1. Recently I was on my way home after lecturing to you, when a number of my recent audience met me (I see no objection to telling you a story like this now that you and I are friends)—they met me, then, and after greeting me gave some indication of approval. They accompanied me for some distance, vying in noisy praise until I blushed for shame at the thought that I fell far short of their praises. The substance of their approbation, which all alike emphasised, was the strangeness of the thought in my composition and the degree of freshness it displayed. It would be better to quote verbatim: “What novelty! What marvellous paradoxes! How inventive he is! The freshness of thought is beyond compare!” They continued in this strain. They had clearly been taken with the lecture—I don’t suppose they could have any reason for telling lies and flattering a stranger as they did, one who had no other reason for claiming their attention.
1. Ἔναγχος ἐγὼ μὲν ὑμῖν δείξας τὸν λόγον ἀπῄειν οἴκαδε, προσιόντες δέ μοι τῶν ἀκηκοότων πολλοὶ (κωλύει γὰρ οὐδέν οἶμαι καὶ τὰ τοιαῦτα πρὸς φίλους ἤδη ὄντας ὑμᾶς λέγειν)—προσιόντες οὖν ἐδεξιοῦντο καὶ θαυμάζουσιν ἐῴκεσαν. ἐπὶ πολὺ γοῦν παρομαρτοῦντες ἄλλος ἄλλοθεν ἐβόων καὶ ἐπῄνουν ἄχρι τοῦ καὶ ἐρυθριᾶν με, μὴ ἄρα πάμπολυ τῆς ἀξίας τῶν ἐπαίνων ἀπολειποίμην. τὸ δ’ οὖν κεφάλαιον αὐτοῖς τοῦτο ἦν, καὶ πάντες ἓν καὶ τὸ αὐτὸ ἐπεσημαίνοντο, τὴν γνώμην τῶν συγγραμμάτων ξένην οὖσαν καὶ πολὺν ἐν αὐτῇ τὸν νεωτερισμόν. μᾶλλον δὲ αὐτὰ εἰπεῖν ἄμεινον ἅπερ ἐκεῖνοι ἐπεφθέγγοντο· “Ὢ τῆς καινότητος. Ἡράκλεις, τῆς παραδοξολογίας. εὐμήχανος ἄνθρωπος. οὐδὲν ἄν τις εἴποι τῆς ἐπινοίας νεαρώτερον.” οἱ μὲν τοιαῦτα πολλὰ ἔλεγον, ὡς ἐκεκίνηντο δηλαδὴ ὑπὸ τῆς ἀκροάσεως. ἢ τίνα γὰρ ἂν αἰτίαν εἶχον ψεύδεσθαι καὶ κολακεύειν τὰ τοιαῦτα ξένον ἄνθρωπον, οὐ πάνυ πολλῆς αὐτοῖς φροντίδος ἄξιον τὰ ἄλλα;
2. To be honest, however, their praise caused me considerable annoyance, and when they had gone and I was left alone, I reflected as follows: “So this is the only attraction in my writings, that they are unconventional and keep off the beaten track, while good vocabulary, conformity to the ancient canon, penetration of intellect, power of perception, Attic grace, good construction, general competence, perhaps have no place in my work. Otherwise they would not have ignored these qualities and praised only the novel and strange element in my style. I, fool that I was, had thought when they rose in approbation that perhaps this particular feature too had some attraction for them—I remembered the truth of Homer’s remark that the new song takes the fancy of an audience; but I did not think to attribute so much—indeed all of it—to novelty, but supposed novelty to be a kind of additional ornament making some contribution indeed to the approbation of my work, the audience’s real praise and commendation, however, going to those other qualities. As a result my elation overstepped its bounds—to think I nearly believed them when they called me unique and in a class apart in Greece and other flatteries of this kind. In the words of the proverb, my treasure turned out ashes, and their approval is not much different from that which they would give a conjurer.
