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Pausanias

The Greek travel writer Pausanias (c. 150 - c. 180) lived and wrote in the middle of the second century. His most famous work is the "Periegesis tes Hellados",or "Description of Greece",a guide to important sites and historic places of ancient Greece. Since Pausanias wrote only about five hundred years after the great flourishing of classical Greek culture, since he was a careful recorder of what he saw, and since he was fascinated with ancient ruins and folk customs, he provided later scholars with an invaluable resource for understanding Greek life at the height of the Roman empire. "Even today," wrote a contributor to "World Eras","it is possible to take his work as a useful guide to the archaeological sites in the various parts of Greece."

Little is known about Pausanias himself, or even about his background. Traditionally he was said to be a native of the city of Magnesia ad Sipylum in Lydia, part of western Asia Minor (now Turkey). Even the dates of his birth and death are unknown, but the Description of Greece has been dated to approximately 150 A.D. In the ten volumes of the Description Pausanias refers frequently to the monuments and celebrations of Greek culture created by the Roman emperor Hadrian (reigned 117 - 138). No event after 176 appears in the Description, so classical scholars have generally assigned Pausanias' most active period to the years surrounding 150 - the middle of the second century.

The Description was probably designed for tourists of Greek ancestry - probably people like Pausanias himself, born in Asia but proud of their Greek heritage - whose enthusiasm for their ancestral homeland had been inflamed by the pro - Greek policies of Hadrian. The Description was organized by areas surrounding the ancient poleis, or city - states. Pausanias' work was virtually unique because it approached Greece and its history not in chronological order (taking events in the order in which they happened) but geographically. The ruins and monuments Pausanias encountered served as pointers for tourists, allowing them to place themselves in space. But they also served as keys that allowed Pausanias to unlock the great events and artists of Greek history and culture for his audience. This may explain why the traveler omitted parts of Greece in his itinerary. The ten volumes of the Description concentrate most heavily on classical sites in Athens, Sparta, Delphi (which housed an important shrine and oracle dedicated to the god Apollo), and Olympus, the site of the great Olympian games - the areas that would have been most familiar to Greek tourists at the time (as they still are today).

Sources of Attic History

Pausanias in his work treated the sites of ancient Greece almost exactly the same way as modern tour guides would do. In his first book, for instance - the guide to the province of Attica, the area dominated by Athens - he takes the reader from the point of arrival into the city through the main gate. He begins by describing the entrance to the port of Athens, the Peiraeus, giving a description of the geography surrounding the port and pointing out sites of interest. These ranged from religious temples and public monuments to places of importance in Greek history. "When you have rounded the promontory," he stated in the Description of Greece, "you see a harbor and a temple to Athena of Sunium on the peak of the promontory. Farther on is Laurium, where once the Athenians had silver mines, and a small uninhabited island called the Island of Patroclus. For a fortification was built on it and a palisade constructed by Patroclus, who was admiral in command of the Egyptian men - of - war sent byPtolemy. . .tohelp the Athenians, when Antigonus, son of Demetrius, was ravaging their country."

This excerpt from the Description demonstrated Pausanias' broad grasp of history. By pointing out the temple of Athena at Sunium, the entrance to the Peiraeus, he emphasized the relationship between the goddess and the famous city that bore her name. The silver mines at Laurium provided the Athenians at the beginning of the fifth century B.C. with the coin they needed to build ships to protect themselves from the Persians. The ships gave Athens the power to defeat the Persians (who had the most powerful army in the world at the time) and to extend control over the islands of the Aegean Sea and much of mainland Greece as well, leading to the great Golden Age of Athens. The story of the forts built by Patroclus recalled more recent history, after the decline of Athens about 450 years before Pausanias wrote his guide. By relating these stories, Pausanias was providing his readers with an historical context through which they could more easily understand the sites they saw and gain a sense of shared history and ethnic pride in their common Greek heritage.

