Handout: Exploring the Heartland: Pausanias and his Account on Imperial Greece's pre-Roman Cultural Heritage Brno, 29th November 2022 Speaker: Aaron Plattner Contact: aaron.plattner®uni-graz.at; aaron.plattner@uni-erfurt.de; The lecture's structure: 1. Introduction (author, work, modern scholarship) 2. Descriptive sections (4 different types) 3. Narrative sections (Galatian invasion 279 BC) 4. Pausanias' intention 5. Description of the inhabited world by Dionysius from Alexandria 6. Conclusion Critical editions used: Nobbe, C. (ed.) / Diller, A. (introd.), Claudii Ptolemaei Geographia, vol. 1-3, Leipzig 1843— 1845 [reprography of the reprint Hildesheim 1966]. Rocha-Pereira, M. (ed.), Pausaniae Graeciae descriptio, vol. 1-3, Bibliotheca scriptorum Graecorum et Romanorum Teubneriana, Leipzig 19892-19902. Spengel, L. (ed.), Rhetores Graeci, vol. 2, Leipzig 1854 [reprint Frankfurt am Main 1966]. Tzabaph, I. (ed.), AiovuGiou AXs^av8psco<; oikou(j,svt|<; 7ispif|yr|Gi(;, Ioannina 1990. The Description of Greece at a glance: Book 1: Attica Book 2: Corinth Book 3: Laconia Book 4: Messenia Book 5: Elis Book 6: Elis Book 7: Achaea Book 8: Arcadia Book 9: Boeotia Book 10: Phocis, Ozolian Locris My typology of Pausanias' descriptions: 1. Objective topographemes (objects) 2. Performative topographemes (rituals) 3. Objective-performative topographemes (combination object-ritual) 4. Sacro-spatial topographemes (sanctuaries) Topographeme = an element from the descriptive sections of the Description of Greece, which can be attributed an existence in the 2nd century AD. 1 Parallels in Pausanias and Dionysius: 1. Selection of material according to criteria at the author's discretion 2. Predominant catalogue-like character of the knowledge's arrangement 3. Provision of an identification figure for the reader 4. Joint round trip of reader-identification figure and (homodiegetic first-person) narrator 5. Virtuality of the round trip My interpretation of the Description of Greece: It is, metaphorically speaking, an imperial-era exhibition on the topic The Cultural Heritage of Pre-Roman Greece. Pausanias, as curator, so to speak, has gathered an enormous mass of information, selected it, criticised it and prepared it in a way that is reasonably appealing to the reader. Literature cited: Akujärvi, J., Researcher, Traveller, Narrator. Studies in Pausanias' Periegesis, Studia Graeca et Latina Lundensia, vol. 12, Lund 2005. Chamoux, F., La methode historique de Pausanias d'apres le livre I de la Periegese, in: Entretiens sur l'antiquite classique, vol. 41: Pausanias historien. Huit exposes suivis de discussions par Domenico Musti, Francois Chamoux, Mauro Moggi, Walter Ameling, Yves Lafond, Ewen L. Bowie, Susan E. Alcock, Denis Knoepfler. 