2. Πλὴν ἐμέ γε (εἰρήσεται γάρ) οὐ μετρίως ἠνία ὁ ἔπαινος αὐτῶν, καὶ ἐπειδή ποτε ἀπελθόντων κατ' ἐμαυτὸν ἐγενόμην ἐκεῖνα ἐνενόουν· οὐκοῦν τοῦτο μόνον χάριεν τοῖς ἐμοῖς ἔνεστιν, ὅτι μὴ συνήθη μηδὲ κατὰ τὸ κοινὸν βαδίζει τοῖς ἄλλοις, ὀνομάτων δὲ ἄρα καλῶν ἐν αὐτοῖς καὶ πρὸς τὸν ἀρχαῖον κανόνα συγκειμένων ἢ νοῦ ὀξέος ἢ περινοίας τινὸς ἢ χάριτος Ἀττικῆς ἢ ἁρμονίας ἢ τέχνης τῆς ἐφ' ἅπασι, τούτων δὲ πόρρω ἴσως τοὐμόν. οὐ γὰρ ἂν παρέντες αὐτὰ ἐκεῖνα ἐπῄνουν μόνον τὸ καινὸν τῆς προαιρέσεως καὶ ξενίζον. ἐγὼ δὲ ὁ μάταιος ᾤμην, ὁπότε ἀναπηδῶντες ἐπαινοῖεν, τάχα μέν τι καὶ αὐτὸ τοῦτο προσάγεσθαι αὐτούς· ἀληθὲς γὰρ εἶναι τὸ τοῦ Ὁμήρου, καὶ τὴν νέαν ᾠδὴν κεχαρισμένην ὑπάρχειν τοῖς ἀκούουσιν· οὐ μὴν τοσοῦτόν γε οὐδὲ ὅλον τῇ καινότητι νέμειν ἠξίουν, ἀλλὰ τὴν μὲν ὥσπερ ἐν προσθήκης μοίρᾳ συνεπικοσμεῖν τι καὶ πρὸς τὸν ἔπαινον συντελεῖν καὶ αὐτήν, τὰ δὲ τῷ ὄντι ἐπαινούμενα καὶ ὑπὸ τῶν ἀκουόντων εὐφημούμενα ἐκεῖνα εἶναι. ὥστε οὐ μετρίως ἐπήρμην καὶ ἐκινδύνευον πιστεύειν αὐτοῖς ἕνα καὶ μόνον ἐν τοῖς Ἕλλησιν εἶναι λέγουσι καὶ τὰ τοιαῦτα. τὸ δὲ κατὰ τὴν παροιμίαν ἄνθρακες ἡμῶν ὁ θησαυρὸς ἦσαν, καὶ ὀλίγου δέω θαυματοποιοῦ τινος ἔπαινον ἐπαινεῖσθαι πρὸς αὐτῶν.
3. I want to give you an example from a painter. Zeuxis, that pre-eminent artist, avoided painting popular and hackneyed themes as far as he could (I mean heroes, gods, wars); he was always aiming at novelty, and whenever he thought up something unheard-of and strange he showed the precision of his craftsmanship by depicting it. Among the bold innovations of this Zeuxis was his painting of a female Hippocentaur, one moreover that was feeding twin Hippocentaur children, no more than babies. There is a copy of this picture now at Athens made with strict accuracy from the original. Sulla, the Roman commander, was said to have sent off the original with his other trophies to Italy, but I suppose the ship then sank off Malea with the loss of all its cargo, including the painting. However that may be, I saw the copy of the painting and will describe it to you as far as I can, though I am certainly no artist. I remember it quite well, as I saw it not long ago in the house of a painter in Athens. The intense admiration I felt at the time for the craftsmanship will perhaps help me in my endeavour to give you a full description.