Pausanias also provided reports of ancient monuments that have proved to be invaluable to modern historians. One of his best - known descriptions is that of the statue that stood in the Parthenon, the temple to Athena Parthenos, the virgin goddess who protected Athens from her enemies. The statue was built during Athens' Golden Age by the great sculptor Pheidias, one of the greatest artists of the ancient world. "The statue itself," explained Pausanias, "is made of ivory and gold. On the middle of her helmet is placed a likeness of the Sphinx . . . and on either side of the helmet are griffins in relief. . . . The statue of Athena is upright, with a tunic reaching to the feet, and on her breast the head of Medusa is worked in ivory. She holds a statue of Victory about four cubits high, and in the other hand a spear; at her feet lies a shield and near the spear is a serpent." Pausanias' description has allowed modern historians and archaeologists to make plausible reconstructions of Pheidias' work and to recognize what may be a surviving Roman miniature copy of the Athena statue.

Discovering the Ancient Olympics

The fifth and sixth books of the Description tell stories about the ancient Panhellenic games at Olympus, held every fourthyearinhonorofthekingofthegods,Zeus.Atthetimehe visited the site of the games at Olympia in the southern part of Greece, many of the cult statues dedicated to winners of the games were still standing. Pausanias related stories about these early heroes of the Olympics. One of the outstanding athletes was Milo, a wrestler from the Greek colony of Croton in Magna Graecia (now the southern half of Italy). Milo, a man ofprodigiousstrength,competedintheOlympicsandinother sacred games over a period of thirty years in the late sixth century B.C. He won Olympic crowns in six of the seven games in which he competed. Another story related by Pausanias concerns the athlete Theagenes of the island of Thasos. Theagenes competed as a boxer, in the pankration (a combination of wrestling, boxing, and judo), and in running. He was so successful that afterhisdeathhewasworshipedasa god on Thasos and, when his cult statue was lost at sea, Pausanias reported that his native town suffered from an intense famine.

Pausanias is also a major source for information about the participation of women in the ancient games. Although women were not allowed within the sacred precinct at Olympia, they nonetheless had their own games, which were held at a different time. The women's games were dedicated to Zeus' wife Hera and were known as the Heraean games. The participants in the events were all female virgins, divided into three age groups. They were largely treated the same way that male athletes were treated. They ran on the same race track, the victor was awarded a crown of olive leaves, and winners in all events were allowed to set up cult statues.

Used Pausanias to Understand Ancient Greece

Pausanias' work has allowed modern archaeologists and classical scholars to reconstruct the street plan of ancient Athens and has even permitted them to identify individual buildings. The unearthing of the Agora, the town square and marketplace of ancient Athens, was made easy for the excavators, who were able to retrace Pausanias' footsteps through the remains of the ancient city. "His description of the Agora," wrote Eugene Vanderpool in Hesperia, "although sometimes vague and often far briefer than we could have wished, is none the less of the greatest value, and we must confess that without it we would be hard put to identify the remains of the buildings that have been found with those known from other ancient sources to have existed in the Agora."

Recently, however, some scholars have begun to explore Pausanias' work as a guide, not so much to the sites of ancient Greece, but to understand the relationship between Greeks in the period of Roman domination and their past. Pausanias, wrote John Elsner in Past and Present, "used myths of the ancient Greek past and the sacred associations of pilgrimage to shield himself from the full implications of being a subject." Greeks in the second century A.D. may have read the Description as both a travel guide to their ancestral homeland and as a source of pride in their heritage at a time when they were under the thumb of a foreign imperial power.

So whether modern scholars read Pausanias' Description as a travelogue and tourist's guide to classical Greek sites or as a political commentary on the status of Greeks at the height of the Roman empire, the work remains an important source for understanding ancient Greek history. "A text which has been regarded as a pedantic and antiquarian tourist guide," Elsner concluded, "can be interpreted to show how Greeks coped with the burden of a distinguished past weighing on their cultural identity, with the contemporary politics of Greece's status as a Roman province, and with the profound sense of the sacred with which so much of ancient culture was imbued."

Books

Arafat, Karim W., Pausanias' Greece: Ancient Artists and Roman Rulers, Cambridge University Press, 1996.