15th—19th August 1994, Geneva 1996, pp. 45-69. Frateantonio, Ch., Religion und Städtekonkurrenz. Zum politischen und kulturellen Kontext von Pausanias' Periegese, Millennium-Studien / Millennium-Studies, vol. 23, Berlin / New York 2009. Frazer, J., Pausanias's Description of Greece. Translated with a Commentary, vol. 1-6, London 1898. Gurlitt, W., Über Pausanias, Graz 1890. Habicht, Ch., Pausanias und seine ,Beschreibung Griechenlands', München 1985. Hutton, W., Describing Greece. Landscape and Literature in the Periegesis of Pausanias, Cambridge 2005. Kalkmann, A., Pausanias der Perieget. Untersuchungen über seine Schriftstellerei und seine Quellen, Berlin 1886. Musti, D., Introduzione generale, in: Musti, D. (introd. / ed. / transl. / comm.) / Beschi, L. (comm.), Pausania. Guida della Grecia, Book 1: L'Attica, Milan 1982, pp. IX-LV. Pirenne-Delforge, V., Retour ä la source. Pausanias et la religion grecque, Liege 2008. Regenbogen, O., Pausanias, in: Wissowa, G. et al. (eds.), Paulys Realencyclopädie der classischen Altertumswissenschaft, suppl.-vol. viii, Stuttgart 1956, cols. 1008-1097. Robert, C, Pausanias als Schriftsteller, Berlin 1909. Schreyer, J., Zerstörte Architektur bei Pausanias. Phänomenologie, Funktionen und Verhältnis zum zeitgenössischen Ruinendiskurs, Studies in Classical Archaeology, vol. 5, Turnhout 2019. WlLAMOWlTZ-moellendorff, U. von, Die Thukydideslegende, in: Hermes 12 (no. 3, 1877), pp.326-367. 2 TEXT PASSAGES / TABLES *** Text 1: Frazer 1898 i, p. lxix "It is a loose, clumsy, ill-jointed, ill-compacted, rickety, ramshackle style, without ease or grace or elegance of any sort." Text 2: Chamoux 1996, p. 69 "La Description de la Grece est toute autre chose qu'un simple guide. [...] Ce n'est pas l'attitude passive d'un simple compilateur. [...] La richesse et la variete de son enquete [scil. of Pausanias], qui remonte jusqu'aux origines et privilegie ce qui etait, a son avis, le moins connu, confere a l'ceuvre un caractere original, sans parallele dans aucune autre de l'Antiquite. [...] sa valeur documentaire [...] est sans prix [...]." "The Description of Greece is something quite different from a mere guide. [...] It is not the passive attitude of a mere compiler. [...] The richness and variety of his investigation [scil. of Pausanias], which goes back to the origins and privileges what was, in his opinion, the least known, gives the work an original character, without parallel in any other work of antiquity. [...] its documentary value [...] is priceless [...]." Text 3: Theon prog. 11 (242) [...] dpsxai 8s sk(ppdoscG<; ai'8s, oacpuvsia u£v ud^ioxa kou svdpysia xoi3 o%s86v opdoQai xd d7tayy£^6fj.£va, susixa xo uf| Tekernq d7tour|Ki)vsiv nepl xd d%pr|oxa, xo 8s 6Xov ouvs^ouoioijoQai ypi\ zoic, i)7toKsi|j.svoic xr|v anayyekiav, roaxs si [isv evavQeq xi sin xo 8r|Xoi)|j,£vov, srjavQfj Kai xr|v (ppdaiv sivai- si 8s av%[ir\pbv fj (poPspov fj otcoiov 8f| uoxs, [ir\de xd xfj<; sp[j,svsia(; d7id8siv xfj<; cprjasax; auxrov. [...] [...] A description's quality criteria are, above all, clearness and the illusion that the reported subjects are being seen from up close [or nearly being seen]; then then that one does not totally digress about the useless; one must completely match the description to the subjects, so that if what is being described is something blooming, the speech is also blooming and, if it is something dry or terrible or of whatever quality, that the interpretation's traits do not dissent from the true nature. 