Pausanias, Description of Greece, ed. Friedrich Spiro, 5.12

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[1]
ὅσοι δὲ ἀνθρώπων τὰ διὰ τοῦ στόματος ἐς τὸ ἐκτὸς ἐλέφασιν ἐξίσχοντα ὀδόντας τῶν θηρίων εἶναι καὶ οὐ κέρατα ἥγηνται, τούτοις ἔστιν ἀπιδεῖν μὲν ἐς τὰς ἄλκας, τὸ ἐν Κελτικῇ θηρίον, ἀπιδεῖν δὲ ἐς τοὺς Αἰθιοπικοὺς ταύρους· ἄλκαι μὲν γὰρ κέρατα ἐπὶ ταῖς ὀφρύσιν ἔχουσιν οἱ ἄρρενες, τὸ δὲ θῆλυ οὐ φύει τὸ παράπαν· οἱ δὲ Αἰθιοπικοὶ ταῦροι τὰ κέρατα φύουσιν ἐπὶ τῇ ῥινί. τίς ἂν οὖν ποιήσαιτο ἔτι ἐν μεγάλῳ θαύματι διὰ στόματος ζῴῳ κέρατα ἐκφῦναι;

[2] πάρεστι δὲ ἀναδιδάσκεσθαι καὶ τοῖσδε ἔτι· κέρατα γὰρ κατὰ ἐτῶν περίοδον ἀπογίνεται καὶ αὖθις ἐκβλαστάνει ζῴοις, καὶ τοῦτο ἔλαφοί τε καὶ δορκάδες, ὡσαύτως δὲ καὶ οἱ ἐλέφαντες πεπόνθασιν. ὀδοὺς δὲ οὐκ ἔστιν ὅτῳ
δεύτερα παρέσται ζῴῳ τῶν γε ἤδη τελείων· εἰ δὲ ὀδόντες τὰ διὰ στόματος ἐξίσχοντα καὶ μὴ κέρατα ἦσαν, πῶς ἂν καὶ ἀνεφύοντο αὖθις; οὐ μὴν οὐδὲ εἴκειν πυρὶ ἔχουσιν ὀδόντες φύσιν· κέρατα δὲ καὶ βοῶν καὶ ἐλεφάντων ἐς ὁμαλές τε ἐκ περιφεροῦς καὶ ἐς ἄλλα ὑπὸ πυρὸς ἄγεται σχήματα. ποταμίοις γε μὴν ἵπποις καὶ ὑσὶν ἡ κάτωθεν γένυς τοὺς χαυλιόδοντας φέρει, κέρατα δὲ ἀναφυόμενα οὐχ ὁρῶμεν ἐκ γενύων·

[3] ἐλέφαντι οὖν τὰ κέρατα ἴστω τις διὰ κροτάφων κατερχόμενα ἄνωθεν καὶ οὕτως ἐς τὸ ἐκτὸς ἐπιστρέφοντα. τοῦτο οὐκ ἀκοὴν γράφω, θεασάμενος δὲ ἐλέφαντος ἐν γῇ τῇ Καμπανῶν κρανίον ἐν Ἀρτέμιδος ἱερῷ· σταδίους δὲ ὡς τριάκοντα ἀπέχει μάλιστα Καπύης τὸ ἱερόν, αὕτη δὲ ἡ μητρόπολίς ἐστιν ἡ Καπύη τῶν Καμπανῶν. ὁ μὲν δὴ ἐλέφας παρὰ τὰ λοιπὰ ζῷα διάφορον καὶ τὴν ἔκφυσιν παρέχεται τῶν κεράτων, ὥσπερ γε καὶ τὸ μέγεθός ἐστιν αὐτῷ καὶ εἶδος οὐδὲν ἐοικότα ἑτέρῳ θηρίῳ· φιλότιμοι δὲ ἐς τὰ μάλιστά μοι καὶ ἐς θεῶν τιμὴν οὐ φειδωλοὶ χρημάτων γενέσθαι δοκοῦσιν οἱ Ἕλληνες, οἷς γε παρὰ Ἰνδῶν ἤγετο καὶ ἐξ Αἰθιοπίας ἐλέφας ἐς ποίησιν ἀγαλμάτων.