3. Ἐθέλω γοῦν ὑμῖν καὶ τὸ τοῦ γραφέως διηγήσασθαι. ὁ Ζεῦξις ἐκεῖνος ἄριστος γραφέων γενόμενος τὰ δημώδη καὶ τὰ κοινὰ ταῦτα οὐκ ἔγραφεν, ἢ ὅσα πάνυ ὀλίγα, ἥρωας ἢ θεοὺς ἢ πολέμους, ἀεὶ δὲ καινοποιεῖν ἐπειρᾶτο καί τι ἀλλόκοτον ἂν καὶ ξένον ἐπινοήσας ἐπ' ἐκείνῳ τὴν ἀκρίβειαν τῆς τέχνης ἐπεδείκνυτο. ἐν δὲ τοῖς ἄλλοις τολμήμασι καὶ θήλειαν Ἱπποκένταυρον ὁ Ζεῦξις οὗτος ἐποίησεν, ἀνατρέφουσάν γε προσέτι παιδίω Ἱπποκενταύρω διδύμω κομιδῇ νηπίω. τῆς εἰκόνος ταύτης ἀντίγραφός ἐστι νῦν Ἀθήνησι πρὸς αὐτὴν ἐκείνην ἀκριβεῖ τῇ στάθμῃ μετενηνεγμένη. τὸ ἀρχέτυπον δὲ αὐτὸ Σύλλας ὁ Ῥωμαίων στρατηγὸς ἐλέγετο μετὰ τῶν ἄλλων εἰς Ἰταλίαν πεπομφέναι, εἶτα περὶ Μαλέαν οἶμαι καταδύσης τῆς ὁλκάδος ἀπολέσθαι ἅπαντα καὶ τὴν γραφήν. πλὴν ἀλλὰ τήν γε εἰκόνα τῆς εἰκόνος εἶδον, καὶ αὐτὸς ὑμῖν ὡς ἂν οἷός τε ὦ δείξω τῷ λόγῳ, οὐ μὰ τὸν Δία γραφικός τις ὤν, ἀλλὰ πάνυ μέμνημαι οὐ πρὸ πολλοῦ ἰδὼν ἔν τινος τῶν γραφέων Ἀθήνησι. καὶ τὸ ὑπερθαυμάσαι τότε τὴν τέχνην τάχ' ἄν μοι καὶ νῦν πρὸς τὸ σαφέστερον δηλῶσαι συναγωνίσαιτο.
4. The Centaur herself is depicted lying on fresh young grass with all the horse part of her on the ground. Her feet are stretched behind her. The human part is slightly raised up on her elbows. Her fore-feet are not now stretched out, as you might expect with one lying on her side; one foot is bent with the hoof drawn under like one who kneels, while the other on the other hand is beginning to straighten and is taking a grip on the ground, as is the case with horses striving to spring up. She holds one of her offspring aloft in her arms, giving it the breast in human fashion; the other she suckles from her mare’s teat like an animal. Towards the top of the picture, apparently on some vantage point, is a Hippocentaur, clearly the husband of her who is feeding her children in two ways. He is leaning down and laughing. He is not completely visible, but only to a point halfway down his horse body. He holds aloft in his right hand a lion’s whelp, suspending it above his head to frighten the children in his fun.
