by Pausanias
[21.3] On this occasion the oracles from Dodona declared that it was the wrath of Dionysus that caused the plague, which would not cease until Coresus sacrificed to Dionysus either Callirhoe herself or one who had the courage to die in her stead. When the maiden could find no means of escape, she next appealed to her foster parents. These too failing her, there was no other way except for her to be put to the sword.
[4] προεξεργασθέντων δὲ ὁπόσα ἐς τὴν θυσίαν ἄλλα ἐκ Δωδώνης μεμαντευμένα ἦν, ἡ μὲν ἱερείου τρόπον ἦκτο ἐπὶ τὸν βωμόν, Κόρεσος δὲ ἐφειστήκει μὲν τῇ θυσίᾳ, τῷ δὲ ἔρωτι εἴξας καὶ οὐ τῷ θυμῷ ἑαυτὸν ἀντὶ Καλλιρόης διεργάζεται. ὁ μὲν δὴ ἀπέδειξεν ἔργον ἀνθρώπων ὧν ἴσμεν διατεθεὶς ἐς ἔρωτα ἀπλαστότατα:
[21.4] When everything had been prepared for the sacrifice according to the oracle from Dodona, the maiden was led like a victim to the altar. Coresus stood ready to sacrifice, when, his resentment giving way to love, he slew himself in place of Callirhoe. He thus proved in deed that his love was more genuine than that of any other man we know.
[5] Καλλιρόη τε ὡς Κόρεσον τεθνεῶτα εἶδεν, μετέπεσε τῇ παιδὶ ἡ γνώμη, καὶ — ἐσῄει γὰρ αὐτὴν Κορέσου τε ἔλεος καὶ ὅσα ἐς αὐτὸν εἴργασται αἰδώς — ἀπέσφαξέ τε αὑτὴν ἐς τὴν πηγήν, τοῦ λιμένος ἣ ἐν Καλυδῶνί ἐστιν οὐ πόρρω τοῦ λιμένος, καὶ ἀπ᾽ ἐκείνης οἱ ἔπειτα ἄνθρωποι Καλλιρόην τὴν πηγὴν καλοῦσι.
[21.5] When Callirhoe saw Goresus lying dead, the maiden repented. Overcome by pity for Goresus, and by shame at her conduct towards him, she cut her throat at the spring in Galydon not far from the harbor, and later generations call the spring Callirhoe after her.
PATRAE CONT.
[6] τοῦ θεάτρου δὲ ἐγγὺς πεποίηται Πατρεῦσι γυναικὸς ἐπιχωρίας τέμενος. Διονύσου δέ ἐστιν ἐνταῦθα ἀγάλματα, ἴσοι τε τοῖς ἀρχαίοις πολίσμασι καὶ ὁμώνυμοι: Μεσατεὺς γὰρ καὶ Ἀνθεύς τε καὶ Ἀροεύς ἐστιν αὐτοῖς τὰ ὀνόματα. ταῦτα τὰ ἀγάλματα ἐν τῇ Διονύσου τῇ ἑορτῇ κομίζουσιν ἐς τὸ ἱερὸν τοῦ Αἰσυμνήτου: τὸ δὲ ἱερὸν τοῦτο ἐς τὰ ἐπὶ θαλάσσῃ τῆς πόλεως ἐρχομένοις ἔστιν ἐκ τῆς ἀγορᾶς ἐν δεξιᾷ τῆς ὁδοῦ.
[21.6] Near to the theater there is a precinct sacred to a native lady. Here are images of Dionysus, equal in number to the ancient cities, and named after them Mesateus, Antheus and Aroeus. These images at the festival of Dionysus they bring into the sanctuary of the Dictator. This sanctuary is on the right of the road from the market-place to the sea-quarter of the city.
[7] ἀπὸ δὲ τοῦ Αἰσυμνήτου κατωτέρω ἰόντι ἄλλο ἱερὸν καὶ ἄγαλμα λίθου: καλεῖται μὲν Σωτηρίας, ἱδρύσασθαι δὲ αὐτὸ ἐξ ἀρχῆς ἀποφυγόντα φασὶ τὴν μανίαν Εὐρύπυλον. πρὸς δὲ τῷ λιμένι Ποσειδῶνός τε ναὸς καὶ ἄγαλμά ἐστιν ὀρθὸν λίθου. Ποσειδῶνι δὲ παρὲξ ἢ ὁπόσα ὀνόματα ποιηταῖς πεποιημένα ἐστὶν ἐς ἐπῶν κόσμον καὶ ἰδίᾳ σφίσιν ἐπιχώρια ὄντα ἕκαστοι τίθενται, τοσαίδε ἐς ἅπαντας γεγόνασιν ἐπικλήσεις αὐτῷ, Πελαγαῖος καὶ Ἀσφάλιός τε καὶ Ἵππιος.