3 Text 4: Description of the Paintings in the Stoa Poikile (Paus. 1,15,1-3) [...] awn 8s f] oxod Ircproxa [ie\\ AQnvaiouc s%si xsxay[j,svouc sv Oivon xfjc Apysiac svavxia AaKs8aiuovirov ysypa7txai 8s ovk eq ax[ii\v dyrovoc ovde xo^uriudxrov eq S7ii8si^iv to spyov fj8r| 7tpofJKov, aXkh dpxo(j.svr| ts n ud%n Kai eq xsipac sxi ouviovxsc. [2] |sv 8s xro (j.SOC0 xrov Toixcovl AQnvaToi Kai Gnostic Aua^ooi udyovxai. uovaic 8s dpa xaic yuvai^iv oijk dcpfipsi xd rcxaiouaxa xo eq Tovq kiv8i3vouc d(psi8sc, si' ys QsuiaKupac xs a^otionc vmb 'HpaK^souc Kai uoxspov (p9apsior|c ocpioi xfjc oxpaxiac, fjv etc' AQnvac soxsilav, ouxdc eq Tpoiav n^Qov A9r|vaioic xs auxoic; ua%oi3[j,svai Kai xoic 7taoiv "EXkr\civ. |s7ti 8s xaic AuaCooiv "EXkr\veq sioiv fipnKoxsc "Vkiov Kai oi PaoiXsTc f|9poio[j,svoi 8id xo Aiavxoc eq Kaoodv8pav ToX[ir\[ia- Kai aikov f| ypacpf] xov Ai'avxa s%si Kai yuvaiKac xrov ai%uaM)xrov ixkhiq xs Kai Kaoodv8pav. [3] |xs?isuxaiov 8s xfjc ypacpfjq sioiv oi ua%sod[j,svoi MapaQrovr Boiroxrov 8s oi n^dxaiav s%ovxsc Kai ooov nv Axxikov iaoiv eq xsipac xoic PapPdpoic. Kai xauxn |usv soxiv ioa (xd) 7tap' duxpoxsprov eq xo spyov xo 8s soro xfjc \iayr\q (psuyovxsc sioiv oi pdpPapoi Kai eq xo ekoq roQowrsc 6Xkr\kovq, soyaxai 8s xfjc ypacpfjc vfjsc xs ai Ooiviooai Kai xrov PapPdpcov xoi)c SG7ii7ixovxac eq xauxac (povsuovxsc oi "EXkr\veq. svxafjQa Kai MapaQrov ysypa[j,[j,svoc soxiv fjproc, dcp' au xo 7is8iov rovouaoxai, Kai 0t|gsx)c dviovxi sk yfjc siKao[j,svoc AQnvd xs Kai 'HpaK^fjc-MapaQrovioic yap, roc aikoi Xsyouoiv, 'HpaK^fjc svouio9r| Qebq uproxoic. xrov ua%o[j,svrov 8s 8fjXoi ud^ioxd sioiv sv xfj ypacpfj KaA,Mua%6c xs, bq AQnvaioic 7toXs[j,ap%sTv fipnxo, Kai MiAxid8r|c xrov oxpaxnyowrrov, fjproc xs "ExsxXoc KaXouusvoc, ov Kai uoxspov 7ioif|go[j,ai uvquriv. [...] This portico first holds the Athenians as they face the Lakedaimonians in battle formation at Oinoe in the land of the Argeians; painted is not the event at the climax of the battle, nor yet in the phase of the demonstration of daring deeds, but how the battle begins and how they are still charging at each other. [2] |ln the middle of the wall|, the Athenians and Theseus fight with the Amazons. These women alone could not be deprived of their relentless risk-taking when, despite the capture of Themiskyra by Herakles and the destruction of the force they had sent against Athens, they nevertheless came to Troy to fight against the Athenians themselves and all the Greeks. Subsequent to the Amazons|, there are the Greeks after the capture of Ilion and the kings gathered because of Aias' iniquity against Kas sandra; the painting contains Aias himself and, among other women prisoners of war, Kassandra as well. [3] The painting ends with those who fought at Marathon; the Boeotians, who rule Plataia, and the Attic contingent attack the barbarians. At this point, the shares of both sides in the event are equal; amidst the battle, however, there