4. Ἐπὶ χλόης εὐθαλοῦς ἡ Κένταυρος αὕτη πεποίηται ὅλῃ μὲν τῇ ἵππῳ χαμαὶ κειμένη, καὶ ἀποτέτανται εἰς τοὐπίσω οἱ πόδες· τὸ δὲ γυναικεῖον ὅσον αὐτῆς ἠρέμα ἐπεγήγερται καὶ ἐπ' ἀγκῶνός ἐστιν, οἱ δὲ πόδες οἱ ἔμπροσθεν οὐκέτι καὶ οὗτοι ἀποτάδην, οἷον ἐπὶ πλευρὰν κειμένης, ἀλλ’ ὁ μὲν ὀκλάζοντι ἔοικεν ὢν καμπύλος ὑπεσταλμένῃ τῇ ὁπλῇ, ὁ δὲ ἔμπαλιν ἐπανίσταται καὶ τοῦ ἐδάφους ἀντιλαμβάνεται, οἷοί εἰσιν ἵπποι πειρώμενοι ἀναπηδᾶν. τοῖν νεογνοῖν δὲ τὸ μὲν ἄνω ἔχει αὐτὴ ἐν ταῖς ἀγκάλαις καὶ τρέφει ἀνθρωπικῶς ἐπέχουσα τὸν γυναικεῖον μαστόν, τὸ δ’ ἕτερον ἐκ τῆς ἵππου θηλάζει ἐς τὸν πωλικὸν τρόπον. ἄνω δὲ τῆς εἰκόνος οἷον ἀπό τινος σκοπῆς Ἱπποκένταυρός τις, ἀνὴρ ἐκείνης δηλαδὴ τῆς τὰ βρέφη ἀμφοτέρωθεν τιθηνουμένης, ἐπικύπτει γελῶν οὐχ ὅλος φαινόμενος, ἀλλ’ ἐς μέσον τὸν ἵππον, λέοντος σκύμνον ἀνέχων τῇ δεξιᾷ καὶ ὑπὲρ ἑαυτὸν αἰωρῶν, ὡς δεδίξαιτο σὺν παιδιᾷ τὰ βρέφη.
5. The other qualities, not completely discernible by the eye of an amateur like myself, nevertheless display the whole power of his craftsmanship—such things as precision of line, accuracy in the blending of colours, taste in application of the paint, correct use of shadow, good perspective, proportion, and symmetry. But let the sons of artists appreciate these points, men who make it their business to know them. For my part I praised Zeuxis for this in particular, that in one and the same subject he has shown his extraordinary craftsmanship in so many ways. His husband is completely frightening and absolutely wild; he has a proud mane, being almost completely covered in hair—not only the horse part of him but his human chest as well and especially his shoulders, and his glance, although he is laughing, is altogether savage, wild, and of the hills.
5. Τὰ μὲν οὖν ἄλλα τῆς γραφῆς, ἐφ' ὅσα τοῖς ἰδιώταις ἡμῖν οὐ πάντη ἐμφανῆ ὄντα τὴν ὅλην ἔχει ὅμως δύναμιν τῆς τέχνης—οἷον τὸ ἀποτεῖναι τὰς γραμμὰς ἐς τὸ εὐθύτατον καὶ τῶν χρωμάτων ἀκριβῆ τὴν κρᾶσιν καὶ εὔκαιρον τὴν ἐπιβολὴν ποιήσασθαι καὶ σκιάσαι ἐς δέον καὶ τοῦ μεγέθους τὸν λόγον καὶ τὴν τῶν μερῶν πρὸς τὸ ὅλον ἰσότητα καὶ ἁρμονίαν—γραφέων παῖδες ἐπαινούντων, οἷς ἔργον εἰδέναι τὰ τοιαῦτα. ἐγὼ δὲ τοῦ Ζεύξιδος ἐκεῖνο μάλιστα ἐπῄνεσα, ὅτι ἐν μιᾷ καὶ τῇ αὐτῇ ὑποθέσει ποικίλως τὸ περιττὸν ἐπεδείξατο τῆς τέχνης, τὸν μὲν ἄνδρα ποιήσας πάντη φοβερὸν καὶ κομιδῇ ἄγριον, σοβαρὸν τῇ χαίτῃ, λάσιον τὰ πολλὰ οὐ κατὰ τὸν ἵππον αὐτοῦ μόνον, ἀλλὰ καὶ κατὰ στέρνον τοῦ ἀνθρώπου καὶ ὤμους ἐπὶ πλεῖστον, τὸ βλέμμα, καίτοι γελῶντος, θηριῶδες ὅλον ὄρειόν τι καὶ ἀνήμερον.
