Pausanias Analysis

Passage 1.22.1 Class: Non-skeptical

μετὰ δὲ τὸ ἱερὸν τοῦ Ἀσκληπιοῦ ταύτῃ πρὸς τὴν ἀκρόπολιν ἰοῦσι Θέμιδος ναός ἐστι. κέχωσται δὲ πρὸ αὐτοῦ μνῆμα Ἱππολύτῳ· τοῦ δέ οἱ βίου τὴν τελευτὴν συμβῆναι λέγουσιν ἐκ καταρῶν. δῆλα δέ, καὶ ὅστις βαρβάρων γλῶσσαν ἔμαθεν Ἑλλήνων, ὅ τε ἔρως τῆς Φαίδρας καὶ τῆς τροφοῦ τὸ ἐς τὴν διακονίαν τόλμημα. ἔστι δὲ καὶ Τροιζηνίοις Ἱππολύτου τάφος· ἔχει δέ σφισιν ὧδε ὁ λόγος.

Proper Nouns:

Θέμις Τροιζήνιοι Φαίδρα Ἀσκληπιός Ἱππόλυτος Ἱππόλυτος

Past the sanctuary of Asclepius, on the way up toward the Acropolis this way, there is a temple of Themis. Before it lies a tomb dedicated to Hippolytus. They say his death resulted from curses. Indeed, whoever has learned the language of the Greeks—even among foreigners—knows well the love of Phaedra and the boldness of her nurse in attempting to assist her desire. The people of Troezen also possess a tomb of Hippolytus, and their account about him runs as follows.

Passage 1.22.2 Class: Non-skeptical

Θησεὺς ὡς ἔμελλεν ἄξεσθαι Φαίδραν, οὐκ ἐθέλων εἴ οἱ γένοιντο παῖδες οὔτε ἄρχεσθαι τὸν Ἱππόλυτον οὔτε βασιλεύειν ἀντʼ αὐτῶν, πέμπει παρὰ Πιτθέα τραφησόμενον αὐτὸν καὶ βασιλεύσοντα Τροιζῆνος. χρόνῳ δὲ ὕστερον Πάλλας καὶ οἱ παῖδες ἐπανέστησαν Θησεῖ· τούτους κτείνας ἐς Τροιζῆνα ἔρχεται καθαρσίων ἕνεκα, καὶ Φαίδρα πρώτη ἐνταῦθα εἶδεν Ἱππόλυτον καὶ τὰ ἐς τὸν θάνατον ἐρασθεῖσα ἐβούλευσε. μυρσίνη δέ ἐστι Τροιζηνίοις τὰ φύλλα διὰ πάσης ἔχουσα τετρυπημένα· φῦναι δὲ οὐκ ἐξ ἀρχῆς αὐτὴν λέγουσιν, ἀλλὰ τὸ ἔργον γεγενῆσθαι τῆς ἐς τὸν ἔρωτα ἄσης καὶ τῆς περόνης ἣν ἐπὶ ταῖς θριξὶν εἶχεν ἡ Φαίδρα.

Proper Nouns:

Θησεύς Θησεύς Πάλλας Πιτθεύς Τροιζήν Τροιζήν Τροιζήνιοι Φαίδρα Φαίδρα Ἱππόλυτος

When Theseus was about to marry Phaedra, unwilling—should children be born to him—to have Hippolytus either subject to them or reigning instead of them, he sent him away to Pittheus, to be raised by him and to become king of Troezen. Later, after some time, Pallas and his sons revolted against Theseus. Having slain them, he went to Troezen for purification, and there Phaedra first beheld Hippolytus. She fell desperately in love, and thus plotted his death. The Troezenians have a myrtle whose leaves are pierced throughout. They say that it did not originally grow this way, but that this came about because of the pains of love and due to the pin that Phaedra wore in her hair.

