Pausanias, Description of Greece, ed. Friedrich Spiro, 2.27

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[1]
τὸ δὲ ἱερὸν ἄλσος τοῦ Ἀσκληπιοῦ περιέχουσιν ὅροι πανταχόθεν· οὐδὲ ἀποθνήσκουσιν ἄνθρωποι οὐδὲ τίκτουσιν αἱ γυναῖκές σφισιν ἐντὸς τοῦ περιβόλου, καθὰ καὶ ἐπὶ Δήλῳ τῇ νήσῳ τὸν αὐτὸν νόμον. τὰ δὲ θυόμενα, ἤν τέ τις Ἐπιδαυρίων αὐτῶν ἤν τε ξένος ὁ θύων ᾖ, καταναλίσκουσιν ἐντὸς τῶν ὅρων· τὸ δὲ αὐτὸ γινόμενον οἶδα καὶ ἐν Τιτάνῃ.

[2] τοῦ δὲ Ἀσκληπιοῦ τὸ ἄγαλμα μεγέθει μὲν τοῦ Ἀθήνῃσιν Ὀλυμπίου Διὸς ἥμισυ ἀποδεῖ, πεποίηται δὲ ἐλέφαντος καὶ χρυσοῦ· μηνύει δὲ ἐπίγραμμα τὸν εἰργασμένον εἶναι Θρασυμήδην Ἀριγνώτου Πάριον. κάθηται δὲ ἐπὶ θρόνου βακτηρίαν κρατῶν, τὴν δὲ ἑτέραν τῶν χειρῶν ὑπὲρ κεφαλῆς ἔχει τοῦ δράκοντος, καί οἱ καὶ κύων παρακατακείμενος πεποίηται. τῷ θρόνῳ δὲ ἡρώων ἐπειργασμένα Ἀργείων ἐστὶν ἔργα, Βελλεροφόντου τὸ ἐς τὴν Χίμαιραν καὶ Περσεὺς ἀφελὼν τὴν Μεδούσης κεφαλήν. τοῦ ναοῦ δέ ἐστι πέραν ἔνθα οἱ ἱκέται τοῦ θεοῦ καθεύδουσιν.

[3] οἴκημα δὲ περιφερὲς λίθου λευκοῦ καλούμενον Θόλος ᾠκοδόμηται πλησίον, θέας ἄξιον· ἐν δὲ αὐτῷ Παυσίου γράψαντος βέλη μὲν καὶ τόξον ἐστὶν ἀφεικὼς Ἔρως, λύραν δὲ ἀντʼ αὐτῶν ἀράμενος φέρει. γέγραπται δὲ ἐνταῦθα καὶ Μέθη, Παυσίου καὶ τοῦτο ἔργον, ἐξ ὑαλίνης φιάλης πίνουσα· ἴδοις 0 δὲ κἂν ἐν τῇ γραφῇ φιάλην τε ὑάλου καὶ διʼ αὐτῆς γυναικὸς πρόσωπον. στῆλαι δὲ εἱστήκεσαν ἐντὸς τοῦ περιβόλου τὸ μὲν ἀρχαῖον καὶ πλέονες, ἐπʼ ἐμοῦ δὲ ἓξ λοιπαί· ταύταις ἐγγεγραμμένα καὶ ἀνδρῶν καὶ γυναικῶν ἐστιν ὀνόματα ἀκεσθέντων ὑπὸ τοῦ Ἀσκληπιοῦ, προσέτι δὲ καὶ νόσημα ὅ τι ἕκαστος ἐνόσησε καὶ ὅπως ἰάθη·

[4] γέγραπται δὲ φωνῇ τῇ Δωρίδι. χωρὶς δὲ ἀπὸ τῶν ἄλλων ἐστὶν ἀρχαία στήλη· ἵππους δὲ Ἱππόλυτον ἀναθεῖναι τῷ θεῷ φησιν εἴκοσι. ταύτης τῆς στήλης τῷ ἐπιγράμματι ὁμολογοῦντα λέγουσιν Ἀρικιεῖς, ὡς τεθνεῶτα Ἱππόλυτον ἐκ τῶν Θησέως ἀρῶν ἀνέστησεν Ἀσκληπιός· ὁ δὲ ὡς αὖθις ἐβίω, οὐκ ἠξίου νέμειν τῷ πατρὶ συγγνώμην, ἀλλὰ ὑπεριδὼν τὰς δεήσεις ἐς Ἰταλίαν ἔρχεται παρὰ τοὺς Ἀρικιεῖς, καὶ ἐβασίλευσέ τε αὐτόθι καὶ ἀνῆκε τῇ Ἀρτέμιδι τέμενος, ἔνθα ἄχρι ἐμοῦ μονομαχίας ἆθλα ἦν καὶ ἱερᾶσθαι τῇ θεῷ τὸν νικῶντα· ὁ δὲ ἀγὼν ἐλευθέρων μὲν προέκειτο οὐδενί, οἰκέταις δὲ ἀποδρᾶσι τοὺς δεσπότας.

