Delphi Complete Works of Pausanias

by Pausanias

  [23.13] After this the barbarians proceeded with difficulty as far as the Spercheius, pressed hotly by the Aetolians. But after their arrival at the Spercheius, during the rest of the retreat the Thessalians and Malians kept lying in wait for them, and so took their fill of slaughter that not a Gaul returned home in safety.

  [14] ἐγένετο δὲ τῶν Κελτῶν στρατεία τε ἐπὶ τὴν Ἑλλάδα καὶ ἡ ἀπώλεια Ἀναξικράτους Ἀθήνῃσιν ἄρχοντος, δευτέρῳ δὲ ἔτει τῆς πέμπτης Ὀλυμπιάδος ἐπὶ εἴκοσι καὶ ἑκατόν, ἣν Λάδας Αἰγιεὺς ἐνίκα στάδιον: τῷ δὲ ἔτει τῷ ἐφεξῆς Δημοκλέους Ἀθήνῃσιν ἄρχοντος, οἱ δὲ αὖθις ἐς τὴν Ἀσίαν διαβαίνουσιν οἱ Κελτοί.

  [23.14] The expedition of the Celts against Greece, and their destruction, took place when Anaxicrates was archon at Athens, in the second year of the hundred and twenty-fifth Olympiad, when Ladas of Aegium was victor in the footrace. In the following year, when Democles was archon at Athens, the Celts crossed back again to Asia.

  TEMPLE OF APOLLON AT DELPHI CONT.

  24. ταῦτα μὲν δὴ οὕτω γενόμενα ἴστω τις: ἐν δὲ τῷ προνάῳ τῷ ἐν Δελφοῖς γεγραμμένα ἐστὶν ὠφελήματα ἀνθρώποις ἐς βίον, ἐγράφη δὲ ὑπὸ ἀνδρῶν οὓς γενέσθαι σοφοὺς λέγουσιν Ἕλληνες. οὗτοι δὲ ἦσαν ἐκ μὲν Ἰωνίας Θαλῆς τε Μιλήσιος καὶ Πριηνεὺς Βίας, Αἰολέων δὲ τῶν ἐν Λέσβῳ Πιττακὸς Μιτυληναῖος, ἐκ δὲ Δωριέων τῶν ἐν τῇ Ἀσίᾳ Κλεόβουλος Λίνδιος, καὶ Ἀθηναῖός τε Σόλων καὶ Σπαρτιάτης Χίλων: τὸν δὲ ἕβδομον Πλάτων ὁ Ἀρίστωνος ἀντὶ Περιάνδρου τοῦ Κυψέλου Μύσωνα κατείλοχε τὸν Χηνέα: κώμη δὲ ἐν τῇ Οἴτῃ τῷ ὄρει ᾠκοῦντο αἱ Χῆναι. οὗτοι οὖν οἱ ἄνδρες ἀφικόμενοι ἐς Δελφοὺς ἀνέθεσαν τῷ Ἀπόλλωνι τὰ ᾀδόμενα Γνῶθι σαυτὸν καὶ Μηδὲν ἄγαν.

  [24.1] XXIV. Such was the course of the war. In the fore-temple at Delphi are written maxims useful for the life of men, inscribed by those whom the Greeks say were sages. These were: from Ionia, Thales of Miletus and Bias of Priene; of the Aeolians in Lesbos, Pittacus of Mitylene; of the Dorians in Asia, Cleobulus of Lindus; Solon of Athens and Chilon of Sparta; the seventh sage, according to the list of Plato, the son of Ariston, is not Periander, the son of Cypselus, but Myson of Chenae, a village on Mount Oeta. These sages, then, came to Delphi and dedicated to Apollo the celebrated maxims, “Know thyself,” and “Nothing in excess.”

  [2] οὗτοι μὲν δὴ ἐνταῦθα ἔγραψαν τὰ εἰρημένα, θεάσαιο δ᾽ ἂν καὶ εἰκόνα Ὁμήρου χαλκῆν ἐπὶ στήλῃ καὶ ἐπιλέξει τὸ μάντευμα ὃ γενέσθαι τῷ Ὁμήρῳ λέγουσιν:”ὄλβιε καὶ δύσδαιμον — ἔφυς γὰρ ἐπ᾽ ἀμφοτέροισι — ,

  πατρίδα δίζηαι. μητρὶς δέ τοι, οὐ πατρίς ἐστιν.

  ἔστιν Ἴος νῆσος μητρὸς πατρίς, ἥ σε θανόντα

  δέξεται. ἀλλὰ νέων παίδων αἴνιγμα φύλαξαι.

