Pausanias Analysis - Current Sentence Tags 10.30

Chapter 10.30

Passage	Sentence	Bucket	Confidence	Greek	English	Rationale
10.30.1	1	mythic	high	ἐφεξῆς δὲ τὰς Πανδάρεω θυγατέρας ἔγραψεν ὁ Πολύγνωτος.	Next, Polygnotus depicted the daughters of Pandareos.	The daughters of Pandareos belong to mythic tradition; this is a mythic depiction by Polygnotus.
10.30.1	2	mythic	high	Ὁμήρῳ δὲ ἐν Πηνελόπης λόγοις ἐστὶν ὡς ἀποθάνοιεν μὲν ταῖς παρθένοις οἱ γεινάμενοι κατὰ μήνιμα ἐκ θεῶν, αὐτὰς δὲ ὀρφανὰς τραφῆναι μὲν ὑπὸ Ἀφροδίτης, λαβεῖν δὲ καὶ παρʼ ἄλλων θεῶν, Ἥρας μὲν φρονεῖν τε ἱκανὰς εἶναι καὶ εἶδος καλάς, μῆκος δὲ τοῦ σώματος Ἄρτεμίν φησιν αὐταῖς δωρήσασθαι, ἔργα δὲ γυναιξὶν ἁρμόζοντα ὑπὸ Ἀθηνᾶς διδαχθῆναι.	Homer, in the speech of Penelope, relates how the parents of the maidens died through the anger of the gods, and that the orphaned girls themselves were raised by Aphrodite, who also received gifts for them from other deities: Hera granted them intelligence and beauty, Artemis bestowed height upon their bodies, and Athena taught them the crafts suitable to women.	The sentence describes divine action affecting the girls' lives and traits, a mythic explanation of human conditions.
10.30.2	1	mythic	high	Ἀφροδίτην μὲν οὖν ἐς οὐρανὸν ἀνέρχεσθαι, παρὰ Διὸς γάμον εὐδαίμονα ἐθέλουσαν ταῖς παισὶν εὕρασθαι, τὰς δὲ ἀπούσης ἐκείνης ἁρπασθῆναί τε ὑπὸ Ἁρπυιῶν καὶ Ἐρινύσιν ὑπʼ αὐτῶν δοθῆναι.	Aphrodite, then, ascended to heaven, wishing to arrange for her daughters a fortunate marriage through Zeus; but during her absence, the maidens were seized by the Harpies and handed over by them to the Erinyes.	Describes divine and mythical beings (Aphrodite, Harpies, Erinyes) and a mythic episode.
10.30.2	2	mythic	high	τάδε μέν ἐστιν ἐς αὐτὰς Ὁμήρῳ πεποιημένα, Πολύγνωτος δὲ κόρας τε ἐστεφανωμένας ἄνθεσι καὶ παιζούσας ἔγραψεν ἀστραγάλοις, ὄνομα δὲ αὐταῖς Καμειρώ τε καὶ Κλυτίη.	These details concerning them are described by Homer, whereas Polygnotus painted the girls crowned with flowers and playing with knucklebones, and gave their names as Cameiro and Clytie.	Refers to Homer and mythic nymph-like figures on the landscape/painting context.
10.30.2	3	mythic	high	τὸν δὲ Πανδάρεων Μιλήσιόν τε ἐκ Μιλήτου τῆς Κρητικῆς ὄντα ἴστω τις καὶ ἀδικήματος ἐς τὴν κλοπὴν Ταντάλῳ καὶ τοῦ ἐπὶ τῷ ὅρκῳ μετασχόντα σοφίσματος.	As for Pandareos, let one know that he was a Milesian from Miletus in Crete and was guilty of wrongdoing involving theft together with Tantalus, and took part in the deception regarding an oath.	Pandareos and Tantalus belong to mythic tradition; the theft and oath-deception are mythic deeds.
10.30.3	1	mythic	high	μετὰ δὲ τοῦ Πανδάρεω τὰς κόρας Ἀντίλοχος τὸν μὲν ἕτερον ἐπὶ πέτρας τῶν ποδῶν, τὸ δὲ πρόσωπον καὶ τὴν κεφαλὴν ἐπὶ ταῖς χερσὶν ἀμφοτέραις ἔχων ἐστίν, Ἀγαμέμνων δὲ μετὰ τὸν Ἀντίλοχον σκήπτρῳ τε ὑπὸ τὴν ἀριστερὰν μασχάλην ἐρειδόμενος καὶ ταῖς χερσὶν ἐπανέχων ῥάβδον·	After the daughters of Pandareos stands Antilochus, keeping one foot upon a rock, and supporting his face and head on both his hands.	Antilochus and the daughters of Pandareos are figures from myth, and the sentence describes their depiction.