6. Such then is the husband. The horse part of the female he made is most beautiful, with a strong resemblance to Thessalian fillies when they are still untamed and virgin. The top half is that of a very beautiful woman, apart from the ears, which alone of her features are those of a satyr. The union and junction of bodies whereby the horse part is fused with the woman part and joined to it is effected by a gradual change, with no abrupt transition; the eye, as it moves gradually from one to the other, is quite deceived by the subtle change. In the case of the young, their babyhood is wild and already fearsome in its gentleness—I thought this a wonderful touch. I admired too the very babylike way in which both young were looking up at the lion cub as they sucked at the nipple, holding close and nestling against their mother.
6. Τοιοῦτον μὲν ἐκεῖνον. τὴν θήλειαν δὲ ἵππου τε τῆς καλλίστης, οἷαι μάλιστα αἱ Θετταλαί εἰσιν, ἀδμῆτες ἔτι καὶ ἄβατοι, τὸ δὲ ἄνω ἡμίτομον γυναικὸς πάγκαλον ἔξω τῶν ὤτων· ἐκεῖνα δὲ μόνα σατυρώδη ἐστὶν αὐτῇ. καὶ ἡ μῖξις δὲ καὶ ἡ ἁρμογὴ τῶν σωμάτων, καθ' ὃ συνάπτεται καὶ συνδεῖται τῷ γυναικείῳ τὸ ἱππικόν, ἠρέμα καὶ οὐκ ἀθρόως μεταβαίνουσα καὶ ἐκ προσαγωγῆς τρεπομένη λανθάνει τὴν ὄψιν ἐκ θατέρου εἰς τὸ ἕτερον ὑπαγομένη. τῶν νεογνῶν δὲ τὸ ἐν τῷ νηπίῳ ὅμως ἄγριον καὶ ἐν τῷ ἁπαλῷ ἤδη φοβερόν, καὶ τοῦτο θαυμαστὸν οἷον ἔδοξέ μοι, καὶ ὅτι παιδικῶς μάλα πρὸς τὸν σκύμνον τοῦ λέοντος ἀναβλέπουσι, μεταξὺ τῆς θηλῆς ἑκάτερος ἐπειλημμένοι ἐν χρῷ τῇ μητρὶ προσιστάμενοι.
7. Zeuxis thought that this picture would send his viewers into raptures over his skill when they saw it. They certainly applauded it—what else could they do when they met a sight so lovely to gaze upon? But everyone’s warmest praise went to the points they praised in me too just recently; it was the strangeness of the idea, and the freshness of the sentiment of the work, quite unprecedented, that struck them. So when Zeuxis saw that the novelty of the subject was taking their attention and distracting them from the technique of the work, and that the accuracy of detail was taking second place, he said to his pupil: “Come on, Micio, cover up the picture and all of you pick it up and take it home. These spectators are praising only the mere clay of my work, but as to the effects of light, they do not worry much whether they are beautiful and skilfully executed, and the novelty of the subject goes for more than the accuracy of its parts.”
7. Ταῦτα δ’ οὖν ἐπιδειξάμενος ὁ Ζεῦξις αὐτὸς μὲν ᾤετο ἐκπλήξειν τοὺς ὁρῶντας ἐπὶ τῇ τέχνῃ, οἱ δὲ αὐτίκα μὲν ἐβόων—ἢ τί γὰρ ἂν ἐποίουν καλλίστῳ θεάματι ἐντυγχάνοντες; ἐπῄνουν δὲ μάλιστα πάντες ἅπερ κἀμὲ πρῴην ἐκεῖνοι, τῆς ἐπινοίας τὸ ξένον καὶ τὴν γνώμην τῆς γραφῆς ὡς νέαν καὶ τοῖς ἔμπροσθεν ἀγνῶτα οὖσαν. ὥστε ὁ Ζεῦξις συνεὶς ὅτι αὐτοὺς ἀσχολεῖ ἡ ὑπόθεσις καινὴ οὖσα καὶ ἀπάγει τῆς τέχνης, ὡς ἐν παρέργῳ τίθεσθαι τὴν ἀκρίβειαν τῶν πραγμάτων, Ἄγε δή, ἔφη, ὦ Μικίων, πρὸς τὸν μαθητήν, περίβαλε ἤδη τὴν εἰκόνα καὶ ἀράμενοι ἀποκομίζετε οἴκαδε. οὗτοι γὰρ ἡμῶν τὸν πηλὸν τῆς τέχνης ἐπαινοῦσι, τῶν δὲ αὖ φώτων εἰ καλῶς ἔχει καὶ κατὰ τὴν τέχνην, οὐ πολὺν ποιοῦνται λόγον, ἀλλὰ παρευδοκιμεῖ τὴν ἀκρίβειαν τῶν ἔργων ἡ τῆς ὑποθέσεως καινοτομία.
