18.4. Between Antheia and Aroe was founded a third city, called Mesatis. The stories told of Dionysus by the people of Patrae, that he was reared in Mesatis and incurred there all sob of perils through the plots of the Titans, I will not contradict, but will leave it to the people of Patrae to explain the name Mesatis as they choose.
18.4. ᾠκίσθη δὲ καὶ τρίτη μεταξὺ Ἀνθείας καὶ Ἀρόης Μεσάτις πόλις. ὁπόσα δὲ οἱ Πατρεῖς περὶ Διονύσου λέγουσι, τραφῆναί τε αὐτὸν ἐν τῇ Μεσάτει καὶ ἐνταῦθα ἐπιβουλευθέντα ὑπὸ Τιτάνων ἐς παντοῖον ἀφικέσθαι κίνδυνον, οὐκ ἐναντιούμενος τοῖς Πατρεῦσιν [τῆς Μεσάτεως τὸ ὄνομα] αὐτοῖς σφισιν ἐξηγεῖσθαι παρίημι.
18.5. When afterwards the Achaeans had driven out the Ionians, Patreus, the son of Preugenes, the son of Agenor, forbade the Achaeans to settle in Antheia and Mesatis, but built at Aroe a wall of greater circumference so as to include Aroe within it, and named the city Patrae after himself. Agenor, the father of Preugenes, was the son of Areus, the son of Ampyx, and Ampyx was a son of Pelias, the son of Aeginetes, the son of Dereites, the son of Harpalus, the son of Amyclas, the son of Lacedaemon.
18.5. Ἀχαιῶν δὲ ὕστερον ἐκβαλόντων Ἴωνας, Πατρεὺς ὁ Πρευγένους τοῦ Ἀγήνορος ἐς μὲν Ἄνθειαν καὶ ἐς Μεσάτιν μὴ ἐνοικίζεσθαι τοῖς Ἀχαιοῖς ἀπεῖπε, περίβολον δὲ τείχους πρὸς τῇ Ἀρόῃ βαλόμενος μείζονα, ἵνα ἐντός οἱ τοῦ περιβόλου καὶ ἡ Ἀρόη γένηται, ὄνομα ἔθετο ἀφʼ ἑαυτοῦ Πάτρας τῇ πόλει. Ἀγήνωρ δὲ ὁ πατὴρ τοῦ Πρευγένους Ἀρέως παῖς ἦν τοῦ Ἄμπυκος, ὁ δὲ Ἄμπυξ Πελίου τοῦ Αἰγινήτου τοῦ Δηρείτου τοῦ Ἁρπάλου τοῦ Ἀμύκλα τοῦ Λακεδαίμονος.
18.6. Such was the genealogy of Patreus. In course of time the people of Patrae on their own account crossed into Aetolia; they did this out of friendship for the Aetolians, to help them in their war with the Gauls, and no other Achaeans joined them. But suffering unspeakable disasters in the fighting, and most of them being also crushed by poverty, all with the exception of a few left Patrae, and scattered, owing to their love of agriculture, up and down the country, dwelling in, besides Patrae, the following towns: Mesatis, Antheia, Bolina, Argyra and Arba.
18.6. Πατρεῖ μὲν τοιαῦτα ἐς τοὺς προγόνους ὑπάρχοντα ἦν· ἰδίᾳ δὲ ἀνὰ χρόνον Πατρεῖς διέβησαν ἐς Αἰτωλίαν Ἀχαιῶν μόνοι κατὰ φιλίαν τὴν Αἰτωλῶν, τὸν πόλεμόν σφισι τὸν πρὸς Γαλάτας συνδιοίσοντες. προσπταίσαντες δʼ ἐν ταῖς μάχαις λόγου μειζόνως καὶ ὑπὸ πενίας ἅμα οἱ πολλοὶ πιεζόμενοι Πάτρας μὲν πλὴν ὀλίγων τινῶν ἐκλείπουσιν· οἱ δὲ ἄλλοι κατὰ χώραν ὑπὸ φιλεργίας ἐσκεδάσθησαν καὶ πολίσματα παρὲξ αὐτὰς Πάτρας τοσάδε ἄλλα ᾤκησαν, Μεσάτιν καὶ Ἄνθειαν καὶ Βολίνην καὶ Ἀργυρᾶν τε καὶ Ἄρβαν.