10.30.3	2	mythic	high	Πρωτεσίλαος δὲ πρὸς Ἀχιλλέα ἀφορᾷ καθεζόμενος.	After Antilochus is Agamemnon, leaning with a scepter under his left armpit and holding up a staff in his hands.	Protesilaus and Achilles are mythic heroes, and the sentence describes a mythic figure in the painted/depicted scene.
10.30.3	3	mythic	high	καὶ ὁ Πρωτεσίλαος τοιοῦτον παρέχεται σχῆμα, ὑπὲρ δὲ τὸν Ἀχιλλέα Πάτροκλός ἐστιν ἑστηκώς.	Protesilaus sits gazing toward Achilles; Protesilaus is posed in this manner, and behind Achilles stands Patroclus.	Mentions Protesilaus, Achilles, and Patroclus, all figures of heroic myth.
10.30.3	4	other	high	οὗτοι πλὴν τοῦ Ἀγαμέμνονος οὐκ ἔχουσι γένεια οἱ ἄλλοι.	Of these figures, all except Agamemnon are portrayed without beards.	Describes the appearance of figures in the scene, a descriptive/iconographic detail rather than an event.
10.30.4	1	mythic	high	γέγραπται δὲ ὑπὲρ αὐτοὺς Φῶκός τε ἡλικίαν μειράκιον καὶ Ἰασεὺς γενείων μὲν εὖ ἔχων, δακτύλιον δὲ ἐκ τῆς ἀριστερᾶς τοῦ Φώκου περιαιρούμενος χειρὸς ἐπὶ τοιῷδέ ἐστι λόγῳ.	Depicted above these figures are Phocus, portrayed as still youthful in age, and Iaseus, who has a fine beard and is shown removing a ring from the left hand of Phocus.	Depicts mythic figures Phocus and Iaseus in an illustration; this is mythic material.
10.30.4	2	mythic	high	Φώκῳ τῷ Αἰακοῦ διαβάντι ἐξ Αἰγίνης ἐς τὴν νῦν καλουμένην Φωκίδα, καὶ ἀνθρώπων τε ἀρχὴν τῶν ἐν τῇ ἠπείρῳ ταύτῃ κτήσασθαι καὶ αὐτῷ θέλοντι ἐνταῦθα οἰκῆσαι, ἀφίκετο ἐπὶ πλεῖστον ὁ Ἰασεὺς φιλίας, καί οἱ δῶρα ἄλλα τε ὡς τὸ εἰκὸς ἐδωρήσατο καὶ λίθου σφραγῖδα ἐνδεδεμένην χρυσῷ·	The story behind this scene is as follows: when Phocus, son of Aeacus, moved from Aegina to the region now called Phocis, acquired power over the inhabitants of that part of the mainland, and resolved to settle there, he grew particularly close in friendship to Iaseus, and among other gifts which Iaseus naturally bestowed upon him was a seal-stone bound in gold.	Phocus son of Aeacus is a heroic mythic figure, and the sentence narrates his arrival and gifts in the legendary past.
10.30.4	3	mythic	high	Φώκῳ δὲ οὐ μετὰ πολὺν χρόνον ἀνακομισθέντι ἐς Αἴγιναν Πηλεὺς αὐτίκα ἐβούλευσε τοῦ βίου τὴν τελευτήν.	Not much later, however, when Phocus returned to Aegina, Peleus immediately plotted his death.	Peleus plotting Phocus’s death is part of a mythic family narrative.
10.30.4	4	mythic	high	καὶ τοῦδε ἕνεκα ἐν τῇ γραφῇ ἐς ἀνάμνησιν ἐκείνης τῆς φιλίας ὅ τε Ἰασεὺς τὴν σφραγῖδά ἐστιν ἐθέλων θεάσασθαι καὶ ὁ Φῶκος παρεὶς λαβεῖν αὐτήν.	It is for this reason, in memory of their friendship, that the painting depicts Iaseus eagerly examining the seal-stone, and Phocus tolerantly permitting him to take it.	Refers to Iaseus and Phocus, mythic figures, and explains a painted scene commemorating their friendship.
10.30.5	1	mythic	medium	ὑπὲρ τούτους Μαῖρά ἐστιν ἐπὶ πέτρᾳ καθεζομένη·	Above these is Maira, seated upon a rock.	Maira is a mythic figure named as part of the landscape description.