[21.7] As you go lower down from the Dictator there is another sanctuary with an image of stone. It is called the sanctuary of Recovery, and the story is that it was originally founded by Eurypylus on being cured of his madness. At the harbor is a temple of Poseidon with a standing image of stone. Besides the names given by poets to Poseidon to adorn their verses, and in addition to his local names, all men give him the following surnames – Marine, Giver of Safety, God of Horses.
[8] ὠνομάσθαι δὲ Ἵππιον τὸν θεὸν πείθοιτο μὲν ἄν τις καὶ ἐπ᾽ αἰτίαις ἄλλαις: ἐγὼ δὲ εὑρετὴν ἱππικῆς ὄντα ἀπὸ τούτου σχεῖν καὶ τὸ ὄνομα εἰκάζω. Ὅμηρος μέν γε ἐν ἵππων ἄθλοις Μενελάῳ κατὰ τοῦ θεοῦ τούτου πρόκλησιν περιέθηκεν ὅρκου:”ἵππων ἁψάμενος, γαιήοχον ἐννοσίγαιον
ὄμνυθι μηδὲν ἑκὼν τὸ ἐμὸν δόλῳ ἅρμα πεδῆσαι.
“Hom. Il 23.584-585
[21.8] Various reasons could be plausibly assigned for the last of these surnames having been given to the god, but my own conjecture is that he got this name as the inventor of horsemanship. Homer, at any rate, when describing the chariot-race, puts into the mouth of Menelaus a challenge to swear an oath by this god:–
Touch the horses, and swear by the earth-holder, earth-shaker,
That thou didst not intentionally, through guile, obstruct my chariot. Hom. Il. 23.584-585
[9] Πάμφως δέ, ὃς Ἀθηναίοις τοὺς ἀρχαιοτάτους τῶν ὕμνων ἐποίησεν, εἶναί φησι τὸν Ποσειδῶνα”ἵππων τε δωτῆρα νεῶν τ᾽ ἰθυκρηδέμνων.
“Pamphos, work unknownοὕτω διὰ τὴν ἱππικὴν καὶ οὐκ ἀπὸ ἑτέρας προφάσεως τὸ ὄνομα ἔσχηκεν.
[9] Pamphos also, who composed for the Athenians the most ancient of their hymns, says that Poseidon is:–
Giver of horses and of ships with sails set. Pamphos, work unknown
So it is from horsemanship that he has acquired his name, and not for any other reason.
[10] ἐν Πάτραις δὲ οὐ πολὺ ἀπωτέρω τοῦ Ποσειδῶνος ἱερά ἐστιν Ἀφροδίτης: τὸ δὲ ἕτερον τῶν ἀγαλμάτων γενεᾷ πρότερον ἢ κατ᾽ ἐμὲ ἁλιεῖς ἄνδρες ἀνείλκυσαν ἐν δικτύῳ. ἔστι δὲ καὶ ἀγάλματα τοῦ λιμένος ἐγγυτάτω χαλκοῦ πεποιημένα Ἄρεως, τὸ δὲ Ἀπόλλωνος: καὶ Ἀφροδίτης, ἧς καὶ πρὸς τῷ λιμένι δὲ ἐστὶ τέμενος, λίθου μὲν πρόσωπον καὶ ἄκραι χεῖρες καὶ πόδες, ξύλου δὲ τὰ λοιπὰ εἴργασται.
[21.10] In Patrae, not far from that of Poseidon, are sanctuaries of Aphrodite. One of the two images was drawn up by fishermen in a net a generation before my time. There are also quite near to the harbor two images of bronze, one of Ares and the other of Poseidon. The image of Aphrodite, whose precinct too is by the harbor, has its face, hands and feet of stone, while the rest of the figure is made of wood.