Passage 1.22.3 Class: Skeptical

Ἀφροδίτην δὲ τὴν Πάνδημον, ἐπεί τε Ἀθηναίους Θησεὺς ἐς μίαν ἤγαγεν ἀπὸ τῶν δήμων πόλιν, αὐτήν τε σέβεσθαι καὶ Πειθὼ κατέστησε· τὰ μὲν δὴ παλαιὰ ἀγάλματα οὐκ ἦν ἐπʼ ἐμοῦ, τὰ δὲ ἐπʼ ἐμοῦ τεχνιτῶν ἦν οὐ τῶν ἀφανεστάτων. ἔστι δὲ καὶ Γῆς Κουροτρόφου καὶ Δήμητρος ἱερὸν Χλόης· τὰ δὲ ἐς τὰς ἐπωνυμίας ἔστιν αὐτῶν διδαχθῆναι τοῖς ἱερεῦσιν ἐλθόντα ἐς λόγους.

Proper Nouns:

Γῆ Κουροτrophος Δήμητρα Θησεύς Πάνδημος Πειθώ Χλόη Ἀθηναῖοι Ἀφροδίτη

Theseus, after bringing together the Athenians from the demes into one city, established the worship of Aphrodite Pandemos ("of all the people") and of Peitho ("Persuasion"). The ancient statues were no longer in existence in my own time, but the ones existing then were works by artists not the least celebrated. There is also a sanctuary of Earth Kourotrophos ("Nurse of Youth") and of Demeter Chloe ("the Green"). As for the significance of these epithets, one may learn it by entering into conversation with the priests.

Passage 1.22.4 Class: Skeptical

ἐς δὲ τὴν ἀκρόπολίν ἐστιν ἔσοδος μία· ἑτέραν δὲ οὐ παρέχεται, πᾶσα ἀπότομος οὖσα καὶ τεῖχος ἔχουσα ἐχυρόν. τὰ δὲ προπύλαια λίθου λευκοῦ τὴν ὀροφὴν ἔχει καὶ κόσμῳ καὶ μεγέθει τῶν λίθων μέχρι γε καὶ ἐμοῦ προεῖχε. τὰς μὲν οὖν εἰκόνας τῶν ἱππέων οὐκ ἔχω σαφῶς εἰπεῖν, εἴτε οἱ παῖδές εἰσιν οἱ Ξενοφῶντος εἴτε ἄλλως ἐς εὐπρέπειαν πεποιημέναι· τῶν δὲ προπυλαίων ἐν δεξιᾷ Νίκης ἐστὶν Ἀπτέρου ναός. ἐντεῦθεν ἡ θάλασσά ἐστι σύνοπτος, καὶ ταύτῃ ῥίψας Αἰγεὺς ἑαυτὸν ὡς λέγουσιν ἐτελεύτησεν.

Proper Nouns:

Αἰγεύς Νίκη Ξενοφῶν ἀκρόπολις Ἄπτερος

There is only one way leading up into the acropolis; no other approach is possible, as it is steep on all sides and has a strong wall. The entrance gate (Propylaea) has a roof built of white stone, and down to my day surpassed all others both in the beauty and the size of its stones. As for the statues of horsemen, I cannot say exactly whether they are meant to represent the sons of Xenophon or were created simply as decorative figures. On the right-hand side of the Propylaea is the temple of Wingless Victory (Nike Apteros). From there the sea is clearly visible, and it is from that place, they say, that Aegeus threw himself down and died.

Passage 1.22.5 Class: Non-skeptical

ἀνήγετο μὲν γὰρ ἡ ναῦς μέλασιν ἱστίοις ἡ τοὺς παῖδας φέρουσα ἐς Κρήτην, Θησεὺς δὲ---ἔπλει γὰρ τόλμης τι ἔχων ἐς τὸν Μίνω καλούμενον ταῦρον---πρὸς τὸν πατέρα προεῖπε χρήσεσθαι τοῖς ἱστίοις λευκοῖς, ἢν ὀπίσω πλέῃ τοῦ ταύρου κρατήσας· τούτων λήθην ἔσχεν Ἀριάδνην ἀφῃρημένος· ἐνταῦθα Αἰγεὺς ὡς εἶδεν ἱστίοις μέλασι τὴν ναῦν κομιζομένην, οἷα τὸν παῖδα τεθνάναι δοκῶν, ἀφεὶς αὑτὸν διαφθείρεται· καί οἱ παρὰ Ἀθηναίοις ἐστὶ καλούμενον ἡρῷον Αἰγέως.