[4]
ἐν δὲ Ὀλυμπίᾳ παραπέτασμα ἐρεοῦν κεκοσμημένον ὑφάσμασιν Ἀσσυρίοις καὶ βαφῇ πορφύρας τῆς Φοινίκων ἀνέθηκεν Ἀντίοχος, οὗ δὴ καὶ ὑπὲρ τοῦ θεάτρου τοῦ Ἀθήνῃσιν ἡ αἰγὶς ἡ χρυσῆ καὶ ἐπʼ αὐτῆς ἡ Γοργώ ἐστιν ἀναθήματα. τοῦτο οὐκ ἐς τὸ ἄνω τὸ παραπέτασμα πρὸς τὸν ὄροφον ὥσπερ γε ἐν Ἀρτέμιδος τῆς Ἐφεσίας ἀνέλκουσι, καλῳδίοις δὲ ἐπιχαλῶντες
καθιᾶσιν ἐς τὸ ἔδαφος.

[5] ἀναθήματα δὲ ὁπόσα ἔνδον ἢ ἐν τῷ προνάῳ κεῖται, θρόνος ἐστὶν Ἀριμνήστου βασιλεύσαντος ἐν Τυρσηνοῖς, ὃς πρῶτος βαρβάρων ἀναθήματι τὸν ἐν Ὀλυμπίᾳ Δία ἐδωρήσατο, καὶ ἵπποι Κυνίσκας χαλκοῖ, σημεῖα Ὀλυμπικῆς νίκης· οὗτοι μέγεθος μὲν ἀποδέουσιν ἵππων, ἑστήκασι δὲ ἐν τῷ προνάῳ τοῖς ἐσιοῦσιν ἐν δεξιᾷ. κεῖται δὲ καὶ τρίπους ἐπίχαλκος, ἐφʼ οὗ πρὶν ἢ τὴν τράπεζαν ποιηθῆναι προετίθεντο τοῖς νικῶσιν οἱ στέφανοι.

[6] βασιλέων δὲ ἀνδριάντας, Ἀδριανοῦ μὲν αἱ ἐς τὸ Ἀχαϊκὸν τελοῦσαι πόλεις ἀνέθεσαν Παρίου λίθου, Τραϊανοῦ δὲ οἱ πάντες Ἕλληνες. οὗτος προσεκτήσατο ὁ βασιλεὺς Γέτας τοὺς ὑπὲρ Θρᾴκης Ὀσρόῃ τε τῷ ἀπογόνῳ τῷ Ἀρσάκου καὶ Πάρθοις ἐπολέμησεν· ὁπόσα δὲ ἐς ἔργων ἔχει οἱ κατασκευήν, ἀξιολογώτατά ἐστι λουτρὰ ἐπώνυμα αὐτοῦ καὶ θέατρον μέγα κυκλοτερὲς πανταχόθεν καὶ οἰκοδόμημα ἐς ἵππων δρόμους προῆκον καὶ ἐς δύο σταδίων μῆκος, καὶ ἡ Ῥωμαίων ἀγορὰ κόσμου τε ἕνεκα τοῦ λοιποῦ θέας ἀξία καὶ μάλιστα ἐς τὸν ὄροφον χαλκοῦ πεποιημένον.

[7] αἱ δὲ εἰκόνες αἱ τοῖς κατασκευάσμασι τοῖς περιφερέσιν ἐγκείμεναι, ἡ μὲν τοῦ ἠλέκτρου βασιλέως Ῥωμαίων ἐστὶν Αὐγούστου, ἡ δὲ τοῦ ἐλέφαντος βασιλέως Νικομήδους ἐλέγετο εἶναι Βιθυνῶν. ἀπὸ τούτου δὲ καὶ τῇ μεγίστῃ τῶν ἐν Βιθυνίᾳ πόλεων μετεβλήθη τὸ ὄνομα, Ἀστακῷ τὰ πρὸ τούτου καλουμένῃ· τὰ δὲ ἐξ ἀρχῆς αὐτῇ Ζυποίτης ἐγένετο οἰκιστής, Θρᾷξ γένος εἰκάζοντί γε ἀπὸ τοῦ ὀνόματος. τὸ δὲ ἤλεκτρον τοῦτο οὗ τῷ Αὐγούστῳ πεποίηνται τὴν εἰκόνα, ὅσον μὲν αὐτόματον 0 ἐν τοῦ Ἠριδανοῦ ταῖς ψάμμοις εὑρίσκεται, σπανίζεται τὰ μάλιστα καὶ ἀνθρώπῳ τίμιον πολλῶν ἐστιν ἕνεκα· τὸ δὲ ἄλλο ἤλεκτρον ἀναμεμιγμένος ἐστὶν ἀργύρῳ χρυσός.