[11] ἔστι δέ σφισι καὶ ἄλσος ἐπὶ θαλάσσῃ, δρόμους τε ἐπιτηδειοτάτους καὶ ἐς τἄλλα δίαιταν ἡδεῖαν ὥρᾳ παρεχόμενον θερινῇ. ἐν τούτῳ τῷ ἄλσει καὶ ναοὶ θεῶν, Ἀπόλλωνος, ὁ δὲ Ἀφροδίτης: πεποίηται λίθου καὶ τούτοις τὰ ἀγάλματα. τοῦ δὲ ἄλσους ἱερὸν ἔχεται Δήμητρος: αὕτη μὲν καὶ ἡ παῖς ἑστᾶσι, τὸ δὲ ἄγαλμα τῆς Γῆς ἐστι καθήμενον.
[21.11] They have also a grove by the sea, affording in summer weather very agreeable walks and a pleasant means generally of passing the time. In this grove are also two temples of divinities, one of Apollo, the other of Aphrodite. The images of these too are made of stone. Ne
xt to the grove is a sanctuary of Demeter; she and her daughter are standing, but the image of Earth is seated.
[12] πρὸ δὲ τοῦ ἱεροῦ τῆς Δήμητρός ἐστι πηγή: ταύτης τὰ μὲν πρὸς τοῦ ναοῦ λίθων ἀνέστηκεν αἱμασιά, κατὰ δὲ τὸ ἐκτὸς κάθοδος ἐς αὐτὴν πεποίηται. μαντεῖον δὲ ἐνταῦθά ἐστιν ἀψευδές, οὐ μὲν ἐπὶ παντί γε πράγματι, ἀλλὰ ἐπὶ τῶν καμνόντων. κάτοπτρον καλῳδίῳ τῶν λεπτῶν δήσαντες καθιᾶσι, σταθμώμενοι μὴ πρόσω καθικέσθαι τῆς πηγῆς, ἀλλ᾽ ὅσον ἐπιψαῦσαι τοῦ ὕδατος τῷ κύκλῳ τοῦ κατόπτρου. τὸ δὲ ἐντεῦθεν εὐξάμενοι τῇ θεῷ καὶ θυμιάσαντες ἐς τὸ κάτοπτρον βλέπουσι: τὸ δέ σφισι τὸν νοσοῦντα ἤτοι ζῶντα ἢ καὶ τεθνεῶτα ἐπιδείκνυσι.
[21.12] Before the sanctuary of Demeter is a spring. On the side of this towards the temple stands a wall of stones, while on the outer side has been made a descent to the spring. Here there is an infallible oracle, not indeed for everything, but only in the case of sick folk. They tie a mirror to a fine cord and let it down, judging the distance so that it does not sink deep into the spring, but just far enough to touch the water with its rim. Then they pray to the goddess and burn incense, after which they look into the mirror, which shows them the patient either alive or dead.
[13] τούτῳ μὲν τῷ ὕδατι ἐς τοσοῦτο μέτεστιν ἀληθείας, Κυανεῶν δὲ τῶν πρὸς Λυκίᾳ πλησιαίτατα χρηστήριον Ἀπόλλωνός ἐστι Θυρξέως: παρέχεται δὲ ὕδωρ τὸ πρὸς ταῖς Κυανέαις ἔσω ἐνιδόντα τινὰ ἐς τὴν πηγὴν ὁμοίως πάντα ὁπόσα θέλει θεάσασθαι. ἐν Πάτραις δὲ πρὸς τῷ ἄλσει καὶ ἱερὰ δύο ἐστὶ Σαράπιδος: ἐν δὲ τῷ ἑτέρῳ πεποίηται μνῆμα Αἰγύπτου τοῦ Βήλου. φυγεῖν δὲ ἐς τὴν Ἀρόην οἱ Πατρεῖς φασιν αὐτὸν τοῖς τε ἐς τοὺς παῖδας παθήμασι καὶ τὸ ὄνομα αὐτὸ πεφρικότα τοῦ Ἄργους καὶ ἐς πλέον τοῦ Δαναοῦ δείματι.
[21.13] This water partakes to this extent of truth, but close to Cyaneae by Lycia, where there is an oracle of Apollo Thyrxeus, the water shows to him who looks into the spring all the things that he wants to behold. By the grove in Patrae are also two sanctuaries of Serapis. In one is the tomb of Aegyptus, the son of Belus. He is said by the people of Patrae to have fled to Aroe because of the misfortunes of his children and because he shuddered at the mere name of Argos, and even more through dread of Danaus.