Proper Nouns:

Αἰγεύς Αἰγεὺς Θησεὺς Κρήτη Μίνως ταῦρος Ἀθηναῖοι Ἀριάδνη

For the ship that carried the youths to Crete sailed out with black sails, but Theseus—who was voyaging with the intention of attacking the bull called the Minotaur—had arranged beforehand with his father that he would use white sails if he sailed back victorious. However, being distracted by Ariadne, Theseus forgot this. Thus, when Aegeus saw the ship returning with black sails, believing his son had perished, he threw himself down and was killed. Among the Athenians there is accordingly a sanctuary called the Heroön of Aegeus.

Passage 1.22.6 Class: Skeptical

---ἔστι δὲ ἐν ἀριστερᾷ τῶν προπυλαίων οἴκημα ἔχον γραφάς· ὁπόσαις δὲ μὴ καθέστηκεν ὁ χρόνος αἴτιος ἀφανέσιν εἶναι, Διομήδης ἦν, ὁ μὲν ἐν Λήμνῳ τὸ Φιλοκτήτου τόξον, ὁ δὲ τὴν Ἀθηνᾶν ἀφαιρούμενος ἐξ Ἰλίου. ἐνταῦθα ἐν ταῖς γραφαῖς Ὀρέστης ἐστὶν Αἴγισθον φονεύων καὶ Πυλάδης τοὺς παῖδας τοὺς Ναυπλίου βοηθοὺς ἐλθόντας Αἰγίσθῳ· τοῦ δὲ Ἀχιλλέως τάφου πλησίον μέλλουσά ἐστι σφάζεσθαι Πολυξένη. Ὁμήρῳ δὲ εὖ μὲν παρείθη τόδε τὸ ὠμὸν οὕτως ἔργον· εὖ δέ μοι φαίνεται ποιῆσαι Σκῦρον ὑπὸ Ἀχιλλέως ἁλοῦσαν, οὐδὲν ὁμοίως καὶ ὅσοι λέγουσιν ὁμοῦ ταῖς παρθένοις Ἀχιλλέα ἔχειν ἐν Σκύρῳ δίαιταν, ἃ δὴ καὶ Πολύγνωτος ἔγραψεν. ἔγραψε δὲ καὶ πρὸς τῷ ποταμῷ ταῖς ὁμοῦ Ναυσικᾷ πλυνούσαις ἐφιστάμενον Ὀδυσσέα κατὰ τὰ αὐτὰ καθὰ δὴ καὶ Ὅμηρος ἐποίησε. γραφαὶ δέ εἰσι καὶ ἄλλαι καὶ Ἀλκιβιάδης,

Proper Nouns:

Αἴγισθος Διομήδης Λῆμνος Ναυπλίος Ναυσικάα Πολυξένη Πολύγνωτος Πυλάδης Σκῦρος Σκῦρος Φιλοκτήτης Ἀθηνᾶ Ἀλκιβιάδης Ἀχιλλεύς Ἀχιλλεύς Ἴλιον Ὀδυσσεύς Ὀρέστης Ὅμηρος Ὅμηρος