[8] ἐν δὲ τῷ ἐν Ὀλυμπίᾳ ναῷ Νέρωνος ἀναθήματα τρεῖς μὲν ἐς κοτίνου φύλλα στέφανοι, τέταρτος δὲ ἐς δρυός ἐστι μεμιμημένος· κεῖνται δὲ αὐτόθι καὶ ἀσπίδες χαλκαῖ πέντε καὶ εἴκοσι, τοῖς ὁπλιτεύουσιν εἶναι φορήματα ἐς τὸν δρόμον. στῆλαι δὲ ἄλλαι τε ἑστήκασι καὶ ἡ πρὸς Ἀθηναίους καὶ Ἀργείους τε καὶ Μαντινέας ἔχουσα ὅρκον παρὰ Ἠλείων ἐς συμμαχίαν ἐτῶν ἑκατόν.

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

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.) — 5.12 focus

[1]
Those who think that the projections from the mouth of an elephant are not horns but teeth of the animal should consider both the elk, a beast of the Celtic land, and also the Aethiopian bull. Male elks have horns on their brows, but the female does not grow them at all. Ethiopian bulls grow their horns on their noses. Who therefore would be greatly surprised at horns growing out of an animal's mouth?

[2] They may also correct their error from the following considerations. Horns drop off animals each year and grow again; the deer and the antelope undergo this experience, and so likewise does the elephant. But a tooth will never be found to grow again, at least after the animal is full-grown. So if the projections through the mouth were teeth and not horns, how could they grow up again? Again, a tooth refuses to yield to fire; but fire turns the horns of oxen and elephants from round to flat, and also into other shapes. However, the hippopotamus and the boar have tusks growing out of the lower jaw, but we do not see horns growing out of jaws.

[3] So be assured that an elephant's horns descend through the temples from above, and so bend outwards. My statement is not hearsay; I once saw an elephant's skull in the sanctuary of Artemis in Campania . The sanctuary is about thirty stades from Capua , which is the capital of Campania . So the elephant differs from all other animals in the way its horns grow, just as its size and shape are peculiar to itself. And the Greeks in my opinion showed an unsurpassed zeal and generosity in honoring the gods, in that they imported ivory from India and Aethiopia to make images.

[4]
In Olympia there is a woollen curtain, adorned with Assyrian weaving and Phoenician purple, which was dedicated by Antiochus,¹ who also gave as offerings the golden aegis with the Gorgon on it above the theater at Athens . This curtain is not drawn upwards to the roof as is that in the temple of Artemis at Ephesus , but it is let down to the ground by cords.

[5] The offerings inside, or in the fore-temple include: a throne of Arimnestus, king of Etruria, who was the first foreigner to present an offering to the Olympic Zeus, and bronze horses of Cynisca, tokens of an Olympic victory. These are not as large as real horses, and stand in the fore-temple on the right as you enter. There is also a tripod, plated with bronze, upon which, before the table was made, were displayed the crowns for the victors.

[6] There are statues of emperors: Hadrian, of Parian marble dedicated by the cities of the Achaean confederacy, and Trajan, dedicated by all the Greeks. This emperor subdued the Getae beyond Thrace , and made war on Osroes the descendant of Arsaces and on the Parthians. Of his architectural achievements the most remarkable are baths called after him, a large circular theater, a building for horse-races which is actually two stades long, and the Forum at Rome , worth seeing not only for its general beauty but especially for its roof made of bronze.