Habicht, Christian, Pausanias' Guide to Ancient Greece, University of California Press, 1985.

Pausanias, Description of Greece, 5 volumes, edited and translated by W. H. S. Jones and Henry A. Ormerod, G. P. Putnam's Sons, 1918 - 1935.

Pausanias: Travel and Memory in Roman Greece, edited by S. E. Alcock, J. F. Cherry, and J. Elsner, Oxford University Press, 2001.

World Eras, Volume 3: Roman Republic and Empire (264 B.C.E. - 476 C.E.), Gale Group, 2001.

Periodicals

Past and Present, May, 1992.

Hesperia, January - March, 1949.

 
 

(flourished AD 143 – 176) Greek traveler and geographer. His Description of Greece is an invaluable guide to ancient ruins. He describes the religious art and architecture of Olympia and Delphi, the pictures and inscriptions at Athens, the statue of Athena on the Acropolis, and (outside the city) the monuments of famous men and of Athenians fallen in battle. According to James George Frazer, without Pausanias the ruins of Greece would be "a labyrinth without a clue, a riddle without an answer."

For more information on Pausanias, visit Britannica.com.

 
fl. A.D. 150, traveler and geographer, probably b. Lydia. His Description of Greece is an invaluable source for the topography, monuments, and legends of ancient Greece. There are translations by J. G. Frazer and W. H. S. Jones.

Bibliography

See study by C. Habicht (1969).

 
Wikipedia: Pausanias (geographer)

Pausanias (Greek: Παυσανίας) was a Greek traveller and geographer of the 2nd century A.D., who lived in the times of Hadrian, Antoninus Pius and Marcus Aurelius. He is famous for his Description of Greece (Ἑλλάδος περιήγησις), a lengthy work that describes ancient Greece from firsthand observations, and is a crucial link between classical literature and modern archaeology. This is how Andrew Stewart assesses him:[1]

A careful, pedestrian writer, he is interested not only in the grandiose or the exquisite but in unusual sights and obscure ritual. He is occasionally careless, or makes unwarranted inferences, and his guides or even his own notes sometimes mislead him; yet his honesty is unquestionable, and his value without par.

Biography

Pausanias was probably a native of Lydia; he was certainly familiar with the western coast of Asia Minor, but his travels extended far beyond the limits of Ionia. Before visiting Greece he had been to Antioch, Joppa and Jerusalem, and to the banks of the River Jordan. In Egypt he had seen the Pyramids, while at the temple of Ammon he had been shown the hymn once sent to that shrine by Pindar. In Macedonia he had almost certainly viewed the traditional tomb of Orpheus. Crossing over to Italy, he had seen something of the cities of Campania and of the wonders of Rome. He was one of the first to write of seeing the ruins of Troy, Alexandria Troas, and Mycenae.

Work

Pausanias' Description of Greece takes the form of a tour in Ionia on the coast of Asia Minor and in the Peloponnese and part of northern Greece. He constantly describes ceremonial rites or superstitious customs. He frequently introduces narratives from the domain of history and of legend and folklore, and it is only rarely that he allows the reader to see something of the scenery. But, he notices the pine trees on the sandy coast of Elis, the deer and the wild boars in the oak woods of Phelloe, and the crows amid the giant oak trees of Alalcomenae. It is mainly in the last section that Pausanias touches on the products of nature, such as the wild strawberries of Helicon, the date palms of Aulis, and the olive oil of Tithorea, as well as the tortoises of Arcadia and the "white blackbirds" of Cyllene.

Pausanias is most at home in describing the religious art and architecture of Olympia and of Delphi. Yet, even in the most secluded regions of Greece, he is fascinated by all kinds of quaint and primitive images of the gods, holy relics, and many other sacred and mysterious objects. At Thebes he views the shields of those who died at the Battle of Leuctra, the ruins of the house of Pindar, and the statues of Hesiod, Arion, Thamyris, and Orpheus in the grove of the Muses on Helicon, as well as the portraits of Corinna at Tanagra and of Polybius in the cities of Arcadia.

