Pausanias, Description of Greece, ed. Friedrich Spiro, 9.2

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[1]
γῆς δὲ τῆς Πλαταιίδος ἐν τῷ Κιθαιρῶνι ὀλίγον τῆς εὐθείας ἐκτραπεῖσιν ἐς δεξιὰ Ὑσιῶν καὶ Ἐρυθρῶν ἐρείπιά ἐστι. πόλεις δέ ποτε τῶν Βοιωτῶν ἦσαν, καὶ νῦν ἔτι ἐν τοῖς ἐρειπίοις τῶν Ὑσιῶν ναός ἐστιν Ἀπόλλωνος ἡμίεργος καὶ φρέαρ ἱερόν· πάλαι δὲ ἐκ τοῦ φρέατος κατὰ τὸν Βοιωτῶν λόγον ἐμαντεύοντο πίνοντες.

[2] ἐπανελθοῦσι δὲ ἐς τὴν λεωφόρον ἐστὶν αὖθις ἐν δεξιᾷ Μαρδονίου λεγόμενον μνῆμα εἶναι. καὶ ὅτι μὲν εὐθὺς ἦν μετὰ τὴν μάχην ἀφανὴς ὁ Μαρδονίου νεκρός, ἔστιν ὡμολογημένον· τὸν δὲ θάψαντα οὐ κατὰ ταὐτά, ὅστις ἦν, λέγουσι· φαίνεται δὲ Ἀρτόντης ὁ Μαρδονίου πλεῖστα μὲν δοὺς Διονυσοφάνει δῶρα ἀνδρὶ Ἐφεσίῳ, δοὺς μέντοι καὶ ἄλλοις Ἰώνων ὡς οὐδὲ ἐκείνοις ἀμελὲς γενόμενον ταφῆναι Μαρδόνιον.

[3]
αὕτη μὲν ἀπʼ Ἐλευθερῶν ἐς Πλάταιαν ἄγει, τοῖς δὲ ἐκ Μεγάρων ἰοῦσι πηγή τέ ἐστιν ἐν δεξιᾷ καὶ προελθοῦσιν ὀλίγον πέτρα· καλοῦσι δὲ τὴν μὲν Ἀκταίωνος κοίτην, ἐπὶ ταύτῃ καθεύδειν φάμενοι τῇ πέτρᾳ τὸν Ἀκταίωνα ὁπότε κάμοι θηρεύων, ἐς δὲ τὴν πηγὴν ἐνιδεῖν λέγουσιν αὐτὸν λουμένης Ἀρτέμιδος ἐν τῇ πηγῇ. Στησίχορος δὲ ὁ Ἱμεραῖος ἔγραψεν ἐλάφου περιβαλεῖν δέρμα Ἀκταίωνι τὴν θεόν, παρασκευάζουσάν οἱ τὸν ἐκ τῶν κυνῶν θάνατον, ἵνα δὴ μὴ γυναῖκα Σεμέλην λάβοι.

[4] ἐγὼ δὲ ἄνευ θεοῦ πείθομαι νόσον λύσσαν τοῦ Ἀκταίωνος ἐπιλαβεῖν τοὺς κύνας· μανέντες δὲ καὶ οὐ διαγινώσκοντες διαφορήσειν ἔμελλον πάντα τινὰ ὅτῳ 0 περιτύχοιεν. καθότι δὲ τοῦ Κιθαιρῶνος Πενθεῖ τῷ Ἐχίονος ἐγένετο ἡ συμφορὰ ἢ Οἰδίποδα ὅπῃ τεχθέντα ἐξέθεσαν, οἶδεν οὐδείς, καθάπερ γε ἴσμεν τὴν Σχιστὴν ὁδὸν τὴν ἐπὶ Φωκέων, ἐφʼ ᾗ τὸν πατέρα Οἰδίπους ἀπέκτεινεν, ὁ δὲ Κιθαιρὼν τὸ ὄρος Διὸς ἱερὸν Κιθαιρωνίου ἐστίν ἃ δὴ καὶ ἐς πλέον ἐπέξειμι, ἐπειδὰν ἐς αὐτὰ ὁ λόγος καθήκῃ μοι.