are the barbarians fleeing and pushing each other towards the swamp; on the margin of the painting there are the Phoenician ships and the Greeks murdering the barbarians fleeing there. There are also painted the hero Marathon, after whom the plain is named, and Theseus, like one who rises from the earth, as well as Athena and Herakles; for Herakles, as the Marathonians themselves say, was first taken for a god by the inhabitants of Marathon. Prominent among the combatants in the painting are the strategists Kallimachos, who was chosen by the Athenians as Polemarch, and Miltiades, and a hero called 'Echetlos', to whom I shall return later on [cf. Paus. 1,32,5]. 4 Text 5: Grammatical indications of attempts to set the paintings in motion by linguistic means and thus to make them appear more vivid Finite activity verbs Action Agent Passage — — Paus. 1,15,1 (1) uaxovxai Athenians and Theseus Paus. 1,15,2 (2) iaciv Plataeans and Attic contingent Paus. 1,15,3 Participles derived from an activity verb Action Agent Passage (1) GUVlOVTSt; Athenians and Lacedaemonians Paus. 1,15,1 — — Paus. 1,15,2 (2) (psi3yovxs<; (3) d)9oi3vT£<; (4) SG7ll7lTOVTa(; (5) (povsi3ovxs<; (6) dviovxi (sk yfj<; siKaG(j,svo<;) (7) ua%o[j,svcov (8) Gxpaxnyowrcov Persians Persians Persians Greeks Theseus Plataeans and Athenians generals Paus. 1,15,3 Nouns denotating / connotating action and movement Noun Agent Passage (1) spyov (2) iidxn Athenians and Lacedaemonians Paus. 1,15,1 — — Paus. 1,15,2 (3) spyov (4) udynq Plataeans, Athenians, and Persians Paus. 1,15,3 References to past events within the respective story Past event Agent Textstelle — — Paus. 1,15,1 (1) QsuiGKTjpat; xs dXoi)Gr|<; vnb 'HpaK^soix; (2) sIgiv fipnKÖTSt; "Vkiov (3) 8id to Ai'avTOt; s<; KaGGq eq Tpoiav fi^Qov AGnvaioK; xs aijxoit; ua%oi3[j,svai Kai xoi<; naciv "EXkr\civ. Amazones Paus. 1,15,2 (3) svxai59a Kai MapaQrov ysypa[j,[j,svo(; sgxiv f\pq, dcp' ov to 7is8iov (bv6[j,aGxai (unspecified) Paus. 1,15,3 5 Text 6: Description of the Chthonia Festival in Hermione (Paus. 2,35,5-7) XQovia 8' otjv f] 9s6<; xs awfi KaXsTxai Kai XQovia sopxhv Kaxd sxog dyouoiv copg Qspoug, dyouoi 8s ommq fiyowrai |isv auxoic xfj<; 7tou7tf|<; oi' xs ispsT<; xrov Qsrov Kai oooi xaq S7tsxsiou<; dp%d<; s%ouoiv, S7tovxai 8s Kai yuvaTKs<; Kai dv8ps<;. xoT<; 8s Kai uaiaiv sxi ovci Ka9sGTT|Ksv fj8r| xnv Qsov xiuav xfj 7tou7rfj- oikoi Xsuktiv soQfjxa Kai em xaT<; KS(paXaT<; s%ouoi oxscpdvoix;. uXsKovxai 8s oi oxscpavoi acpiGiv sk Tox) dv9ou<; 6 KaXoijGiv oi xai3xr| Koouoodv8aXov, udKivQov suoi 8oksTv ovxa Kai [j,sys9si Kai Xpoor S71SGTI 8s oi Kai xd em xcg 9pf|vcp ypd[j,uaxa. [6] xoT<; 8s xnv 7io^i7ir|v 7is^i7iouGiv S7tovxai 9f|Xsiav s^ ajekr\q Poi3v ayovxst; 8isiX,r|[j,[j,svr|v 8souoT<; xs Kai uPpi^ouoav sxi vmb dypioxr|xo<;. sXdoavxs<; 8s 7tp6<; xov vaov oi [isv saco (pspsoQai xnv Poi3v eq xo ispov dvfJKav sk xrov 8sg(j,g)v, sxspoi 8s dva7tS7txa[j,sva<; s%ovxs<; xsax; xd<; Qvpaq, eneidav xnv Poi3v i'8coaiv svxo<; xoi5 vaoij, 7tpoos9soav xd<; 9i3pa<;. [7] xsooapst; 8s sv8ov i)7ioXsi7i6[j,svai ypas<;, aikai xnv Poi5v sioiv ai Kaxspya(^6[j,svar 8ps7idvcp yap fjxi<; dv xi3xn ttIV (pdpuyya t)7tsxs[j.s xfj<; Po6<;. [lexa 8s ai Qupai xs nvoiyQnoav Kai 7tpoos?iai)vouoiv oi<; S7iixsxaKxai Poi5v {8s} 8suxspav Kai xpixnv sui xauxn Kai aXkr\v xsxdpxnv. KaxspydCovxai xs 8f] itacaq Kaxd xauxd ai ypas<; Kai x68s aXko 7ip6aKsixai xfj Quoig Qaijua' scp' fjvxiva yap dv necr\ xrov iikevp(hv f] 7ipd)xr| Poijt;, dvdyKn 7tsosTv Kai nacaq. 