Pausanias has the instincts of an antiquary. As his editor Christian Habicht has said,

"In general he prefers the old to the new, the sacred to the profane; there is much more about classical than about contemporary Greek art, more about temples, altars and images of the gods, than about public buildings and statues of politicians. Some magnificent and dominating structures, such as the Stoa of King Attalus in the Athenian Agora (rebuilt by Homer Thompson) or the Exedra of Herodes Atticus at Olympia are not even mentioned."[2]

Pausanias' Periegesis, unlike a Baedeker guide, stops for a brief excursus on a point of ancient ritual or to tell an apposite myth, in a genre that would not become popular again until the early nineteenth century. In the topographical part of his work, Pausanias is fond of digressions on the wonders of nature, the signs that herald the approach of an earthquake, the phenomena of the tides, the ice-bound seas of the north, and the noonday sun which at the summer solstice casts no shadow at Syene (Aswan). While he never doubts the existence of the gods and heroes, he sometimes criticizes the myths and legends relating to them. His descriptions of monuments of art are plain and unadorned. They bear the impression of reality, and their accuracy is confirmed by the extant remains. He is perfectly frank in his confessions of ignorance. When he quotes a book at second hand he takes pains to say so.

The work, all ten volumes of it, was a failure. "It was not read," Habicht relates— "there is not a single mention of the author, not a single quotation from it, not a whisper before Stephanus Byzantius in the sixth century, and only two or three references to it throughout the Middle Ages".[3] We came perilously close to losing it altogether, in fact: the only manuscripts of Pausanias are fifteenth-century copies, full of errors and lacunae. Until twentieth-century archaeologists found that Pausanias was a reliable guide to the sites they were excavating,[4] Pausanias was largely dismissed by nineteenth- and early twentieth-century classicists of a purely literary bent, who followed the authoritative Wilamowitz in discrediting him, as a purveyor of literature quoted at second-hand, who, it was suggested, had not actually visited most of the places he described. The experience of a century of archaeologists has fully vindicated him.[5]

References

See also

External links

Wikiquote has a collection of quotations related to:

Further reading

  • Akujärvi, Johanna 2005, Researcher, Traveller, Narrator: Studies in Pausanias' Periegesis (Stockholm). ISBN 91-22-02134-5.
  • Alcock, S.E., J.F. Cherry, and J. Elsner 2001, Pausanias: Travel and Memory in Roman Greece (Oxford). ISBN 0-19-517132-2.
  • Arafat, Karim W. 1996, Pausanias' Greece: Ancient Artists and Roman Rulers (Cambridge). ISBN 0-521-60418-4.
  • Habicht, Christian 1985, Pausanias' Guide to Ancient Greece (Berkeley). ISBN 0-520-06170-5.
  • Hutton, William 2005, Describing Greece: Landscape and Literature in the Periegesis of Pausanias (Cambridge). ISBN 0-521-84720-6.
  • Levi, Peter (tr.) 1984a, 1984b, Pausanias: Guide to Greece, 2 vols. (Penguin). Vol. 1 Central Greece ISBN 0-14-044225-1; vol. 2 Southern Greece ISBN 0-14-044226-X.
  • Pretzler, Maria. "Turning Travel into Text: Pausanias at work", Greece & Rome, Vol. 51, Issue 2 (2004), pp. 199–216.

Notes

  1. ^ One Hundred Greek Sculptors: Their Careers and Extant Works, introduction. [citation needed]
  2. ^ Christian Habicht, "An Ancient Baedeker and His Critics: Pausanias' 'Guide to Greece'" Proceedings of the American Philosophical Society 129.2 (June 1985:220-224) p. 220.
  3. ^ Habich 1985:220.
  4. ^ In this Heinrich Schliemann was a maverick and forerunner: a close reading of Pausanias guided him to the royal tombs at Mycenae.
  5. ^ Habich 1985 describes an embarrassing episode in which Wilamowitz was led astray by misreading Pausanias, in front of an august party of travellers, in 1873, and attributes to it Wilamowitz' lifelong antipathy and distrust of Pausanias.

This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.


 
 

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