[5] Ἐπιδαυρίοις δέ ἐστι θέατρον ἐν τῷ ἱερῷ μάλιστα ἐμοὶ δοκεῖν θέας ἄξιον· τὰ μὲν γὰρ Ῥωμαίων πολὺ δή τι καὶ ὑπερῆρ κε τῶν πανταχοῦ τῷ κόσμῳ, μεγέθει δὲ Ἀρκάδων τὸ ἐν Μεγάλῃ πόλει· ἁρμονίας δὲ ἢ κάλλους ἕνεκα ἀρχιτέκτων ποῖος ἐς ἅμιλλαν Πολυκλείτῳ γένοιτʼ ἂν ἀξιόχρεως; Πολύκλειτος γὰρ καὶ θέατρον τοῦτο καὶ οἴκημα τὸ περιφερὲς ὁ ποιήσας ἦν. ἐντὸς δὲ τοῦ ἄλσους ναός τέ ἐστιν Ἀρτέμιδος καὶ ἄγαλμα Ἠπιόνης καὶ Ἀφροδίτης ἱερὸν καὶ Θέμιδος καὶ στάδιον, οἷα Ἕλλησι τὰ πολλὰ γῆς χῶμα, καὶ κρήνη τῷ τε ὀρόφῳ καὶ κόσμῳ 0 τῷ λοιπῷ θέας ἀξία.

[6] ὁπόσα δὲ Ἀντωνῖνος ἀνὴρ τῆς συγκλήτου βουλῆς ἐφʼ ἡμῶν ἐποίησεν, ἔστι μὲν Ἀσκληπιοῦ λουτρόν, ἔστι δὲ ἱερὸν θεῶν οὓς Ἐπιδώτας ὀνομάζουσιν· ἐποίησε δὲ καὶ Ὑγείᾳ ναὸν καὶ Ἀσκληπιῷ καὶ Ἀπόλλωνι ἐπίκλησιν Αἰγυπτίοις. καὶ ἦν γὰρ στοὰ καλουμένη Κότυος, καταρρυέντος δέ οἱ τοῦ ὀρόφου διέφθαρτο ἤδη πᾶσα ἅτε ὠμῆς τῆς πλίνθου ποιηθεῖσα· ἀνῳκοδόμησε καὶ ταύτην. Ἐπιδαυρίων δὲ οἱ περὶ τὸ ἱερὸν μάλιστα ἐταλαιπώρουν, ὅτι μήτε αἱ γυναῖκες ἐν σκέπῃ σφίσιν ἔτικτον καὶ ἡ τελευτὴ τοῖς κάμνουσιν ὑπαίθριος ἐγίνετο· ὁ δὲ καὶ ταῦτα ἐπανορθούμενος κατεσκευάσατο οἴκησιν· ἐνταῦθα ἤδη καὶ ἀποθανεῖν ἀνθρώπῳ καὶ τεκεῖν γυναικὶ ὅσιον.

[7]
ὄρη δέ ἐστιν ὑπὲρ τὸ ἄλσος τό τε Τίτθιον καὶ ἕτερον ὀνομαζόμενον Κυνόρτιον, Μαλεάτου δὲ Ἀπόλλωνος ἱερὸν ἐν αὐτῷ. τοῦτο μὲν δὴ τῶν ἀρχαίων· τὰ δὲ ἄλλα ὅσα περὶ τὸ ἱερὸν τοῦ Μαλεάτου καὶ ἔλυτρον κρήνης, ἐς ὃ τὸ ὕδωρ συλλέγεταί σφισι τὸ ἐκ τοῦ θεοῦ, Ἀντωνῖνος καὶ ταῦτα Ἐπιδαυρίοις ἐποίησεν.

Description of Greece. Pausanias. ed. Friedrich Spiro. Leipzig. 1903.