[5]
κατὰ δὲ τὴν ἔσοδον μάλιστα τὴν ἐς Πλάταιαν τάφοι τῶν πρὸς Μήδους μαχεσαμένων εἰσί. τοῖς μὲν οὖν λοιποῖς ἐστιν Ἕλλησι μνῆμα κοινόν· Λακεδαιμονίων δὲ καὶ Ἀθηναίων τοῖς πεσοῦσιν ἰδίᾳ τέ εἰσιν οἱ τάφοι καὶ ἐλεγεῖά ἐστι Σιμωνίδου γεγραμμένα ἐπʼ αὐτοῖς. οὐ πόρρω δὲ ἀπὸ τοῦ κοινοῦ τῶν Ἑλλήνων Διός ἐστιν Ἐλευθερίου βωμὸς τοῦτον μὲν δὴ χαλκοῦ, τοῦ Διὸς δὲ τόν τε βωμὸν καὶ τὸ ἄγαλμα ἐποίησεν λευκοῦ λίθου.

[6] ἄγουσι δὲ καὶ νῦν ἔτι ἀγῶνα διὰ ἔτους πέμπτου τὰ δὲ Ἐλευθέρια, ἐν ᾧ μέγιστα γέρα πρόκειται δρόμου· θέουσι δὲ ὡπλισμένοι πρὸ τοῦ βωμοῦ. τρόπαιον δέ, ὃ τῆς μάχης τῆς Πλαταιᾶσιν ἀνέθεσαν οἱ Ἕλληνες, πεντεκαίδεκα σταδίοις μάλιστα ἕστηκεν ἀπωτέρω τῆς πόλεως.

[7]
ἐν αὐτῇ δὲ τῇ πόλει προϊοῦσιν ἀπὸ τοῦ βωμοῦ καὶ τοῦ ἀγάλματος ἃ τῷ Διὶ πεποίηται τῷ Ἐλευθερίῳ, Πλαταίας ἐστὶν ἡρῷον· καί μοι τὰ ἐς αὐτὴν ἤδη, τὰ λεγόμενα καὶ ὁποῖα αὐτὸς εἴκαζον, ἔστιν εἰρημένα. Πλαταιεῦσι δὲ ναός ἐστιν Ἥρας, θέας ἄξιος μεγέθει τε καὶ ἐς τῶν ἀγαλμάτων τὸν κόσμον. ἐσελθοῦσι μὲν 0 Ῥέα τὸν πέτρον κατειλημένον σπαργάνοις, οἷα δὴ τὸν παῖδα ὃν ἔτεκε, Κρόνῳ κομίζουσά ἐστι· τὴν δὲ Ἥραν Τελείαν καλοῦσι, πεποίηται δὲ ὀρθὸν μεγέθει ἄγαλμα μέγα· λίθου δὲ ἀμφότερα τοῦ Πεντελησίου, Πραξιτέλους δέ ἐστιν ἔργα.
ἐνταῦθα καὶ ἄλλο Ἥρας ἄγαλμα καθήμενον Καλλίμαχος ἐποίησε· Νυμφευομένην δὲ τὴν θεὸν ἐπὶ λόγῳ τοιῷδε ὀνομάζουσιν.

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.) — 9.2 focus

[1]
On Mount Cithaeron, within the territory of Plataea , if you turn off to the right for a little way from the straight road, you reach the ruins of Hysiae and Erythrae. Once they were cities of Boeotia , and even at the present day among the ruins of Hysiae are a half-finished temple of Apollo and a sacred well. According to the Boeotian story oracles were obtained of old from the well by drinking of it.

[2] Returning to the highway you again see on the right a tomb, said to be that of Mardonius. It is agreed that the body of Mardonius was not seen again after the battle, but there is not a similar agreement as to the person who gave it burial. It is admitted that Artontes, son of Mardonius, gave many gifts to Dionysophanes the Ephesian, but also that he gave them to others of the Ionians, in recognition that they too had spent some pains on the burial of Mardonius.

[3]
This road leads to Plataea from Eleutherae. On the road from Megara there is a spring on the right, and a little farther on a rock. It is called the bed of Actaeon, for it is said that he slept thereon when weary with hunting, and that into this spring he looked while Artemis was bathing in it. Stesichorus of Himera says that the goddess cast a deer-skin round Actaeon to make sure that his hounds would kill him, so as to prevent his taking Semele to wife.

[4] My own view is that without divine interference the hounds of Actaeon were smitten with madness, and so they were sure to tear to pieces without distinction everybody they chanced to meet. Whereabouts on Cithaeron the disaster befell Pentheus, the son of Echion, or where Oedipus was exposed at birth, nobody knows with the assurance with which we know the Cleft Road to Phocis , where Oedipus killed his father (Mount Cithaeron is sacred to Cithaeronian Zeus), as I shall tell of¹ at greater length when this place in my story has been reached.