  “δεικνύουσι δὲ οἱ Ἰῆται καὶ Ὁμήρου μνῆμα ἐν τῇ νήσῳ καὶ ἑτέρωθι Κλυμένης, τὴν Κλυμένην μητέρα εἶναι τοῦ Ὁμήρου λέγοντες.

  [24.2] So these men wrote what I have said, and you can see a bronze statue of Homer on a slab, and read the oracle that they say Homer received:–

  Blessed and unhappy, for to be both wast thou born.

  Thou seekest thy father-land; but no father-land hast thou, only a mother-land.

  The island of Ios is the father-land of thy mother, which will receive thee

  When thou hast died; but be on thy guard against the riddle of the young children.

  The inhabitants of Ios point to Homer’s tomb in the island, and in another part to that of Clymene, who was, they say, the mother of Homer.

  [3] Κύπριοι δὲ — οἰκειοῦνται γὰρ δὴ καὶ οὗτοι Ὅμηρον — Θεμιστώ τε αὐτῷ μητέρα εἶναι τῶν τινα ἐπιχωρίων γυναικῶν λέγουσι καὶ ὑπὸ Εὔκλου προθεσπισθῆναι τὰ ἐς τὴν γένεσιν τὴν Ὁμήρου φασὶν ἐν τοῖσδε:”καὶ τότ᾽ ἐν εἰναλίῃ Κύπρῳ μέγας ἔσσετ᾽ ἀοιδός,

  ὅν τε Θεμιστὼ τέξει ἐπ᾽ ἀγροῦ δῖα γυναικῶν

  νόσφι πολυκτεάνοιο πολύκλειτον Σαλαμῖνος.

  Κύπρον δὲ προλιπὼν διερός θ᾽ ὑπὸ κύμασιν ἀρθείς,

  Ἑλλάδος εὐρυχόρου μοῦνος κακὰ πρῶτος ἀείσας

  ἔσσεται ἀθάνατος καὶ ἀγήραος ἤματα πάντα.

  “ταῦτα ἡμεῖς ἀκούσαντές τε καὶ ἐπιλεξάμενοι τοὺς χρησμοὺς ἰδίᾳ δὲ οὐδένα αὐτῶν λόγον οὔτε ἐς πατρίδα οὔτε περὶ ἡλικίας Ὁμήρου γράφομεν.

  [24.3] But the Cyprians, who also claim Homer as their own, say that Themisto, one of their native women, was the mother of Homer, and that Euclus foretold the birth of Homer in the following verses:–

  And then in sea-girt Cyprus there will be a mighty singer,

  Whom Themisto, lady fair, shall bear in the fields, A man of renown, far from rich Salamis.

  Leaving Cyprus, tossed and wetted by the waves,

  The first and only poet to sing of the woes of spacious Greece,

  For ever shall he be deathless and ageless.

  These things I have heard, and I have read the oracles, but express no private opinion about either the age or date of Homer.

  [4] ἐν δὲ τῷ ναῷ πεποίηται μὲν Ποσειδῶνος βωμός, ὅτι τὸ μαντεῖον τὸ ἀρχαιότατον κτῆμα ἦν καὶ Ποσειδῶνος, ἕστηκε δὲ καὶ ἀγάλματα Μοιρῶν δύο: ἀντὶ δὲ αὐτῶν τῆς τρίτης Ζεύς τε Μοιραγέτης καὶ Ἀπόλλων σφίσι παρέστηκε Μοιραγέτης. θεάσαιο δ᾽ ἂν ἐνταῦθα καὶ ἑστίαν, ἐφ᾽ ᾗ Νεοπτόλεμον τὸν Ἀχιλλέως ὁ ἱερεὺς ἀπέκτεινε τοῦ Ἀπόλλωνος: τὰ δὲ ἐς τοῦ Νεοπτολέμου τὴν τελευτήν ἐστιν ἡμῖν ἑτέρωθι εἰρημένα.

  [24.4] In the temple has been built an altar of Poseidon, because Poseidon too possessed in part the most ancient oracle. There are also images of two Fates; but in place of the third Fate there stand by their side Zeus, Guide of Fate, and Apollo, Guide of Fate. Here you may behold the hearth on which the priest of Apollo killed Neoptolemus, the son of Achilles. The story of the end of Neoptolemus I have told elsewhere.