[14] ἔστι δὲ καὶ ἱερὸν Πατρεῦσιν Ἀσκληπιοῦ: τοῦτο τὸ ἱερὸν ὑπὲρ τὴν ἀκρόπολιν τῶν πυλῶν ἐστιν ἐγγὺς αἳ ἐπὶ Μεσάτιν ἄγουσιν.
αἱ δὲ γυναῖκές εἰσιν ἐν ταῖς Πάτραις ἀριθμὸν μὲν καὶ ἐς δὶς τῶν ἀνδρῶν: Ἀφροδίτης δέ, εἴπερ ἄλλαις γυναιξί, μέτεστι καὶ ταύταις. βίος δὲ αὐτῶν ταῖς πολλαῖς ἐστιν ἀπὸ τῆς βύσσου τῆς ἐν τῇ Ἤλιδι φυομένης: κεκρυφάλους τε γὰρ ἀπ᾽ αὐτῆς καὶ ἐσθῆτα ὑφαίνουσι τὴν ἄλλην.
[21.14] There is also at Patrae a sanctuary of Asclepius. This sanctuary is beyond the acropolis near the gate leading to Mesatis. The women of Patrae outnumber the men by two to one. These women are amongst the most charming in the world. Most of them gain a livelihood from the fine flax that grows in Elis, weaving from it nets for the head as well as dresses.
PHARAE
22. Φαραὶ δέ, Ἀχαιῶν πόλις, τελοῦσι μὲν ἐς Πάτρας δόντος Αὐγούστου, ὁδὸς δὲ ἐς Φαρὰς Πατρέων μὲν ἐκ τοῦ ἄστεως στάδιοι πεντήκοντά εἰσι καὶ ἑκατόν, ἀπὸ θαλάσσης δὲ ἄνω πρὸς ἤπειρον περὶ ἑβδομήκοντα. ποταμὸς δὲ ῥεῖ πλησίον Φαρῶν Πίερος, ὁ αὐτὸς ἐμοὶ δοκεῖν ὃς καὶ τὰ Ὠλένου παρέξεισιν ἐρείπια, ὑπὸ ἀνθρώπων τῶν πρὸς θαλάσσῃ καλούμενος Πεῖρος. πρὸς δὲ τῷ ποταμῷ πλατάνων ἐστὶν ἄλσος, κοῖλαί τε ὑπὸ παλαιότητος αἱ πολλαὶ καὶ ἥκουσαι μεγέθους ἐς τοσοῦτο ὥστε καὶ ἑστιῶνται τῶν χηραμῶν ἐντός, καὶ ὁπόσοις ἂν κατὰ γνώμην ᾖ, καὶ ἐγκαθεύδουσι.
[22.1] XXII. Pharae, a city of the Achaeans, belongs to Patrae, having been given to it by Augustus. The road from the city of Patrae to Pharae is a hundred and fifty stades, while Pharae is about seventy stades inland from the coast. Near to Pharae runs the river Pierus, which in my opinion is the same as the one flowing past the ruins of Olenus, called by the men of the coast the Peirus. Near the river is a grove of plane-trees, most of which are hollow through age, and so huge that they actually feast in the holes, and those who have a mind to do so sleep there as well.
[2] περίβολος δὲ ἀγορᾶς μέγας κατὰ τρόπον τὸν ἀρχαιότερόν ἐστιν ἐν Φαραῖς, Ἑρμοῦ δὲ ἐν μέσῃ τῇ ἀγορᾷ λίθου πεποιημένον ἄγαλμα ἔχον καὶ γένεια: ἑστηκὼς δὲ πρὸς αὐτῇ τῇ γῇ παρέχεται μὲν τὸ τετράγωνον σχῆμα, μεγέθει δέ ἐστιν οὐ μέγας. καὶ αὐτῷ καὶ ἐπίγραμμα ἔπεστιν, ἀναθεῖναι αὐτὸ Μεσσήνιον Σιμύλον: καλεῖται μὲν δὴ Ἀγοραῖος, παρὰ δὲ αὐτῷ καὶ χρηστήριον καθέστηκε. κεῖται δὲ πρὸ τοῦ ἀγάλματος ἑστία, λίθου καὶ αὐτή, μολίβδῳ δὲ πρὸς τὴν ἑστίαν προσέχονται λύχνοι χαλκοῖ.