'Chthonia' is the name of the goddess and the Chthonia festival is celebrated annually by them [scil. the people of Hermione] in summertime. They celebrate it like this: the procession is led bv the priests of the gods and the annual ministers, followed by women and men. Some are still children and already honour the goddess in the procession; they wear white robes and have wreaths on their heads. Their wreaths are woven from the flower which the people there call 'delphinium', but which in my opinion, considering its size and colour, is a hyacinth; moreover, the letters for the lamentation [scil. AIAI] are to be found on it. [6] The procession participants are followed by those who lead a female ox from the herd, held by ropes and still raging with ferocity. As soon as they have driven it towards the temple, some release the cow from the ropes so that it moves into the sanctuary, while others hold the gates wide open until they see that the cow is inside the temple, and then close them. [7] Four old women left inside - these are the ones who kill the cow, the first one cutting the cow's throat from below with a sickle. Then the gates are opened and those in charge drive in a second, third and fourth cow. The old women really do kill them all in the same way and there is another astonishing aspect: on which side the first cow falls, that is where all the others must fall, too. 6 Text 7: Description of the Pelopion (Paus. 5,13, 1-3) "Eon 8s svxoc xfjc AXxsroc Kai lissom a7i;oxsxur|[j,svov Te\xevog-fiprocov 8s xrov sv 'OXuuTtig xogovjxov 7tpoxsxiur|[j,svo<; scxiv 6 IIsXo\j/ vmb 'HXsicov ogov Zsxx; Qsrov xrov aXknv. sgxiv ouv xau vaofj xofj Aioc Kaxd Ss£idv xfjc sgoSou 7tp6c dvs[j.ov Bopsav xo IIsX67iiov, d(pSGxr|K6c (j.sv xofj vaofj xogovjxov fog (j,sxa^i) Kai dv8pidvxac Kai dva9f|[j,axa aXka dvaKsiaQai, 7tapf|Ksi 5s fog S7ti xov 67tio965ofj.ov anb fj.sooD fj.dXioxa dp£d|j.svov xofj vaoij" Kai M9(ov xs QpiyKKi 7tspis%sxai Kai 8sv8pa svxoc 7is(puK6xa Kai dv8pidvxsc siaiv dvaKsi[j,svoi. [2] sgo8oc 5s eg afjxo 7tp6c SuGfjiav sgxiv f)MoD. xofjxo a7iovsi[j,ai xro Hekoni 'HpaK^fjc 6 Auxpixpfjojvoc Xsysxar xsxapxoc yap 5r| a7t6yovoc Kai ofjxoc nv Hekonog, Xsysxai 8s Kai fog sQugsv eg xov [369pov xro Hekoni. Qtjodoi Ss| afjxfi) Kai vfiv sxi oi Kaxd sxoc Tag dp%dc s%ovxsc' xo 8s ispsiov sgxi Kpioc [iskag. anb xafjxnc |ofj yivsxai| x(p uavxsi uoipa xfjc Quciac, xpdxn^ov 8s uovov 8i8oG0aixofj Kpiofj |ko6sgxj]ksJxk) 6vouaCoM.sv(p fytXei. [3] sgxi 8s 6 fyi'ke.vg sk xrov oksxrov xoij Aioc, |spyov 8s afjxqj 7tp6oKsixai| xd eg Tag Quciac ^fj^a xsxay[j,svou Af|[j,[j,axoc Kai 7t6Xsoi 7taps%siv Kai dv8pi iSi(bxr|- xd 