18.7. But Augustus, for some reason, perhaps because he thought that Patrae was a convenient port of call, brought back again to Patrae the men from the other towns, and united with them the Achaeans also from Rhypes, which town he razed to the ground. He granted freedom to the Patraeans, and to no other Achaeans; and he granted also all the other privileges that the Romans are accustomed to bestow on their colonists.
18.7. Αὔγουστος δὲ ἢ τοῦ παράπλου νομίζων κεῖσθαι καλῶς τὰς Πάτρας ἢ κατʼ ἄλλην τινὰ αἰτίαν ἐπανήγαγεν αὖθις ἐκ τῶν πολισμάτων τῶν ἄλλων τοὺς ἄνδρας ἐς τὰς Πάτρας, προσσυνῴκισε δέ σφισι καὶ Ἀχαιοὺς τοὺς ἐκ Ῥυπῶν, καταβαλὼν ἐς ἔδαφος Ῥύπας· καὶ ἔδωκε μὲν ἐλευθέροις Ἀχαιῶν μόνοις τοῖς Πατρεῦσιν εἶναι, ἔδωκε δὲ καὶ ἐς τὰ ἄλλα γέρα σφίσιν, ὁπόσα τοῖς ἀποίκοις νέμειν οἱ Ῥωμαῖοι νομίζουσι.
18.8. On the acropolis of Patrae is a sanctuary of Artemis Laphria. The surname of the goddess is a foreign one, and her image too was brought in from elsewhere. For after Calydon with the rest of Aetolia had been laid waste by the Emperor Augustus in order that the Aetolian people might be incorporated into Nicopolis above Actium, the people of Patrae thus secured the image of Laphria.
18.8. Πατρεῦσι δὲ ἐν ἄκρᾳ τῇ πόλει Λαφρίας ἱερόν ἐστιν Ἀρτέμιδος· ξενικὸν μὲν τῇ θεῷ τὸ ὄνομα, ἐσηγμένον δὲ ἑτέρωθεν καὶ τὸ ἄγαλμα. Καλυδῶνος γὰρ καὶ Αἰτωλίας τῆς ἄλλης ὑπὸ Αὐγούστου βασιλέως ἐρημωθείσης διὰ τὸ [τὴν] ἐς ⟨τὴν⟩ Νικόπολιν τὴν ὑπὲρ τοῦ Ἀκτίου συνοικίζεσθαι καὶ τὸ Αἰτωλικόν, οὕτω τὸ ἄγαλμα τῆς Λαφρίας οἱ Πατρεῖς ἔσχον.
18.9. Most of the images out of Aetolia and from Acarnania were brought by Augustus' orders to Nicopolis, but to Patrae he gave, with other spoils from Calydon, the image of Laphria, which even in my time was still worshipped on the acropolis of Patrae. It is said that the goddess was surnamed Laphria after a man of Phocis, because the ancient image of Artemis was set up at Calydon by Laphrius, the son of Castalius, the son of Delphus.
18.9. ὡσαύτως δὲ καὶ ὅσα ἄλλα ἀγάλματα ἔκ τε Αἰτωλίας καὶ παρὰ Ἀκαρνάνων, τὰ μὲν πολλὰ ἐς τὴν Νικόπολιν κομισθῆναι, Πατρεῦσι δὲ ὁ Αὔγουστος ἄλλα τε τῶν ἐκ Καλυδῶνος λαφύρων καὶ δὴ καὶ τῆς Λαφρίας ἔδωκε τὸ ἄγαλμα, ὃ δὴ καὶ ἐς ἐμὲ ἔτι ἐν τῇ ἀκροπόλει τῇ Πατρέων εἶχε τιμάς. γενέσθαι δὲ ἐπίκλησιν τῇ θεῷ Λαφρίαν ἀπὸ ἀνδρὸς Φωκέως φασί· Λάφριον γὰρ τὸν Κασταλίου τοῦ Δελφοῦ Καλυδωνίοις ἱδρύσασθαι τὸ ἄγαλμα τῆς Ἀρτέμιδος τὸ ἀρχαῖον, οἱ δὲ τῆς Ἀρτέμιδος τὸ μήνιμα τὸ ἐς Οἰνέα ἀνὰ χρόνον τοῖς Καλυδωνίοις ἐλαφρότερον γενέσθαι λέγουσι καὶ αἰτίαν τῇ θεῷ τῆς ἐπικλήσεως ἐθέλουσιν εἶναι ταύτην.