[5]
Roughly at the entrance into Plataea are the graves of those who fought against the Persians. Of the Greeks generally there is a common tomb, but the Lacedaemonians and Athenians who fell have separate graves, on which are written elegiac verses by Simonides. Not far from the common tomb of the Greeks is an altar of Zeus, God of Freedom.
This then is of bronze, but the altar and the image he made of white marble.

[6] Even at the present day they hold every four years games called Eleutheria (Of Freedom), in which great prizes are offered for running. The competitors run in armour before the altar. The trophy which the Greeks set up for the battle at Plataea stands about fifteen stades from the city.

[7]
Advancing in the city itself from the altar and the image which have been made to Zeus of Freedom, you come to a hero-shrine of Plataea . The legends about her, and my own conjectures, I have already² stated. There is at Plataea a temple of Hera, worth seeing for its size and for the beauty of its images. On entering you see Rhea carrying to Cronus the stone wrapped in swaddling clothes, as though it were the babe to which she had given birth. The Hera they call Full-grown; it is an upright image of huge size. Both figures are of Pentelic marble, and the artist was Praxiteles.
Here too is another image of Hera; it is seated, and was made by Callimachus. The goddess they call the Bride for the following reason.

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.) — 9.2 focus

[1] On Mount Cithaeron, within the territory of Plataea, if you turn off to the right for a little way from the straight road, you reach the ruins of Hysiaiand Erythrai. Once they were cities of Boeotia, and even at the present day among the ruins of Hysiaiare a half-finished temple of Apollo and a sacred well. According to the Boeotian story oracles were obtained of old from the well by drinking of it.

[2] Returning to the highway you again see on the right a tomb, said to be that of Mardonios. It is agreed that the body of Mardonios was not seen again after the battle, but there is not a similar agreement as to the person who gave it burial. It is admitted that Artontes, son of Mardonios, gave many gifts to Dionysophanes the Ephesian, but also that he gave them to others of the Ionians, in recognition that they too had spent some pains on the burial of Mardonios.

[3] This road leads to Plataea from Eleutherai. On the road from Megara there is a spring on the right, and a little farther on a rock. It is called the bed of Actaeon, for it is said that he slept thereon when weary with hunting, and that into this spring he looked while Artemis was bathing in it. Stesichorus of Himera says that the goddess cast a deer-skin round Actaeon to make sure that his hounds would kill him, so as to prevent his taking Semele to wife.

[4] My own view is that without divine interference the hounds of Actaeon were smitten with madness, and so they were sure to tear to pieces without distinction everybody they chanced to meet. Whereabouts on Cithaeron the disaster befell Pentheus, the son of Echion, or where Oedipus was exposed at birth, nobody knows with the assurance with which we know the Cleft Road to Phokis, where Oedipus killed his father (Mount Cithaeron is sacred to Cithaeronian Zeus), as I shall tell of at greater length when this place in my story has been reached.

[5] Roughly at the entrance into Plataea are the tombs of those who fought against the Persians. Of the Greeks generally there is a common tomb, but the Lacedaemonians and Athenians who fell have separate tombs, on which are written elegiac verses by Simonides. Not far from the common tomb of the Greeks is an altar of Zeus, God of Freedom.This then is of bronze, but the altar and the image he made of white marble.

[6] Even at the present day they hold every four years games called Eleutheria (Of Freedom), in which great prizes are offered for running. The competitors run in armor before the altar. The trophy which the Greeks set up for the battle at Plataea stands about fifteen stadium-lengths from the city.

[7] Advancing in the city itself from the altar and the image which have been made to Zeus of Freedom, you come to a hero-shrine of Plataea. The things-that-are-said [ legomena] about her, and what I think is likely [ eikós], I have already said. There is at Plataea a temple of Hērā, worth seeing for its size and for the beauty of its images. On entering you see Rhea carrying to Kronos the stone wrapped in swaddling clothes, as though it were the babe to which she had given birth. The Hērā they call Full-grown; it is an upright image of huge size. Both figures are of Pentelic marble, and the artist was Praxiteles. Here too is another image of Hērā; it is seated, and was made by Kallimakhos. The goddess they call the Bride for the following reason.

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 9.2

ed. Friedrich Spiro

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