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Current edition Perseus

Ἑλλάδος Περιηγήσεως (Greek) (Pausanias. Pausaniae Graeciae descriptio, Volumes 1-3. Spiro, Friedrich, editor. Leipzig: Teubner, 1903.)

Translations (2)

Description of Greece Perseus (Pausanias. Pausanias Description of Greece, Volumes 1-4. Jones, W.H.S. (William Henry Samuel), translator; Ormerod, Henry Arderne, translator. London, New York: W. Heinemann, G.P. Putnam's Sons, 1918-1935.) — 2.27 focus

[1]
The sacred grove of Asclepius is surrounded on all sides by boundary marks. No death or birth takes place within the enclosure the same custom prevails also in the island of Delos . All the offerings, whether the offerer be one of the Epidaurians themselves or a stranger, are entirely consumed within the bounds. At Titane too, I know, there is the same rule.

[2] The image of Asclepius is, in size, half as big as the Olympian Zeus at Athens , and is made of ivory and gold. An inscription tells us that the artist was Thrasymedes, a Parian, son of Arignotus. The god is sitting on a seat grasping a staff; the other hand he is holding above the head of the serpent; there is also a figure of a dog lying by his side. On the seat are wrought in relief the exploits of Argive heroes, that of Bellerophontes against the Chimaera, and Perseus, who has cut off the head of Medusa. Over against the temple is the place where the suppliants of the god sleep.

[3] Near has been built a circular building of white marble, called Tholos (Round House), which is worth seeing. In it is a picture by Pausias¹ representing Love, who has cast aside his bow and arrows, and is carrying instead of them a lyre that he has taken up. Here there is also another work of Pausias, Drunkenness drinking out of a crystal cup. You can see even in the painting a crystal cup and a woman's face through it. Within the enclosure stood slabs; in my time six remained, but of old there were more. On them are inscribed the names of both the men and the women who have been healed by Asclepius, the disease also from which each suffered, and the means of cure. The dialect is Doric.

[4] Apart from the others is an old slab, which declares that Hippolytus dedicated twenty horses to the god. The Aricians tell a tale that agrees with the inscription on this slab, that when Hippolytus was killed, owing to the curses of Theseus, Asclepius raised him from the dead. On coming to life again he refused to forgive his father rejecting his prayers, he went to the Aricians in Italy . There he became king and devoted a precinct to Artemis, where down to my time the prize for the victor in single combat was the priesthood of the goddess. The contest was open to no freeman, but only to slaves who had run away from their masters.

[5] The Epidaurians have a theater within the sanctuary, in my opinion very well worth seeing. For while the Roman theaters are far superior to those anywhere else in their splendor, and the Arcadian theater at Megalopolis is unequalled for size, what architect could seriously rival Polycleitus in symmetry and beauty? For it was Polycleitus² who built both this theater and the circular building. Within the grove are a temple of Artemis, an image of Epione, a sanctuary of Aphrodite and Themis, a race-course consisting, like most Greek race-courses, of a bank of earth, and a fountain worth seeing for its roof and general splendour.

[6] A Roman senator, Antoninus, made in our own day a bath of Asclepius and a sanctuary of the gods they call Bountiful.³ He made also a temple to Health, Asclepius, and Apollo, the last two surnamed Egyptian. He moreover restored the portico that was named the Portico of Cotys, which, as the brick of which it was made had been unburnt, had fallen into utter ruin after it had lost its roof. As the Epidaurians about the sanctuary were in great distress, because their women had no shelter in which to be delivered and the sick breathed their last in the open, he provided a dwelling, so that these grievances also were redressed. Here at last was a place in which without sin a human being could die and a woman be delivered.

[7]
Above the grove are the Nipple and another mountain called Cynortium; on the latter is a sanctuary of Maleatian Apollo. The sanctuary itself is an ancient one, but among the things Antoninus made for the Epidaurians are various appurtenances for the sanctuary of the Maleatian, including a reservoir into which the rain-water collects for their use.

English (Jones and Ormerod; retranslated Gregory Nagy, CHS, 2018) (OCR draft) Experimental (CHS Pausanias Reader retranslation by Gregory Nagy, based on Jones and Ormerod, with marked Greek terms, notes, quotations, and bibliographic attributions preserved.) — 2.27 focus

[1] The sacred grove of Asklepios is surrounded on all sides by boundary marks. No death or birth takes place within the enclosure the same custom prevails also in the island of Delos. All the offerings, whether the offerer be one of the Epidaurians themselves or a stranger, are entirely consumed within the bounds. At Titane too, I know, there is the same rule.