[7] Of the statues set up in the round buildings, the amber one represents Augustus the Roman emperor, the ivory one they told me was a portrait of Nicomedes, king of Bithynia . After him the greatest city in Bithynia was renamed Nicomedeia ²; before him it was called Astacus , and its first founder was Zypoetes, a Thracian by birth to judge from his name. This amber of which the statue of Augustus is made, when found native in the sand of the Eridanus , is very rare and precious to men for many reasons; the other “amber” is an alloy of gold and silver.

[8] In the temple at Olympia are four offerings of Nero—three crowns representing wild-olive leaves, and one representing oak leaves. Here too are laid twenty-five bronze shields, which are for the armed men to carry in the race. Tablets too are set up, including one on which is written the oath sworn by the Eleans to the Athenians, the Argives and the Mantineans, that they would be their allies for a hundred years.³

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.) — 5.12 focus

[1] Those who think that the projections from the mouth of an elephant are not horns but teeth of the animal should consider both the elk, a beast of the Celtic land, and also the Ethiopian bull. Male elks have horns on their brows, but the female does not grow them at all. Ethiopian bulls grow their horns on their noses. Who therefore would be greatly surprised at horns growing out of an animal’s mouth?

[2] They may also correct their error from the following considerations. Horns drop off animals each year and grow again; the deer and the antelope undergo this experience, and so likewise does the elephant. But a tooth will never be found to grow again, at least after the animal is full-grown. So if the projections through the mouth were teeth and not horns, how could they grow up again? Again, a tooth refuses to yield to fire; but fire turns the horns of oxen and elephants from round to flat and also into other shapes. However, the hippopotamus and the boar have tusks growing out of the lower jaw, but we do not see horns growing out of jaws.

[3] So, be assured that an elephant’s horns descend through the temples from above, and so bend outwards. My statement is not hearsay; I once saw an elephant’s skull in the sanctuary of Artemis in Campania. The sanctuary is about thirty stadium-lengths from Capua, which is the capital of Campania. So the elephant differs from all other animals in the way its horns grow, just as its size and shape are peculiar to itself. And the Greeks in my opinion showed an unsurpassed zeal and generosity in honoring the gods, in that they imported ivory from India and Ethiopia to make images.

[4] In Olympia, there is a woolen curtain, adorned with Assyrian weaving and Phoenician purple, which was dedicated by Antiokhos, who also gave as offerings the golden aegis with the Gorgon on it above the theater in Athens. This curtain is not drawn upwards to the roof as is that in the temple of Artemis at Ephesos, but it is let down to the ground by cords.

[5] The offerings inside, or in the front part of the temple include: a throne of Arimnestos, king of Etruria, who was the first barbarian to present an offering to the Olympic Zeus, and bronze horses of Kyniska, tokens of an Olympic victory. These are not as large as real horses and stand in the front part of the temple on the right as you enter. There is also a tripod, plated with bronze, upon which, before the table was made, were displayed the garlands for the victors.

[6] There are statues of ‘Kings’ [ basileis]: Hadrian, of Parian marble dedicated by the cities of the Achaean confederacy, and Trajan, dedicated by all the Greeks. This King [ basileus] subdued the Getai beyond Thrace, and made war on Osroes, the descendant of Arsaces and on the Parthians. Of his architectural achievements, the most remarkable are baths called after him, a large circular theater, a building for horse races which is actually two stadium-lengths long, and the Forum at Rome, worth seeing not only for its general beauty but especially for its roof made of bronze.

[7] Of the statues set up in the round buildings, the amber one represents Augustus the Roman emperor, the ivory one they told me was a portrait of Nikomedes, king of Bithynia. After him, the greatest city in Bithynia was renamed Nikomedeia; before him, it was called Astakos, and its first founder was Zypoetes, a Thracian by birth to judge from his name. This amber of which the statue of Augustus is made, when found native in the sand of the Eridanos, is very rare and precious to men for many reasons; the other “amber” is an alloy of gold and silver.

[8] In the temple at Olympia are four offerings of Nero—three garlands representing wild olive leaves, and one representing oak leaves. Here too are laid twenty-five bronze shields, which are for the armed men to carry in the race. Tablets too are set up, including one on which is written the oath sworn by the Eleians to the Athenians, the Argives, and the Mantineians that they would be their allies for a hundred years.

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 5.12

ed. Friedrich Spiro

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