacrificed it to the Delphinian Apollon
Plutarch, On the E at Delphi 9
As for his passage and distribution into waves and water, and earth, and stars, and nascent plants and animals, they hint at the actual change undergone as a rending and dismemberment, but name the god himself Dionysos or Zagreus or Nyktelios or Isodaites. Deaths too and vanishings do they construct, passages out of life and new births, all riddles and tales to match the changes mentioned. So they sing to Dionysos dithyrambic strains, charged with sufferings and a change wherein are wanderings and dismemberment. For Aischylos says:
In mingled cries the dithyramb should ring,
With Dionysos revelling, its King.
In constrast Apollon has the Paean, a set and sober music. Apollon is ever ageless and young; Dionysos has many forms and many shapes as represented in paintings and sculpture, which attribute to Apollon smoothness and order and a gravity with no admixture, but to Dionysos a blend of sport and sauciness with seriousness and frenzy:
God that sett’st maiden’s blood
Dancing in frenzied mood,
Blooming with pageantry!
Evoe! we cry
So do they summon him, rightly catching his changeable character.
Proklos, Commentary on Plato’s Alcibiades I
Just as Orpheus sets the Apollonian monad over king Dionysos, deterring him from proceeding towards the Titanic multitude and from rising up from his royal throne, and guarding him undefiled in a state of unity, so also the daimon of Skcrates leads him round to intellective contemplation, but restrains him from associations with the many. For the daimon is analogous to Apollon, being a follower of his, and Sokrates’ reason to Dionysos, since the intellect within us is generated by the power of this God.
Proklos, Commentary on Plato’s Timaios 2.198
The number seven is imparted from these very Gods [Apollon and Dionysos] in order that by a division into seven parts, the soul may have a signature [synthêma] of the Dionysiac series and of the mythic sparagmos—for it must partake of the Dionysiac intellect and, as Orpheus says, that bearing the God on its head, it should be divided conformably to Him. But it possesses harmony in these parts, as a symbol of the Apolloniac order; for in that myth it is this God who collects and unites the distributed limbs of Dionysos according to the will of his father.
Servius, Commentary on the Eclogues of Vergil 8.29
The wife of Dion, king of Laconia, was Iphitea, daughter of Prognaus, who had kindly received Apollo. In return Apollo rewarded her by conferring upon her three daughters (Orphe, Lyco, and Carya) the gift of prophecy on condition, however, that they should not betray the gods nor search after forbidden things. Afterwards Bacchus also came to the house of Dion; he was not only well received, like Apollo, but won the love of Carya, and therefore soon paid Dion a second visit, under the pretext of consecrating a temple, which the king had erected to him. Orphe and Lyco, however, guarded their sister, and when Bacchus had reminded them, in vain, of the command of Apollo, they were seized with raging madness, and having gone to the heights of Taygetus, they were metamorphosed into rocks. Carya, the beloved of Bacchus, was changed into a walnut tree, and the Lacedaemonians, on being informed of it by Artemis, dedicated a temple to Artemis Caryatis.
Strabo, Geography 5.4.7
At the present time a sacred contest of Apollon is celebrated among the people of Neapolis in music as well as gymnastics; it lasts for several days, and vies with the most famous of those celebrated in Greece.
Strabo, Geography 10.3.10
Now most of the Greeks assigned to Dionysos, Apollon, Hekate, the Mousai, and above all to Demeter, everything of an orgiastic or Bakchic or choral nature, as well as the mystic element in initiations. And branch-bearing, choral dancing, and initiations are common elements in the worship of these gods.
Strabo, Geography 10.3.21
Pherekydes says that nine Kyrbantes were sprung from Apollon and Rhetia, and that they took up their abode in Samothrake.
Tzetzes, Commentary on Lykophron’s Alexandra 207.98.5
Dionysos, too, was honoured in Delphi together with Apollon, in the following way. The Titans tore asunder Dionysos’ limbs, threw them into a cauldron, and set it before his brother Apollon. Apollon stowed it away beside his tripod, as we learn from Kallimachos and Euphorion, who says:
Into the fire those arrogant beings cast divine Bacchus