[2] The statue [ agalma] of Asklepios [inside his temple] is, in size, half as big as the Olympian Zeus in Athens, and is made of ivory and gold. An inscription reveals that the artist was Thrasymedes, a Parian, son of Arignotos. The god is sitting on a seat throne [ thronos] grasping a staff [ baktēriā]; the other hand he is holding over the head of the serpent [ drakōn]; there is also a figure of a dog lying by his side. On the throne [ thronos] are worked in relief the deeds [ erga] of Argive heroes [ hērōes]—Bellerophontes against the Chimaera, and Perseus, who has cut off the head of Medusa. Over on the side of the temple is the place where the suppliants [ hiketai] of the god fall asleep [= go into a state of incubation].

[3] Nearby [= near the Temple of Asklepios] has been built a circular building [ oikēma … peripheres] of white marble, called Tholos, which is worthy of viewing [ théā]. In it is a picture by Pausias representing Love, who has cast aside his bow and arrows, and is carrying instead of them a lyre that he has taken up. Here there is also another work of Pausias, Drunkenness drinking out of a crystal cup. You can see even in the painting a crystal cup and a woman’s face through it. Within the enclosure [ peribolos] stood slabs [ stēlai]; in my time six remained, but in ancient times there were more. On them are inscribed the names of both men and women who have been healed by Asklepios, also the disease also from which each suffered, also the means of cure. The dialect is Doric.

[4] Apart from the others is an ancient [ arkhaiā] slab [ stēlē]. It says [that is, the inscription on it says] that Hippolytus dedicated twenty horses to the god [Asklepios]. What is said by the people of Aricia agrees with the inscription on this slab, that when Hippolytus was killed because of the curses [ ārai] of Theseus, Asklepios resurrected [ an-histanai] him from the dead. When he came-back-to-life [ authis biōnai] he refused to forgive his father for rejecting his entreaties, and he went to the people of Aricia in Italy. There he became king [ basileusai] and dedicated a precinct [ temenos] to Artemis, where down to my time there was a contest-for-prizes [ āthla]—a contest of single-combat [ monomakhiā]—and [among the prizes was the provision] that the winner [of the contest] was to be consecrated-as-priest] [ hierâsthai] to the goddess [ theos (feminine)]. The contest [ agōn] was not open to free men, but only to slaves [ oiketai] who had run away from their masters [ despotai].

[5] The people of Epidaurus have a theater [ theātron] within the sacred space [ hieron], and it is in my opinion very much worthy of viewing [ théā]. I say this because, while the Roman theaters are far superior to those anywhere else in their splendor, and the Arcadian theater at Megalopolis is unequalled for size, what architect could seriously rival Polycleitus in symmetry [ harmoniā] and beauty? It was Polycleitus who built both this theater [ theātron] and the circular building [ oikēma … peripheres]. Within the grove are a temple of Artemis, a statue [ agalma] of Epione, a sanctuary of Aphrodite and Themis, a race-course consisting, like most Greek race-courses, of a bank of earth, and a fountain worth seeing for its roof and general splendor.

[6] A Roman senator, Antoninus, made in our own day a bath of Asklepios and a sanctuary of the gods they call Bountiful. He made also a temple to Hygieia, Asklepios, and Apollo, the last two surnamed Egyptian. He moreover restored the portico that was named the Portico of Cotys, which, as the brick of which it was made had been unburned, had fallen into utter ruin after it had lost its roof. As the Epidaurians about the sanctuary were in great distress, because their women had no shelter in which to be delivered and the sick breathed their last in the open, he provided a dwelling, so that these grievances also were redressed. Here at last was a place in which without sin a human being could die and a woman be delivered.

[7] Above the grove are the Nipple and another mountain called Cynortium; on the latter is a sanctuary of Maleatian Apollo. The sanctuary itself is an ancient one, but among the things Antoninus made for the Epidaurians are various appurtenances for the sanctuary of the Maleatian, including a reservoir into which the rainwater collects for their use.

New Alexandria Commentaries

Gregory Nagy, Editors: Angelia Hanhardt and Keith DeStone, Web producer: Noel Spencer, Consultant for images: Jill Curry Robbins, \[\[Noel gives this a separate URN\]\]

Pausanias Description of Greece 2.27

ed. Friedrich Spiro

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