[22.2] The market-place of Pharae is of wide extent after the ancient fashion, and in the middle of it is an image of Hermes, made of stone and bearded. Standing right on the earth, it is of square shape, and of no great size. On it is an inscription, saying that it was dedicated by Simylus the Messenian. It is called Hermes of the Market, and by it is established an oracle. In front of the image is placed a hearth, which also is of stone, and to the hearth bronze lamps are fastened with lead.
[3] ἀφικόμενος οὖν περὶ ἑσπέραν ὁ τῷ θεῷ χρώμενος λιβανωτόν τε ἐπὶ τῆς ἑστίας θυμιᾷ καὶ ἐμπλήσας τοὺς λύχνους ἐλαίου καὶ ἐξάψας τίθησιν ἐπὶ τὸν βωμὸν τοῦ ἀγάλματος ἐν δεξιᾷ νόμισμα ἐπιχώριον — καλεῖται δὲ χαλκοῦς τὸ νόμισμα — καὶ ἐρωτᾷ πρὸς τὸ οὖς τὸν θεὸν ὁποῖόν τι καὶ ἑκάστῳ τὸ ἐρώτημά ἐστι. τὸ ἀπὸ τούτου δὲ ἄπεισιν ἐκ τῆς ἀγορᾶς ἐπιφραξάμενος τὰ ὦτα: προελθὼν δὲ ἐς τὸ ἐκτὸς τὰς χεῖρας ἀπέσχεν ἀπὸ τῶν ὤτων, καὶ ἧστινος ἂν ἐπακούσῃ φωνῆς, μάντευμα ἡγεῖται.
[22.3] Coming at eventide, the inquirer of the god, having burnt incense upon the hearth, filled the lamps with oil and lighted them, puts on the altar on the right of the image a local coin, called a “copper,” and asks in the ear of the god the particular question he wishes to put to him. After that he stops his ears and leaves the marketplace. On coming outside he takes his hands from his ears, and whatever utterance he hears he considers oracular.
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[4] τοιαύτη καὶ Αἰγυπτίοις ἑτέρα περὶ τοῦ Ἄπιδος τὸ ἱερὸν μαντεία καθέστηκεν: ἐν Φαραῖς δὲ καὶ ὕδωρ ἱερόν ἐστι τοῦ Ἑρμοῦ: Ἑρμοῦ νᾶμα μὲν τῇ πηγῇ τὸ ὄνομα, τοὺς δὲ ἰχθῦς οὐχ αἱροῦσιν ἐξ αὐτῆς, ἀνάθημα εἶναι τοῦ θεοῦ νομίζοντες. ἑστήκασι δὲ ἐγγύτατα τοῦ ἀγάλματος τετράγωνοι λίθοι τριάκοντα μάλιστα ἀριθμόν: τούτους σέβουσιν οἱ Φαρεῖς, ἑκάστῳ θεοῦ τινὸς ὄνομα ἐπιλέγοντες. τὰ δὲ ἔτι παλαιότερα καὶ τοῖς πᾶσιν Ἕλλησι τιμὰς θεῶν ἀντὶ ἀγαλμάτων εἶχον ἀργοὶ λίθοι.
[22.4] There is a similar method of divination practised at the sanctuary of Apis in Egypt. At Pharae there is also a water sacred to Hermes. The name of the spring is Hermes’ stream, and the fish in it are not caught, being considered sacred to the god. Quite close to the image stand square stones, about thirty in number. These the people of Pharae adore, calling each by the name of some god. At a more remote period all the Greeks alike worshipped uncarved stones instead of images of the gods.
[5] Φαρεῦσι δὲ ὅσον πέντε σταδίους καὶ δέκα ἀπωτέρω τῆς πόλεώς ἐστιν ἄλσος Διοσκούρων. δάφναι μάλιστα ἐν αὐτῷ πεφύκασι, ναὸς δὲ οὐκ ἦν ἐν αὐτῷ οὐδὲ ἀγάλματα: κομισθῆναι δὲ οἱ ἐπιχώριοί φασιν ἐς Ῥώμην τὰ ἀγάλματα. ἐν Φαραῖς δὲ ἐν τῷ ἄλσει βωμὸς λίθων λογάδων ἐστί. πυθέσθαι δὲ οὐκ εἶχον εἰ ὁ Φάρης ὁ Φυλοδαμείας τῆς Δαναοῦ σφισιν ἢ ὁμώνυμος ἐκείνῳ τις ἐγένετο οἰκιστής.