  [5] ἀνάκειται δὲ οὐ πόρρω τῆς ἑστίας θρόνος Πινδάρου: σιδήρου μέν ἐστιν ὁ θρόνος, ἐπὶ δὲ αὐτῷ φασιν, ὁπότε ἀφίκοιτο ἐς Δελφοὺς, καθέζεσθαί τε τὸν Πίνδαρον καὶ ᾁδειν ὁπόσα τῶν ᾀσμάτων ἐς Ἀπόλλωνά ἐστιν. ἐς δὲ τοῦ ναοῦ τὸ ἐσωτάτω, παρίασί τε ἐς αὐτὸ ὀλίγοι καὶ χρυσοῦν Ἀπόλλωνος ἕτερον ἄγαλμα ἀνάκειται.

  [24.5] Not far from the hearth has been dedicated a chair of Pindar. The chair is of iron, and on it they say Pindar sat whenever he came to Delphi, and th
ere composed his songs to Apollo. Into the innermost part of the temple there pass but few, but there is dedicated in it another image of Apollo, made of gold.

  GRAVE OF NEOPTOLEMUS AT DELPHI

  [6] ἐξελθόντι δὲ τοῦ ναοῦ καὶ τραπέντι ἐς ἀριστερὰ περίβολός ἐστι καὶ Νεοπτολέμου τοῦ Ἀχιλλέως ἐν αὐτῷ τάφος: καί οἱ κατὰ ἔτος ἐναγίζουσιν οἱ Δελφοί. ἐπαναβάντι δὲ ἀπὸ τοῦ μνήματος λίθος ἐστὶν οὐ μέγας: τούτου καὶ ἔλαιον ὁσημέραι καταχέουσι καὶ κατὰ ἑορτὴν ἑκάστην ἔρια ἐπιτιθέασι τὰ ἀργά: ἔστι δὲ καὶ δόξα ἐς αὐτὸν δοθῆναι Κρόνῳ τὸν λίθον ἀντὶ τοῦ παιδός, καὶ ὡς αὖθις ἤμεσεν αὐτὸν ὁ Κρόνος.

  [24.6] Leaving the temple and turning to the left you will come to an enclosure in which is the grave of Neoptolemus, the son of Achilles. Every year the Delphians sacrifice to him as to a hero. Ascending from the tomb you come to a stone of no large size. Over it every day they pour olive oil, and at each feast they place on it unworked wool. There is also an opinion about this stone, that it was given to Cronus instead of his child, and that Cronus vomited it up again.

  SPRING OF CASSOTIS AT DELPHI

  [7] ἰοῦσι δὲ ὡς ἐπὶ τὸν ναὸν αὖθις μετὰ τοῦ λίθου τὴν θέαν ἐστὶν ἡ Κασσοτὶς καλουμένη πηγή: τεῖχος δὲ οὐ μέγα ἐπ᾽ αὐτῇ καὶ ἡ ἄνοδος διὰ τοῦ τείχους ἐστὶν ἐπὶ τὴν πηγήν. ταύτης τῆς Κασσοτίδος δύεσθαί τε κατὰ τῆς γῆς λέγουσι τὸ ὕδωρ καὶ ἐν τῷ ἀδύτῳ τοῦ θεοῦ τὰς γυναῖκας μαντικὰς ποιεῖν: τὴν δὲ τῇ κρήνῃ δεδωκυῖαν τὸ ὄνομα τῶν περὶ τὸν Παρνασσὸν νυμφῶν φασιν εἶναι.

  [24.7] Coming back to the temple after seeing the stone, you come to the spring called Cassotis. By it is a wall of no great size, and the ascent to the spring is through the wall. It is said that the water of this Cassotis sinks under the ground, and inspires the women in the shrine of the god. She who gave her name to the spring is said to have been a nymph of Parnassus.

  PAINTINGS BY POLYGNOTUS AT DELPHI

  25. ὑπὲρ δὲ τὴν Κασσοτίδα ἐστὶν οἴκημα γραφὰς ἔχον τῶν Πολυγνώτου, ἀνάθημα μὲν Κνιδίων, καλεῖται δὲ ὑπὸ Δελφῶν Λέσχη, ὅτι ἐνταῦθα συνιόντες τὸ ἀρχαῖον τά τε σπουδαιότερα διελέγοντο καὶ ὁπόσα μυθώδη: τοιαῦτ᾽ εἶναι πολλὰ ἀνὰ πᾶσαν τὴν Ἑλλάδα Ὅμηρος ἐν Μελανθοῦς λοιδορίᾳ πρὸς Ὀδυσσέα ἐδήλωσεν:”οὐδ᾽ ἐθέλεις εὕδειν χαλκήιον ἐς δόμον ἐλθὼν

  ἠέ που ἐς λέσχην, ἀλλ᾽ ἐνθάδε πόλλ᾽ ἀγορεύεις.