8. That is what Zeuxis said, with too much anger perhaps. Antiochus—the one called the Saviour—is said to have had a similar experience in the battle against the Galatians. If you agree I’ll tell you this story too. He knew that they were bold fighters and saw that there were many of them, and that their phalanx was compact and firm, with their bronze-clad warriors in the van and heavy-armed troops in the rear to a depth of twenty-four ranks, and that on either flank there were 20,000 cavalry, while in the centre were eighty scythed chariots and twice as many two-horse chariots ready to make a sally. Antiochus then thought little of his chances of defeating such an invincible array. His own force had been hurriedly prepared and was not impressive or strong enough for the engagement. He had very few men, mostly targeteers and light-armed troops—light infantry made up over half of his force. Consequently he thought it prudent to make an immediate truce and to come to some honourable arrangement for putting an end to the war.
8. Ὁ μὲν οὖν Ζεῦξις οὕτως, ὀργιλώτερον ἴσως. Ἀντίοχος δὲ ὁ σωτὴρ ἐπικληθεὶς καὶ οὗτος ὅμοιόν τι παθεῖν λέγεται ἐν τῇ πρὸς Γαλάτας μάχῃ. εἰ βούλεσθε, διηγήσομαι καὶ τοῦτο, ὁποῖον ἐγένετο. εἰδὼς γὰρ τούτους ἀλκίμους ὄντας καὶ πλήθει παμπόλλους ὁρῶν καὶ τὴν φάλαγγα καρτερῶς συναραρυῖαν καὶ ἐπὶ μετώπου μὲν προασπίζοντας τοὺς χαλκοθώρακας αὐτῶν, ἐς βάθος δὲ ἐπὶ τεττάρων καὶ εἴκοσι τεταγμένους ὁπλίτας, ἐπὶ κέρως δ’ ἑκατέρωθεν τὴν ἵππον δισμυρίαν οὖσαν, ἐκ δὲ τοῦ μέσου τὰ ἅρματα ἐκπηδήσεσθαι μέλλοντα δρεπανηφόρα ὀγδοήκοντα καὶ συνωρίδας ἐπ' αὐτοῖς δὶς τοσαύτας, ταῦτα ὁρῶν πάνυ πονηρὰς εἶχε τὰς ἐλπίδας, ὡς ἀμάχων ὄντων ἐκείνων αὐτῷ. ἐκεῖνος γὰρ δι’ ὀλίγου τῆς στρατιᾶς ἐκείνης παρασκευασθείσης οὐ μεγαλωστὶ οὐδὲ κατ' ἀξίαν τοῦ πολέμου ἀφίκετο κομιδῇ ὀλίγους ἄγων, καὶ τούτων πελταστικὸν τὸ πολὺ καὶ ψιλικόν· οἱ γυμνῆτες δὲ ὑπὲρ ἥμισυ τῆς στρατιᾶς ἦσαν. ὥστε ἐδόκει αὐτῷ ἤδη σπένδεσθαι καί τινα εὐπρεπῆ διάλυσιν εὑρίσκεσθαι τοῦ πολέμου.