8s XsfjKnc uovnc ZpXa Kai aXkov 8sv8pou saxiv ofj8svoc. 1_LJ_. bg 8' dv fj afjxrov 'HXsirov fj ^svrov xofj 9uo(j,svou xro HekoKi ispsiou (pdyr| xrov Kpsrov, ovjk sgxiv oi sgsXQsiv uapd xov Ala . xo 8s afjxo Kai sv xfj IIspyd[j,(p xfj VTiep 7toxa[j,ofj Ka'iKou 7tS7t6v9aoiv oi xro Tr|Xs(p(p Qfjovxsc. sgxi yap 8r| oi)8s xofjxoic dvapfjvai upo Xouxpofj uapd xov AgkX,t|7ii6v. There is also a temenos demarcated for Pelops inside the Altis. Among the heroes in Olympia, Pelops receives special cultic veneration from the Eleians, just as Zeus does among the other gods. The Pelopion is located to the right of the entrance to the temple of Zeus towards the north, at a distance from the temple so that there are statues and other dedications in between, and it extends from the very centre of the temple towards the opisthodome. It is surrounded by a stone wall and inside there are trees and statues. [2] Its entrance is to the west. Herakles, son of Amphitryon, is said to have dedicated it to Pelops. For he too was a fourth-generation descendant of Pelops, and it is also said that he sacrificed to Pelops into the pit. The annually appointed officials still sacrifice to Pelops today; the sacrificial animal is a black ram. The seer does not receive| any portion of this offering and [it is prescribed! that only the neck piece is given to the so-called "x^£uj^jLe. 'wood supplier'). [3] The xyleus is a servant of Zeus; it is his job to provide the wood for the sacrifices to cities and private individuals for a fixed amount of money. The wood pieces stem exclusively from the silver poplar and no other tree Whenever someone of the Eleians themselves or any of their guests have eaten of the flesh of the animal offered to Pelops they must not approach the Zeus inside the templq. The same must be done in Pergamon beyond the river Kaikos by those who sacrifice to Telephos, for they too are not allowed to go up to Asklepios until they have taken a bath. 7 Text 8: Description of the Athenian Olympieion (Paus. 1,18,6-8) Ilpiv 5s sc to isoov isvai tojj Aiöc tojj ÖX,DU7tioD - A8piavöc, ö 'Pcouaicov ßaai^stjc, xöv xs vaöv dvs9r|Ks Kai xö dya^ua Qsac, d^iov, oi) [isysQsi [isv, öxi uf] 'Po8ioic, Kai 'Pcouaioic, siaiv oi KoXoGGoi, xd Xomd dydXuaxa öuoicoc, d7ioXsi7isxai, 7iS7ioir|xai 8s SK xs s^scpavxoc, Kai %puGOi> Kai s%si xs^vric, si) npbq xö [isysQoc, öproaiv -, svxaijQa skövsc, Ä8piavoi5 8i3o [isv sici ©aaiou M9ou, 8i3o 8s Aiyimxioir %aA,Kai 8s saxdoi 7tpö xöjv kiövcqv aq AQnvaioi KaXoijGiv d7toiKou<; nö'keiq. ö [isv Sf] naq 7ispißoXoc, Gxa8icov [idXiGxa xsGGdpcov scxiv, dv8pidvxcov 8s iikr\pr\q- änb ydp nb'kecüq SKdGxnc, sücrov A8piavoi5 ßaai^scoc, dvdKsixai, Kai cq>aq i)7ispsßdXovxo AQnvaioi xöv ko^oggöv dvaQsvxsc, öuigGs xoi) vaoij Qsac, d^iov. [7] sgxi 8s dp%aia sv xö? 7tspißöXcp Zsijc, %akKovq Kai vaöc, Kpövou Kai 'Psac, Kai xsjisvoc, (rfjc,) {xfiv} S7riKÄ,r|Giv 'OXuuTriac,. svxaijQa ögov sc, 7ifjxuv xö s8acpoc, 8isgxt|ks, Kai XsyouGi [isxd xfiv S7toußpiav xnv S7ti AsuKaMcovoc, ouußaoav lOToppufjvai xawn xö i)8cop, IsoßdMiouoi xs