18.10. Others say that the wrath of Artemis against Oeneus weighed as time went on more lightly ( elaphroteron) on the Calydonians, and they believe that this was why the goddess received her surname. The image represents her in the guise of a huntress; it is made of ivory and gold, and the artists were Menaechmus and Soldas of Naupactus, who, it is inferred, lived not much later than Canachus of Sicyon and Callon of Aegina.
18.10. τὸ μὲν σχῆμα τοῦ ἀγάλματος θηρεύουσά ἐστιν, ἐλέφαντος δὲ καὶ χρυσοῦ πεποίηται, Ναυπάκτιοι δὲ Μέναιχμος καὶ Σοΐδας εἰργάσαντο· τεκμαίρονται σφᾶς Κανάχου τοῦ Σικυωνίου καὶ τοῦ Αἰγινήτου Κάλλωνος οὐ πολλῷ γενέσθαι τινὶ ἡλικίαν ὑστέρους.
18.11. Every year too the people of Patrae celebrate the festival Laphria in honor of their Artemis, and at it they employ a method of sacrifice peculiar to the place. Round the altar in a circle they set up logs of wood still green, each of them sixteen cubits long. On the altar within the circle is placed the driest of their wood. Just before the time of the festival they construct a smooth ascent to the altar, piling earth upon the altar steps.
18.11. ἄγουσι δὲ καὶ Λάφρια ἑορτὴν τῇ Ἀρτέμιδι οἱ Πατρεῖς ἀνὰ πᾶν ἔτος, ἐν ᾗ τρόπος ἐπιχώριος θυσίας ἐστὶν αὐτοῖς. περὶ μὲν τὸν βωμὸν ἐν κύκλῳ ξύλα ἱστᾶσιν ἔτι χλωρὰ καὶ ἐς ἑκκαίδεκα ἕκαστον πήχεις· ἐντὸς δὲ ἐπὶ τοῦ βωμοῦ τὰ αὐότατά σφισι τῶν ξύλων κεῖται. μηχανῶνται δὲ ὑπὸ τὸν καιρὸν τῆς ἑορτῆς καὶ ἄνοδον ἐπὶ τὸν βωμὸν λειοτέραν, ἐπιφέροντες γῆν ἐπὶ τοῦ βωμοῦ τοὺς ἀναβασμούς.
18.12. The festival begins with a most splendid procession in honor of Artemis, and the maiden officiating as priestess rides last in the procession upon a car yoked to deer. It is, however, not till the next day that the sacrifice is offered, and the festival is not only a state function but also quite a popular general holiday. For the people throw alive upon the altar edible birds and every kind of victim as well; there are wild boars, deer and gazelles; some bring wolf-cubs or bear-cubs, others the full-grown beasts. They also place upon the altar fruit of cultivated trees.
18.12. πρῶτα μὲν δὴ πομπὴν μεγαλοπρεπεστάτην τῇ Ἀρτέμιδι πομπεύουσι, καὶ ἡ ἱερωμένη παρθένος ὀχεῖται τελευταία τῆς πομπῆς ἐπὶ ἐλάφων ὑπὸ τὸ ἅρμα ἐζευγμένων· ἐς δὲ τὴν ἐπιοῦσαν τηνικαῦτα ἤδη δρᾶν τὰ ἐς τὴν θυσίαν νομίζουσι, δημοσίᾳ τε ἡ πόλις καὶ οὐχ ἧσσον ἐς τὴν ἑορτὴν οἱ ἰδιῶται φιλοτίμως ἔχουσιν. ἐσβάλλουσι γὰρ ζῶντας ἐς τὸν βωμὸν ὄρνιθάς τε τοὺς ἐδωδίμους καὶ ἱερεῖα ὁμοίως ἅπαντα, ἔτι δὲ ὗς ἀγρίους καὶ ἐλάφους τε καὶ δορκάδας, οἱ δὲ καὶ λύκων καὶ ἄρκτων σκύμνους, οἱ δὲ καὶ τὰ τέλεια τῶν θηρίων· κατατιθέασι δὲ ἐπὶ τὸν βωμὸν καὶ δένδρων καρπὸν τῶν ἡμέρων.