9. He had with him, however, Theodotas of Rhodes, a fine soldier and skilful tactician, and this man’s presence restored his confidence. Now Antiochus had sixteen elephants, and Theodotas told him to keep them hidden as much as possible so they should not be seen towering above the troops; on the signal for battle just when the fighting was to start and the troops to come to grips and the enemy’s cavalry charged, the Galatians would open their phalanx and stand aside to let the chariots through; at that moment a group of four elephants should be sent against the cavalry on either flank, the remaining eight attacking the scythed and two-horse chariots. Such a movement, said Theodotas, would frighten their horses and turn them back in flight against the Galatian ranks. So it turned out.
9. Ἀλλὰ Θεοδότας ὁ Ῥόδιος, ἀνὴρ γενναῖος καὶ τακτικῶν ἔμπειρος, οὐκ εἴα παρὼν ἀθυμεῖν. καὶ ἦσαν γὰρ ἑκκαίδεκα ἐλέφαντες τῷ Ἀντιόχῳ. τούτους ἐκέλευσεν ὁ Θεοδότας τέως μὲν ἔχειν ὡς οἷόν τε κατακρύψαντα, ὡς μὴ κατάδηλοι εἶεν ὑπερφαινόμενοι τοῦ στρατοῦ, ἐπειδὰν δὲ σημήνῃ ὁ σαλπιγκτὴς καὶ δέῃ συμπλέκεσθαι καὶ εἰς χεῖρας ἰέναι καὶ ἡ ἵππος ἡ τῶν πολεμίων ἐπελαύνηται καὶ τὰ ἅρματα οἱ Γαλάται ἀνοίξαντες τὴν φάλαγγα καὶ διαστήσαντες ἐπαφῶσι, τότε ἀνὰ τέτταρας μὲν τῶν ἐλεφάντων ἀπαντᾶν ἐφ' ἑκάτερα τοῖς ἱππεῦσιν, τοὺς ὀκτὼ δὲ ἀντεπαφεῖναι τοῖς ἁρματηλάταις καὶ συνωριασταῖς. εἰ γὰρ τοῦτο γένοιτο,. φοβηθήσονται αὐτῶν, ἔφη, οἱ ἵπποι καὶ ἐς τοὺς Γαλάτας αὖθις ἐμπεσοῦνται φεύγοντες. καὶ οὕτως ἐγένετο.
10. Neither the Galatians themselves nor their horses had previously seen an elephant and they were so confused by the unexpected sight that, while the beasts were still a long way off and they could only hear the trumpet, ing and see their tusks gleaming all the more brightly against their bodies dark all over and their trunks raised like hooks, they turned and fled in a disorderly rout before they were within bowshot. Their infantry were impaled on each other’s spears and trampled underfoot as they were, by the cavalry, which came riding into them. The chariots too turned back against their own men and broke their ranks, not without bloodshed—in the words of Homer “the chariots clattered as they overturned.” Once the horses had veered from their straight course in their fear of the elephants, they threw off their drivers and the “empty chariots rattled on,” actually tearing and cutting with their scythes any of their own men in their path. Many men were caught since there was utter confusion. The elephants followed, trampling on them, tossing them aloft in their trunks, snatching and piercing them with their tusks, and in the end these animals had presented Antiochus with an overwhelming victory.