  “Hom. Od 18.328

  [25.1] XXV. Beyond the Cassotis stands a building with paintings of Polygnotus. It was dedicated by the Cnidians, and is called by the Delphians Lesche (Place of Talk, Club Room), because here in days of old they used to meet and chat about the more serious matters and legendary history. That there used to be many such places all over Greece is shown by Homer’s words in the passage where Melantho abuses Odysseus:–

  And you will not go to the smith’s house to sleep,

  Nor yet to the place of talk, but you make long speeches here. Hom. Od. 18.328

  [2] ἐς τοῦτο οὖν ἐσελθόντι τὸ οἴκημα τὸ μὲν σύμπαν τὸ ἐν δεξιᾷ τῆς γραφῆς Ἴλιός τέ ἐστιν ἑαλωκυῖα καὶ ἀπόπλους ὁ Ἑλλήνων. Μενελάῳ δὲ τὰ ἐς τὴν ἀναγωγὴν εὐτρεπίζουσι, καὶ ναῦς ἐστι γεγραμμένη καὶ ἄνδρες ἐν τοῖς ναύταις καὶ ἀναμὶξ παῖδες, ἐν μέσῃ δέ ἐστι τῇ νηὶ ὁ κυβερνήτης Φρόντις κοντοὺς δύο ἔχων. Ὅμηρος δὲ Νέστορα ἐποίησεν ἄλλα τε διαλεγόμενον πρὸς Τηλέμαχον καὶ περὶ τοῦ Φρόντιδος: πατρὸς μὲν Ὀνήτορος, Μενελάου δὲ ἦν κυβερνήτης, δοκιμώτατος δὲ ἐς τὴν τέχνην, καὶ ὡς Σούνιον ἤδη τὸ ἐν τῇ Ἀττικῇ παραπλέοντα ἐπέλαβεν αὐτὸν τὸ χρεών: καὶ τέως ὁμοῦ Νέστορι ὁ Μενέλαος πλέων τότε κατὰ αἰτίαν ἀπελείφθη ταύτην, ἵνα μνήματος καὶ ὅσα ἐπὶ νεκροῖς ἄλλα ἀξιώσειε τὸν Φρόντιν.

  [25.2] Inside this building the whole of the painting on the right depicts Troy taken and the Greeks sailing away. On the ship of Menelaus they are preparing to put to sea. The ship is painted with children among the grown-up sailors; amidships is Phrontis the steersman holding two boat-hooks. Homer represents Nestor as speaking about Phrontis in his conversation with Telemachus, saying that he was the son of Onetor and the steersman of Menelaus, of very high repute in his craft, and how he came to his end when he was already rounding Sunium in Attica. Up to this point Menelaus had been sailing along with Nestor, but now he was left behind to build Phrontis a tomb, and to pay him the due rites of burial.

  [3] οὗτός τε οὖν ἐν τοῦ Πολυγνώτου τῇ γραφῇ καὶ ὑπ᾽ αὐτὸν Ἰθαιμένης τέ τις κομίζων ἐσθῆτα καὶ Ἐχοίαξ διὰ τῆς ἀποβάθρας κατιών ἐστιν, ὑδρίαν ἔχων χαλκῆν. καταλύουσι δὲ καὶ τοῦ Μενελάου τὴν σκηνὴν οὐ πόρρω τῆς νεὼς οὖσαν Πολίτης καὶ Στρόφιός τε καὶ Ἄλφιος. καὶ ἄλλην διαλύων σκηνήν ἐστιν Ἀμφίαλος, ὑπὸ δὲ τοῦ Ἀμφιάλου τοῖς ποσὶ κάθηται παῖς: ἐπίγραμμα δὲ οὐκ ἔστι τῷ παιδί, γένεια δὲ μόνῳ τῷ Φρόντιδι. καὶ μόνου τούτου τὸ ὄνομα ἐκ τῆς ἐς Ὀδυσσέα ποιήσεως ἔμαθε, τῶν δὲ ἄλλων ἐμοὶ δοκεῖν τὰ ὀνόματα συνέθηκεν αὐτὸς ὁ Πολύγνωτος.