10.30.5	2	mythic	high	περὶ δὲ αὐτῆς πεποιημένα ἐστὶν ἐν Νόστοις ἀπελθεῖν μὲν παρθένον ἔτι ἐξ ἀνθρώπων, θυγατέρα δὲ αὐτὴν εἶναι Προίτου τοῦ Θερσάνδρου, τὸν δὲ εἶναι Σισύφου.	Concerning her, it is told in the "Returns" ("Nostoi") that she departed from among mortals while still a maiden, and that she was the daughter of Proetus, son of Thersandros, who himself was a son of Sisyphus.	This is a genealogical/mythic tradition about a figure from the Returns, not a historical event.
10.30.5	3	mythic	high	ἐφεξῆς δὲ τῆς Μαίρας Ἀκταίων ἐστὶν ὁ Ἀρισταίου καὶ ἡ τοῦ Ἀκταίωνος μήτηρ, νεβρὸν ἐν ταῖς χερσὶν ἔχοντες ἐλάφου καὶ ἐπὶ δέρματι ἐλάφου καθεζόμενοι·	Next to Maira is Actaeon, son of Aristaeus, along with Actaeon’s mother; they hold in their hands a fawn of a deer and sit upon a deer’s hide.	Actaeon is a mythic figure; the sentence describes his paired representation and attributes, not a historical event.
10.30.5	4	mythic	high	κύων τε θηρευτικὴ παρακατάκειταί σφισι βίου τοῦ Ἀκταίωνος ἕνεκα καὶ τοῦ ἐς τὴν τελευτὴν τρόπου.	Beside them lies a hunting dog, in reference to Actaeon’s life and the manner of his death.	Refers to Actaeon, a mythic figure, and the dog's presence explains a mythic episode.
10.30.6	1	mythic	high	ἀποβλέψαντι δὲ αὖθις ἐς τὰ κάτω τῆς γραφῆς, ἔστιν ἐφεξῆς μετὰ τὸν Πάτροκλον οἷα ἐπὶ λόφου τινὸς Ὀρφεὺς καθεζόμενος, ἐφάπτεται δὲ καὶ τῇ ἀριστερᾷ κιθάρας, τῇ δὲ ἑτέρᾳ χειρὶ ἰτέας ψαύει·	Looking again toward the lower part of the painting, next after Patroclus is depicted Orpheus sitting as if upon some hillock; he touches a lyre with his left hand, while with his other hand he grazes a willow.	Orpheus is a mythic figure depicted in the painting.
10.30.6	2	other	high	κλῶνές εἰσιν ὧν ψαύει, προσανακέκλιται δὲ τῷ δένδρῳ.	It is the branches of the tree he touches, and he leans against it.	Describes the tree and a person's physical relation to it; purely descriptive/geographical.
10.30.6	3	mythic	high	τὸ δὲ ἄλσος ἔοικεν εἶναι τῆς Περσεφόνης, ἔνθα αἴγειροι καὶ ἰτέαι δόξῃ τῇ Ὁμήρου πεφύκασιν·	The grove appears to be the grove of Persephone, where poplars and willows have grown, following the Homeric tradition.	The grove is identified as Persephone's and linked to Homeric tradition, so it concerns mythic landscape.
10.30.6	4	other	high	Ἑλληνικὸν δὲ τὸ σχῆμά ἐστι τῷ Ὀρφεῖ, καὶ οὔτε ἡ ἐσθὴς οὔτε ἐπίθημά ἐστιν ἐπὶ τῇ κεφαλῇ Θρᾴκιον.	Orpheus himself is portrayed in Greek manner: neither his clothing nor the covering upon his head is Thracian.	Describes the depiction of Orpheus’ clothing and head-covering, a purely descriptive/artistic observation.
10.30.7	1	other	high	τῷ δένδρῳ δὲ τῇ ἰτέᾳ κατὰ τὸ ἕτερον μέρος προσανακεκλιμένος ἐστὶν αὐτῇ Προμέδων.	Leaning against one side of the willow tree itself is Promedon.	Purely descriptive placement of Promedon by a willow tree; no mythic or historical event.
10.30.7	2	other	high	εἰσὶ μὲν δὴ οἳ νομίζουσι καθάπερ ἐς ποίησιν ἐπεσῆχθαι τὸ Προμέδοντος ὄνομα ὑπὸ τοῦ Πολυγνώτου· τοῖς δὲ εἰρημένον ἐστὶν ἄνδρα Ἕλληνα ἔς τε τὴν ἄλλην ἅπασαν γενέσθαι φιλήκοον μουσικὴν καὶ ἐπὶ τῇ ᾠδῇ μάλιστα τῇ Ὀρφέως.	There are indeed some who believe that the name Promedon was introduced by Polygnotus as a poetic fiction; but others claim that it refers to a Greek man who was exceedingly fond of music in general, and particularly devoted to the songs of Orpheus.	A reported scholarly opinion about whether a name is fictional; this is antiquarian/interpretive, not itself mythic or historical.