eq aüxö dvd 7tav sxoc, dtapixa nvp&v [iskui [li^avxsc,. [8] Ksixai 8s S7ti kiovoc 'iGOKpdxoix; dv8pidc,, öc, eq [ivr\[ir\v xpia i)7isM7isxo, S7imov(bxaxov [isv öxi oi ßid)Gavxi sxn 8uoiv 8sovxa SKaxöv oimoxs KaxsX,i39r| [laQnxdc, s%siv, Gcocppovscxaxov 8s öxi noXueiaq d7is%ö[isvoc, 8is[isivs Kai xd Koivd oi) 7ioXmpay[iovö)v, sXsuQsproxaxov 8s öxi 7ipöc, xfiv dyysMav xfjc, sv Xaipcovsig [idxnc. öXyr\caq sxsXsijxr|GSV sQsXovxfic,. Ksivxai 8s Kai MQou Opuyiou üspcai %aA,Koijv xpi7io8a dvs%ovxsc,, Qsac, d^ioi Kai aijxoi Kai ö xpircouc. xoij 8s 'OXuutuou Aiöc AsuKaMcova oiKo8o[ifJGai XsyouGi xö dp%atöv ispöv, GnusTov d7io(paivovxsc paq psi 7toxauo<; 'Hpi8av6<;, scp' cb xaq 9uyaxspa<; xd<; 'HMou 68i3psa9ai voui^ouai xo uspi xov OasQovxa xov d8stap6v 7td9o<;. 6\j/s 8s uoxs auxoxx; KaXsiaQai Paraxon; s^sviktigsv KsAxoi yap Kaxd xs o(pa<; xo dp%aiov Kai rcapd xoT<; aXkoiq rovoud^ovxo. auAXsysiaa 8s acpiai axpaxid xpsusxai xhv erai 'Ioviou, Kai xo xs 'DJiupirov s9vo<; Kai udv oaov a%pi MaKs86vcov cqksi Kai MaKs86va<; aikoxx; dvaaxdxoxx; S7ioir|gs OsaaaMav xs S7is8paps. [...] These Galatians possess the outermost lands of Europe on a sea that is large and unnavigable at the edges. It has high and low tides and animals that are very different from those in the rest of the sea. Through their territory flows the river Eridanos, where the daughters of Helios are said to mourn what happened to their brother Phaethon. Sometime later it became accepted that they were called 'Galatians', for originally they were called 'Celts' both among themselves and by the others. They gathered an army and it set out towards the Ionian Sea, driving out the Illyrian people and everything that settled as far as the Macedonians, as well as the Macedonians themselves, and set out for Thessaly. [...] Text 10: Narrative 2 - the Galatians against the Aetolian polis Kallion (Paus. 10,22,2-4) Oi psv 8r| fiysuovst; xcov PapPdpcov oi aXkoi Kaxs7iS7iXf|ysGav xo 'EMinviKov, Kai r|7i6pouv apa vnep xcov usAXovxcgv, s<; oi)8sv acpiai Tikeov 7tpo%CGpoi3vxa 6pcovxs<; xd sv %spar xcp 8s Bpswcp Xoyiauot; uapiaxaxo foq, si dvayKdasi xoxx; AixcoXoxx; oika8s s<; xhv AixcoMav dva%CGpfjaai, pdcov fj8n, ysvf|aoixo 6 no'ke^oq axkco 7tp6<; xo 'EMinviKov. ano'ke.^aq ovv xf\q axpaxia<; px>pid8a<; xoxx; neCpvq xsaaapa<; Kai oaov OKxaKoaioxx; irnieaq, 'Opsaxopiov xs ax>xoi<; Kai KopPoxmv scpiaxr|aiv ap%ovxa<;' [3] oi omaro Kaxd xoi5 E7rsp%siox> xd<; yscpx>pa<; Kai avQiq 8id 0saaaMa<; 68sx)aavxs<; spPdMiouaiv s<; xr|v AixcoMav Kai xd s<; KaMu,sa<; K6pPox>xi<; oi spyaadpsvoi Kai 'Opsaxopux; fiaav, dvoaicbxaxd xs cbv aKofj smaxapsQa Kai ovdev Toiq dv9p(B7icov xoXpfjpaaiv opoia. ysvo<; psv ys udv s^sKo\j/av xo apasv, Kai opoiax; yspovxs<; xs Kai xd vfi7iia sui xcov pnxspcov xoT<; paaxoT<; scpovsxiov xotjxcgv 8s Kai xd vnb xoi5 ydXaKxo<; moxspa d7roKxsivovxs<; smvov xs oi TaXdxai xoi5 ai'paxo<; Kai f|7ixovxo xcov aapKcov. [4] yx>vaiKs<; 8s Kai oaai sv copa xcov 7iap9svcov, oaai psv cppovfipax6<; xi axkcov si%ov, sax>xd<; scp9n,aav oiv y6va<; Kai eq KvKkama skxo<; sivai 8oksTv