Pausanias, Description of Greece, ed. Friedrich Spiro, 9.16

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[1] οὐ πόρρω δέ ἐστι ναὸς Ἄμμωνος, καὶ τὸ ἄγαλμα ἀνέθηκε μὲν Πίνδαρος, Καλάμιδος δέ ἐστιν ἔργον. ἀπέπεμψε δὲ ὁ Πίνδαρος καὶ Λιβύης ἐς Ἀμμωνίους τῷ Ἄμμωνι ὕμνον· οὗτος καὶ ἐς ἐμὲ ἦν ὁ ὕμνος ἐν τριγώνῳ στήλῃ παρὰ τὸν βωμόν, ὃν Πτολεμαῖος ὁ Λάγου τῷ Ἄμμωνι ἀνέθηκε. Θηβαίοις δὲ μετὰ τοῦ Ἄμμωνος τὸ ἱερὸν οἰωνοσκοπεῖόν τε Τειρεσίου καλούμενον καὶ πλησίον Τύχης ἐστὶν ἱερόν·

[2] φέρει μὲν δὴ Πλοῦτον παῖδα· ὡς δὲ Θηβαῖοι λέγουσι, χεῖρας μὲν τοῦ ἀγάλματος καὶ πρόσωπον Ξενοφῶν εἰργάσατο Ἀθηναῖος, Καλλιστόνικος δὲ τὰ λοιπὰ ἐπιχώριος. σοφὸν μὲν δὴ καὶ τούτοις τὸ βούλευμα, ἐσθεῖναι Πλοῦτον ἐς τὰς χεῖρας ἅτε μητρὶ ἢ τροφῷ τῇ Τύχῃ, σοφὸν δὲ οὐχ ἧσσον τὸ Κηφισοδότου· καὶ γὰρ οὗτος τῆς Εἰρήνης τὸ ἄγαλμα Ἀθηναίοις Πλοῦτον ἔχουσαν πεποίηκεν.

[3]
Ἀφροδίτης δὲ Θηβαίοις ξόανά ἐστιν οὕτω δὴ ἀρχαῖα ὥστε καὶ ἀναθήματα Ἁρμονίας εἶναί φασιν αὐτά, ἐργασθῆναι δὲ αὐτὰ ἀπὸ τῶν ἀκροστολίων, ἃ ταῖς Κάδμου ναυσὶν ἦν ξύλου πεποιημένα. καλοῦσι δὲ Οὐρανίαν, τὴν δὲ αὐτῶν Πάνδημον καὶ Ἀποστροφίαν τὴν τρίτην· ἔθετο δὲ τῇ Ἀφροδίτῃ τὰς ἐπωνυμίας ἡ Ἁρμονία, τὴν μὲν Οὐρανίαν ἐπὶ ἔρωτι καθαρῷ καὶ

[4] ἀπηλλαγμένῳ πόθου σωμάτων, Πάνδημον δὲ ἐπὶ ταῖς μίξεσι, τρίτα δὲ Ἀποστροφίαν, ἵνα ἐπιθυμίας τε ἀνόμου καὶ ἔργων ἀνοσίων ἀποστρέφῃ τὸ γένος τῶν ἀνθρώπων· πολλὰ γὰρ τὰ μὲν ἐν βαρβάροις ἠπίστατο ἡ Ἁρμονία, τὰ δὲ καὶ παρʼ Ἕλλησιν ἤδη τετολμημένα, 0 ὁποῖα καὶ ὕστερον ἐπὶ τῇ Ἀδώνιδος μητρὶ καὶ ἐς Φαίδραν τε τὴν Μίνω καὶ ἐς τὸν Θρᾷκα Τηρέα ᾄδεται.

[5]
τὸ δὲ τῆς Δήμητρος ἱερὸν τῆς Θεσμοφόρου Κάδμου καὶ τῶν ἀπογόνων οἰκίαν ποτὲ εἶναι λέγουσι· Δήμητρος δὲ ἄγαλμα ὅσον ἐς στέρνα ἐστὶν ἐν τῷ φανερῷ. καὶ ἀσπίδες ἐνταῦθα ἀνάκεινται χαλκαῖ· Λακεδαιμονίων δέ, ὁπόσοι τῶν ἐν τέλει περὶ Λεῦκτρα ἐτελεύτησαν, φασὶν εἶναι.

[6]
πρὸς δὲ ταῖς καλουμέναις πύλαις Προιτίσι θέατρον ᾠκοδόμηται, καὶ ἐγγυτάτω τοῦ θεάτρου Διονύσου ναός ἐστιν ἐπίκλησιν Λυσίου· Θηβαίων γὰρ αἰχμαλώτους ἄνδρας ἐχομένους ὑπὸ Θρᾳκῶν, ὡς ἀγόμενοι κατὰ τὴν Ἁλιαρτίαν ἐγίνοντο, ἔλυσεν ὁ θεὸς καὶ ἀποκτεῖναί σφισι τοὺς Θρᾷκας παρέδωκεν ὑπνωμένους. ἐνταῦθα οἱ Θηβαῖοι τὸ ἕτερον τῶν ἀγαλμάτων φασὶν εἶναι Σεμέλης· ἐνιαυτοῦ δὲ ἅπαξ ἑκάστου τὸ ἱερὸν ἀνοιγνύναι φασὶν ἐν ἡμέραις τακταῖς.