10.30.8	1	mythic	high	κατὰ τοῦτο τῆς γραφῆς Σχεδίος ὁ Φωκεῦσιν ἡγησάμενος ἐς Τροίαν καὶ μετὰ τοῦτον Πελίας ἐστὶν ἐν θρόνῳ καθεζόμενος, τὰ γένεια ὁμοίως καὶ τὴν κεφαλὴν πολιός, ἐνορᾷ δὲ ἐς τὸν Ὀρφέα·	In this portion of the painting is depicted Schedios, who led the Phokians against Troy, and next to him is Pelias, seated upon a throne, gray-haired in beard as well as head, gazing toward Orpheus.	Depicts Schedios from the Trojan War and Pelias, both figures from mythic tradition.
10.30.8	2	mythic	high	ὁ δὲ Σχεδίος ἐγχειρίδιόν τε ἔχων καὶ ἄγρωστίν ἐστιν ἐστεφανωμένος.	Schedios holds a dagger and has a wreath of grass upon his head.	Schedios is a Homeric/mythic figure; the sentence describes his attributes, not a historical event.
10.30.8	3	mythic	high	Θαμύριδι δὲ ἐγγὺς καθεζομένῳ τοῦ Πελίου διεφθαρμέναι αἱ ὄψεις καὶ ταπεινὸν ἐς ἅπαν σχῆμά ἐστι	Beside Pelias sits Thamyris, whose eyes appear blinded and whose whole bearing is humbled.	Thamyris is a mythic figure, and his blinded, humbled condition is the result of mythic punishment.
10.30.8	4	other	high	καὶ ἡ κόμη πολλὴ μὲν ἐπὶ τῆς κεφαλῆς, πολλὴ δὲ αὐτῷ καὶ ἐν τοῖς γενείοις·	His hair is abundant upon his head, and plentiful also is his beard.	Purely descriptive physical appearance; no mythic or historical event.
10.30.8	5	other	high	λύρα δὲ ἔρριπται πρὸς τοῖς ποσί, κατεαγότες αὐτῆς οἱ πήχεις καὶ αἱ χορδαὶ κατερρωγυῖαι.	A lyre lies thrown at his feet, its arms shattered and its strings broken.	Purely descriptive detail of an object in the scene; no mythic or historical event.
10.30.9	1	mythic	high	ὑπὲρ τούτου ἐστὶν ἐπὶ πέτρας καθεζόμενος Μαρσύας, καὶ Ὄλυμπος παρʼ αὐτὸν παιδός ἐστιν ὡραίου καὶ αὐλεῖν διδασκομένου σχῆμα ἔχων.	Above this stands Marsyas seated upon a rock, and near him Olympus is depicted in the form of a handsome youth learning to play the flute.	Marsyas and Olympus are mythic figures depicted in a mythological scene.
10.30.9	2	mythic	high	οἱ δὲ ἐν Κελαιναῖς Φρύγες ἐθέλουσι μὲν τὸν ποταμὸν ὃς διέξεισιν αὐτοῖς διὰ τῆς πόλεως ἐκεῖνόν ποτε εἶναι τὸν αὐλητήν, ἐθέλουσι δὲ καὶ εὕρημα εἶναι τοῦ Μαρσύου τὸ Μητρῷον αὔλημα·	The Phrygians at Celaenae claim that the river which flows through their city was formerly that very flute-player; they also assert that the flute-melody sacred to the Mother was Marsyas' invention.	Claims about Marsyas and the river being a former flute-player are mythic etiological traditions.
10.30.9	3	mythic	high	φασὶ δὲ ὡς καὶ τὴν Γαλατῶν ἀπώσαιντο στρατείαν τοῦ Μαρσύου σφίσιν ἐπὶ τοὺς βαρβάρους ὕδατί τε ἐκ τοῦ ποταμοῦ καὶ μέλει τῶν αὐλῶν ἀμύναντος.	Furthermore, they say that Marsyas repelled the invasion of the Galatians by coming to their aid against the barbarians, using both the water from the river and the music of his flutes.	Marsyas and the Galatians are placed in a legendary etiological account; the landscape is affected by mythic action (river water and flute music repelling barbarians).