10. οὐ γὰρ πρότερον ἰδόντες ἐλέφαντα οὔτε αὐτοὶ Γαλάται οὔτε οἱ ἵπποι αὐτῶν οὕτω πρὸς τὸ παράδοξον τῆς ὄψεως ἐταράχθησαν, ὥστε πόρρω ἔτι τῶν θηρίων ὄντων ἐπεὶ μόνον τετριγότων ἤκουσαν καὶ τοὺς ὀδόντας εἶδον ἀποστίλβοντας ἐπισημότερον ὡς ἂν ἐκ μέλανος τοῦ παντὸς σώματος καὶ τὰς προνομαίας ὡς ἐς ἁρπαγὴν ὑπεραιωρουμένας, πρὶν ἢ τὸ τόξευμα ἐξικνεῖσθαι, ἐκκλίναντες σὺν οὐδενὶ κόσμῳ ἔφευγον, οἱ μὲν πεζοὶ περιπειρόμενοι ὑπ' ἀλλήλων τοῖς δορατίοις καὶ συμπατούμενοι ὑπὸ τῶν ἱππέων ὡς εἶχον ἐμπεσόντων ἐπ' αὐτούς, τὰ ἅρματα δέ, ἀναστρέψαντα καὶ ταῦτα ἔμπαλιν εἰς τοὺς οἰκείους, οὐκ ἀναιμωτὶ διεφέρετο ἐν αὐτοῖς, ἀλλὰ τὸ τοῦ Ὁμήρου, “δίφροι δ’ ἀνεκυμβαλίαζον.” οἱ ἵπποι δ’ ἐπείπερ ἅπαξ τῆς ἐς τὸ εὐθὺ ὁδοῦ ἀπετρέποντο οὐκ ἀνασχόμενοι τῶν ἐλεφάντων, τοὺς ἐπιβάτας ἀποβαλόντες “κείν' ὄχεα κροτάλιζον” τέμνοντες νὴ Δία καὶ διαιροῦντες τοῖς δρεπάνοις εἴ τινας τῶν φίλων καταλάβοιεν. πολλοὶ δὲ ὡς ἐν ταράχῳ τοσούτῳ κατελαμβάνοντο. εἵποντο δὲ καὶ οἱ ἐλέφαντες συμπατοῦντες καὶ ἀναρριπτοῦντες ταῖς προνομαίαις ἐς ὕψος καὶ συναρπάζοντες καὶ τοῖς ὀδοῦσι περιπείροντες, καὶ τέλος οὗτοι κατὰ κράτος παραδιδόασι τῷ Ἀντιόχῳ τὴν νίκην.
11. The Galatians lost many killed in the great slaughter. The rest were taken prisoner, except for a very few who escaped to the mountains in time. Antiochus’s Macedonian contingent raised the Paean and gathering round him crowned him “king of glorious victory” with acclamation. Antiochus is said to have wept as he addressed his troops. “Men,” he said, “we owe our lives to these sixteen animals; so let us rather feel shame. For if the strangeness of what they saw had not thrown the enemy into confusion, what should we have been compared with them?” Then he ordered them to decorate the trophy with a carved elephant and nothing else.
11. Οἱ Γαλάται δὲ οἱ μὲν ἐτεθνήκεσαν, πολλοῦ τοῦ φόνου γενομένου, οἱ δὲ ζῶντες ἐλαμβάνοντο, πλὴν πάνυ ὀλίγοι ὁπόσοι ἔφθασαν εἰς τὰ ὄρη ἀναφυγόντες, οἱ Μακεδόνες δὲ ὅσοι σὺν Ἀντιόχῳ ἦσαν, ἐπαιώνιζον καὶ προσιόντες ἄλλος ἀλλαχόθεν ἀνέδουν τὸν βασιλέα καλλίνικον ἀναβοῶντες. ὁ δὲ καὶ δακρύσας, ὥς φασιν, Αἰσχυνώμεθα, ἔφη, ὦ στρατιῶται, οἷς γε ἡ σωτηρία ἐν ἑκκαίδεκα τούτοις θηρίοις ἐγένετο· ὡς εἰ μὴ τὸ καινὸν τοῦ θεάματος ἐξέπληξε τοὺς πολεμίους, τί ἂν ἡμεῖς ἦμεν πρὸς αὐτούς; ἔπι τε τῷ τροπαίῳ κελεύει ἄλλο μηδέν, ἐλέφαντα δὲ μόνον ἐγκολάψαι.
12. It is time for me to consider whether my army is
12. Ὥρα τοίνυν με σκοπεῖν μὴ καὶ τοὐμὸν ὅμοιον ᾖ