[7] καὶ οἰκίας τῆς Λύκου τὰ ἐρείπια καὶ Σεμέλης μνῆμά ἐστιν, Ἀλκμήνης δὲ οὐ μνῆμα· γενέσθαι δὲ αὐτὴν ὡς ἀπέθανε λίθον φασὶν ἐξ ἀνθρώπου, καὶ Μεγαρεῦσι τὰ ἐς αὐτὴν οὐχ ὁμολογοῦσι· διάφορα δὲ καὶ τὰ λοιπὰ ὡς τὸ πολὺ ἀλλήλοις λέγουσιν Ἕλληνες. Θηβαίοις δὲ ἐνταῦθα καὶ τὰ μνήματα πεποίηται τῶν Ἀμφίονος παίδων, χωρὶς μὲν τῶν ἀρσένων, ἰδίᾳ δὲ ταῖς παρθένοις.

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

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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.) — 9.16 focus

[1]
Such were the claims to fame of Epaminondas. Not far away is a temple of Ammon; the image, a work of Calamis, was dedicated by Pindar, who also sent to the Ammonians of Libya a hymn to Ammon. This hymn I found still carved on a triangular slab by the side of the altar dedicated to Ammon by Ptolemy the son of Lagus. After the sanctuary of Ammon at Thebes comes what is called the bird-observatory of Teiresias, and near it is a sanctuary of Fortune, who carries the child Wealth.

[2] According to the Thebans, the hands and face of the image were made by Xenophon the Athenian, the rest of it by Callistonicus, a native. It was a clever idea of these artists to place Wealth in the arms of Fortune, and so to suggest that she is his mother or nurse. Equally clever was the conception of Cephisodotus, who made the image of Peace for the Athenians with Wealth in her arms.

[3]
At Thebes are three wooden images of Aphrodite, so very ancient that they are actually said to be votive offerings of Harmonia, and the story is that they were made out of the wooden figure-heads on the ships of Cadmus . They call the first Heavenly, the second Common, and the third Rejecter. Harmoina gave to Aphrodite the surname of Heavenly

[4] to signify a love pure and free from bodily lust; that of Common, to denote sexual intercourse; the third, that of Rejecter, that mankind might reject unlawful passion and sinful acts. For Harmonia knew of many crimes already perpetrated not only among foreigners but even by Greeks, similar to those attributed later by legend to the mother of Adonis, to Phaedra, the daughter of Minos, and to the Thracian Tereus.

[5]
The sanctuary of Demeter Lawgiver is said to have been at one time the house of Cadmus and his descendants. The image of Demeter is visible down to the chest. Here have been dedicated bronze shields, said to be those of Lacedaemonian officers who fell at Leuctra.

[6]
Near the Proetidian gate is built a theater, and quite close to the theater is a temple of Dionysus surnamed Deliverer. For when some Theban prisoners in the hands of Thracians had reached Haliartia on their march, they were delivered by the god, who gave up the sleeping Thracians to be put to death. One of the two images here the Thebans say is Semele. Once in each year, they say, they open the sanctuary on stated days.

[7] There are also ruins of the house of Lycus, and the tomb of Semele, but Alcmena has no tomb. It is said that on her death she was turned from human form to a stone, but the Theban account does not agree with the Megarian. The Greek legends generally have for the most part different versions. Here too at Thebes are the tombs of the children of Amphion. The boys lie apart; the girls are buried by themselves.

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.) — 9.16 focus

[1] Such were the claims to fame of Epameinondas. Not far away is a temple of Ammon; the image, a work of Kalamis, was dedicated by Pindar, who also sent to the Ammonians of Libya a hymn to Ammon. This hymn I found still carved on a triangular slab by the side of the altar dedicated to Ammon by Ptolemy the son of Lagos. After the sanctuary of Ammon at Thebes comes what is called the bird-observatory of Teiresias, and near it is a sanctuary of Fortune, who carries the child Wealth.

[2] According to the Thebans, the hands and face of the image were made by Xenophon the Athenian, the rest of it by Kallistonikos, a native. It was a clever idea of these artists to place Wealth in the arms of Fortune, and so to suggest that she is his mother or nurse. Equally clever was the conception of Kephisodotos, who made the image of Peace for the Athenians with Wealth in her arms.

[3] At Thebes are three wooden images of Aphrodite, so very ancient that they are actually said to be votive offerings of Harmonia, and the story is that they were made out of the wooden figureheads on the ships of Kadmos. They call the first the celestial one [ Ourania], the second the one who is common to the district [ Pan-dēmos], and the third the Averter [ Apo-strophia]. Harmonia gave to Aphrodite the surname of the celestial one [ Ourania]

[4] to signify a love pure and free from bodily lust; that of the one who common to the district [ Pan-dēmos], to denote sexual intercourse; the third, that of Averter [ Apo-strophia], who would turn humankind away from unlawful passion and sinful acts. For Harmonia knew of many crimes already perpetrated not only among barbarians but even by Greeks, similar to what later became subjects of songs sung [ āidesthai] about the mother of Adonis, about Phaedra the daughter of Minos, and about the Thracian Tereus.

[5] The sanctuary of Demeter Lawgiver is said to have been at one time the house of Kadmos and his descendants. The image of Demeter is visible down to the chest. Here have been dedicated bronze shields, said to be those of Lacedaemonian officers who fell at Leuktra.

[6] Near the Proetidian gate is built a theater, and quite close to the theater is a temple of Dionysus surnamed Deliverer. For when some Theban prisoners in the hands of Thracians had reached Haliartia on their march, they were delivered by the god, who gave up the sleeping Thracians to be put to death. One of the two images here the Thebans say is Semele. Once in each year, they say, they open the sanctuary on stated days.

[7] There are also ruins of the house of Lykos, and the tomb of Semele, but Alkmene has no tomb. It is said that on her death she was turned from human form to a stone, but the Theban account does not agree with the Megarian. What things the Greeks say about them are generally different from each other. Here too at Thebes are the tombs of the children of Amphion. The boys lie apart; the girls are buried separately.

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 9.16

ed. Friedrich Spiro

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