  [25.3] Phrontis then is in the painting of Polygnotus, and beneath him is one Ithaemenes carrying clothes, and Echoeax is going down the gangway, carrying a bronze urn. Polites, Strophius and Alphius are pulling down the hut of Menelaus, which is not far from the ship. Another hut is being pulled down by Amphialus, at whose feet is seated a boy. There is no inscription on the boy, and Phrontis is the only one with a beard. His too is the only name that Polygnotus took from the Odyssey; the names of the others he invented, I think, himself.

  [4] Βρισηὶς δὲ ἑστῶσα καὶ Διομήδη τε ὑπὲρ αὐτῆς καὶ Ἶφις πρὸ ἀμφοτέρων ἐοίκασιν ἀνασκοπούμενοι τὸ Ἑλένης εἶδος. κάθηται δὲ αὐτή τε ἡ Ἑλένη καὶ Εὐρυβάτης πλησίον: τὸν δὲ Ὀδυσσέως εἶναι κήρυκα εἰκάζομεν, οὐ μὴν εἶχεν ἤδη γένεια. θεράπαινα δὲ Ἠλέκτρα καὶ Πανθαλίς, ἡ μὲν τῇ Ἑλένῃ παρέστηκεν, ἡ δὲ ὑποδεῖ τὴν δέσποιναν ἡ Ἠλέκτρα: διάφορα δὲ καὶ ταῦτα τὰ ὀνόματα ἢ Ὅμηρος ἔθετο ἐν Ἰλιάδι, ἔνθα καὶ Ἑλένην καὶ ἰούσας ὁμοῦ τῇ Ἑλένῃ τὰς δούλας ἐπὶ τὸ τεῖχος πεποίηκεν.

  [25.4] Briseis is standing with Diomeda above her and Iphis in front of both; they appear to be examining the form of Helen. Helen herself is sitting, and so is Eurybates near her. We inferred that he was the herald of Odysseus, althou
gh he had yet no beard. One handmaid, Panthalis, is standing beside Helen; another, Electra, is fastening her mistress’ sandals. These names too are different from those given by Homer in the Iliad, where he tells of Helen going to the wall with her slave women.

  [5] κάθηται δὲ ὑπὲρ τὴν Ἑλένην πορφυροῦν ἀνὴρ ἀμπεχόμενος ἱμάτιον καὶ ἐς τὰ μάλιστα κατηφής: Ἕλενον εἶναι τεκμήραιο ἂν τὸν Πριάμου καὶ πρὶν ἢ καὶ τὸ ἐπίγραμμα ἐπιλέξασθαι. πλησίον δὲ τοῦ Ἑλένου Μέγης ἐστί: τέτρωται δὲ τὸν βραχίονα ὁ Μέγης, καθὰ δὴ καὶ Λέσχεως ὁ Αἰσχυλίνου Πυρραῖος ἐν Ἰλίου πέρσιδι ἐποίησε: τρωθῆναι δὲ ὑπὸ τὴν μάχην τοῦτον, ἣν ἐν τῇ νυκτὶ ἐμαχέσαντο οἱ Τρῶες, ὑπὸ Ἀδμήτου φησὶ τοῦ Αὐγείου.

  [25.5] Beyond Helen, a man wrapped in a purple cloak is sitting in an attitude of the deepest dejection; one might conjecture that he was Helenus, the son of Priam, even before reading the inscription. Near Helenus is Meges, who is wounded in the arm, as Lescheos of Pyrrha, son of Aeschylinus, describes in the Sack of Troy. For he says that he was wounded by Admetus, son of Augeias, in the battle that the Trojans fought in the night.

  [6] γέγραπται δὲ καὶ Λυκομήδης παρὰ τὸν Μέγητα ὁ Κρέοντος, ἔχων τραῦμα ἐπὶ τῷ καρπῷ: Λέσχεως δ᾽ οὕτω φησὶν αὐτὸν ὑπὸ Ἀγήνορος τρωθῆναι. δῆλα οὖν ὡς ἄλλως γε οὐκ ἂν ὁ Πολύγνωτος ἔγραψεν οὕτω τὰ ἕλκη σφίσιν, εἰ μὴ ἐπελέξατο τὴν ποίησιν τοῦ Λέσχεω: προσεπέθηκε μέντοι καὶ σφυροῦ τῷ Λυκομήδει καὶ τρίτον τραῦμα ἐν τῇ κεφαλῇ. τέτρωται δὲ καὶ Εὐρύαλος ὁ Μηκιστέως κεφαλήν τε καὶ ἐπὶ τῇ χειρὶ τὸν καρπόν.