akr\Qeiaq, 6[iq Kaxd xnv d^iav syivsxo f| wisp axkrov Sucre duo yap xsoodpcov uxipidScov 7ipoa6vxcov ocpioi {Kai} OKxaKoaicov ekaccoveq fiuioscov eq xo Gxpaxo7is8ov oi pdpPapoi xo npbq ©epuxwruAmq d7rsode)9r|oav. Although something so terrible happened to the inhabitants of Kallion that even what Homer wrote about the Laestrygones and the Cyclops does not seem far from the truth, they were duly avenged. For the barbarians brought less than half of their 40,800 men to safety in the army camp at Thermopylae. Text 12: Narrative 2 - superhuman support for the Greeks (Paus. 10,23,1-4) Bpswco 8s Kai xfj oxpaxia xrov xs 'EXkr\vv oi eq Aekpobq d9poio9svxs<; dvxsxd^avxo, Kai xoT<; PapPapoiq dvxsofiuaivs xd sk xoij 9sox> xajp xs Kai obv iou,sv (pavsproxaxa. fj xs yap yfj naca, 6cr\v enex/ey f| xrov TaXaxrov oxpaxid, Piaiax; Kai sui 7iXsiaxov sgsisxo rf\q f[[\epaq, Ppovxai xs Kai Kspauvoi Guvsxsit; syivovxo- [2] Kai oi u,sv s^S7iX,r|xx6v xs xoxx; KsX,xoxx; Kai 8s%so9ai xoi<; roai xd 7iapayysX,X6[j,sva ek&iXvov, xd 8s sk xoij oupavoij ovk eq ovxiva KaxaaKf|\j/ai uovov, aXkh Kai xoxx; 7iXr|Giov Kai auxoxx; 6(j,oiax; Kai xd oiika s^fjuxs. xd xs xrov fiprocov xnviKaijxd acpiaiv scpavn (pda[j,axa, 6 'Y7tspo%o<; Kai 6 Aa68oKo<; xs Kai nx>ppo<;' oi 8s Kai xsxapxov Oij^aKov S7iix(bpiov AsXcpoit; d7tapi9uox>oiv fjpcoa. [3] a7is9avov 8s Kai axkrov napa xo spyov xrov Ocokscov aXkoi xs dpi9[j,6v noXkoi Kai Kke^i[ia%oq, (bq) sv xfj udxn xax>xr| [lakicxa 'EX,X,f|vcov fi?UKia<; xs xro aK(j,d(^ovxi Kai io^m c&>[iaToq Kai xro sppco[j,svcp xoij 9x>uox> Kaxsxpf|Gaxo eq xrov PapPdpcov xov cpovov Ocoksi<; 8s skova xoij Kkeq\[ia%o\) 7ioir|Gd[j,svoi a7iSGxsiXav xcg AnbXkmvi eq Aekpcrbq. [4] xoioijxok; [isv oi pdpPapoi napa nacav xr|v f|u,spav 7ia9f|[j,aGi xs Kai SK7iXf|^si axtvsixovxo' [... ] Brennos and his army were opposed by the Greeks who had gathered at Delphi, and to the barbarians the portents from the god showed themselves quickly and more clearly than those of which we know. For the whole ground which the army of the Galatians occupied shook violently and for the greater part of the day, and thunder and lightning thundered incessantly. [2] This circumstance frightened the Celts and prevented them from perceiving with their ears what was commanded. The lightning from the sky not only set fire to whom it struck, but also to the neighbouring men, both themselves and their weapons. Then the spirits of the heroes Hyperochos, Laodokos and Pyrrhos also showed themselves to them. Some count Phylakos, a hero native to Delphi, as the fourth. [3] In the course of the event, of the Phocians themselves, along with many others, Aleximachos died, who in this battle was the one of the Greeks who most used his bloom of youth, his physical strength and his strengthened courage to slaughter the barbarians. 10 The Phocians had an image made of Aleximachos and sent it to Apollo at Delphi. [4] Throughout the day, the barbarians were struck by such events and terrors. [...] Text 13: Narrative 2 - the Galatian's losses (Paus. 10,23,10) 7tA,f|9o<; 8s to sv xfj