On the left side of the Propylaea is a building containing paintings. Among those that have not been destroyed by time are depictions of Diomedes—one carrying off the bow of Philoctetes on Lemnos, and another taking the image of Athena from Troy. Also here in the paintings is Orestes killing Aegisthus, and Pylades slaying the sons of Nauplius who had come to Aegisthus's aid. Near the tomb of Achilles, Polyxena is depicted about to be sacrificed. Homer did well in omitting this cruel deed, and equally well, I think, in portraying Scyros as captured by Achilles, rather than following others who say Achilles lived among the maidens on Scyros—a scene that Polygnotus has indeed painted. Polygnotus also depicted Odysseus encountering Nausicaa and her maidens washing clothes beside the river, exactly as Homer himself composed the scene. There are other paintings as well, including Alcibiades;

Passage 1.22.7 Class: Skeptical

ἵππων δέ οἱ νίκης τῆς ἐν Νεμέᾳ ἐστὶ σημεῖα ἐν τῇ γραφῇ· καὶ Περσεύς ἐστιν ἐς Σέριφον κομιζόμενος, Πολυδέκτῃ φέρων τὴν κεφαλὴν τὴν Μεδούσης. καὶ τὰ μὲν ἐς Μέδουσαν οὐκ εἰμὶ πρόθυμος ἐν τοῖς Ἀττικοῖς σημῆναι· ἔτι δὲ τῶν γραφῶν παρέντι τὸν παῖδα τὸν τὰς ὑδρίας φέροντα καὶ τὸν παλαιστὴν ὃν Τιμαίνετος ἔγραψεν, ἐστὶ Μουσαῖος. ἐγὼ δὲ ἔπη μὲν ἐπελεξάμην, ἐν οἷς ἐστι πέτεσθαι Μουσαῖον ὑπὸ Βορέου δῶρον, δοκεῖν δέ μοι πεποίηκεν αὐτὰ Ὀνομάκριτος καὶ ἔστιν οὐδὲν Μουσαίου βεβαίως ὅτι μὴ μόνον ἐς Δήμητρα ὕμνος Λυκομίδαις.

Proper Nouns:

Βορέας Δήμητρα Λυκομίδαι Μεδούσα Μεδούσα Μουσαῖος Μουσαῖος Νεμέα Περσεύς Πολυδέκτης Σέριφος Τιμαίνετος Ἀττική Ὀνομάκριτος

In the painting there are also indications of his victory with horses at Nemea. Perseus is depicted as being borne to Seriphos, carrying the head of Medusa to Polydectes. However, I have no desire to discuss the story of Medusa in this Attic description. Moreover, among the paintings present is a depiction of a boy carrying water jars and the wrestler painted by Timainetos; this figure is Mousaios. Personally, I have read certain epic lines wherein Mousaios is said to fly through the air by a gift from Boreas. Yet it seems to me that these poems were composed by Onomakritos, and there is nothing truly authentic by Mousaios except the hymn to Demeter written for the Lykomidai.

Passage 1.22.8 Class: Non-skeptical

κατὰ δὲ τὴν ἔσοδον αὐτὴν ἤδη τὴν ἐς ἀκρόπολιν Ἑρμῆν ὃν Προπύλαιον ὀνομάζουσι καὶ Χάριτας Σωκράτην ποιῆσαι τὸν Σωφρονίσκου λέγουσιν, ᾧ σοφῷ γενέσθαι μάλιστα ἀνθρώπων ἐστὶν ἡ Πυθία μάρτυς, ὃ μηδὲ Ἀνάχαρσιν ἐθέλοντα ὅμως καὶ διʼ αὐτὸ ἐς Δελφοὺς ἀφικόμενον προσεῖπεν.

Proper Nouns:

Δελφοί Προπύλαιον Πυθία Σωκράτης Σωφρονίσκος Χάριτες Ἀνάχαρσις Ἑρμῆς

At the very entrance to the Acropolis itself is a Hermes, whom they call Propylaios, and the Graces; these figures, they say, were made by Socrates, son of Sophroniscus. That he surpassed all men in wisdom is attested by the Pythian oracle, which did not pronounce this of Anacharsis, even though he wished it and for this very reason came to Delphi.

Legend:

Chapter 1.22