18.13. Next they set fire to the wood. At this point I have seen some of the beasts, including a bear, forcing their way outside at the first rush of the flames, some of them actually escaping by their strength. But those who threw them in drag them back again to the pyre. It is not remembered that anybody has ever been wounded by the beasts.
18.13. τὸ δὲ ἀπὸ τούτου πῦρ ἐνιᾶσιν ἐς τὰ ξύλα. ἐνταῦθά που καὶ ἄρκτον καὶ ἄλλο τι ἐθεασάμην τῶν ζῴων, τὰ μὲν ὑπὸ τὴν πρώτην ὁρμὴν τοῦ πυρὸς βιαζόμενα ἐς τὸ ἐκτός, τὰ δὲ καὶ ἐκφεύγοντα ὑπὸ ἰσχύος· ταῦτα οἱ ἐμβαλόντες ἐπανάγουσιν αὖθις ἐς τὴν πυράν. τρωθῆναι δὲ οὐδένα ὑπὸ ⟨τῶν⟩ θηρίων μνημονεύουσιν.
19.1. Between the temple of Laphria and the altar stands the tomb of Eurypylus. Who he was and for what reason he came to this land I shall set forth presently; but I must first describe what the condition of affairs was at his arrival. The Ionians who lived in Aroe, Antheia and Mesatis had in common a precinct and a temple of Artemis surnamed Triclaria, and in her honor the Ionians used to celebrate every year a festival and an all-night vigil. The priesthood of the goddess was held by a maiden until the time came for her to be sent to a husband.
19.1. ἔστι δὲ ἐν τῷ μεταξὺ τοῦ ναοῦ τε τῆς Λαφρίας καὶ τοῦ βωμοῦ πεποιημένον μνῆμα Εὐρυπύλου. τὰ δὲ ὅστις τε ὢν καὶ καθʼ ἥντινα αἰτίαν ἀφίκετο ἐς τὴν γῆν ταύτην, δηλώσει μοι καὶ ταῦτα ὁ λόγος προδιηγησαμένῳ πρότερον ὁποῖα ὑπὸ τοῦ Εὐρυπύλου τὴν ἐπιδημίαν τοῖς ἐνταῦθα ἦν τὰ παρόντα [τοῖς] ἀνθρώποις. Ἰώνων τοῖς Ἀρόην καὶ Ἄνθειαν καὶ Μεσάτιν οἰκοῦσιν ἦν ἐν κοινῷ τέμενος καὶ ναὸς Ἀρτέμιδος Τρικλαρίας ἐπίκλησιν, καὶ ἑορτὴν οἱ Ἴωνες αὐτῇ καὶ παννυχίδα ἦγον ἀνὰ πᾶν ἔτος. ἱερωσύνην δὲ εἶχε τῆς θεοῦ παρθένος, ἐς ὃ ἀποστέλλεσθαι παρὰ ἄνδρα ἔμελλε.
19.2. Now the story is that once upon a time it happened that the priestess of the goddess was Comaetho, a most beautiful maiden, who had a lover called Melanippus, who was far better and handsomer than his fellows. When Melanippus had won the love of the maiden, he asked the father for his daughter's hand. It is somehow a characteristic of old age to oppose the young in most things, and especially is it insensible to the desires of lovers. So Melanippus found it; although both he and Comaetho were eager to wed, he met with nothing but harshness from both his own parents and from those of his lover.
19.2. λέγουσιν οὖν συμβῆναί ποτε ὡς ἱερᾶσθαι μὲν τῆς θεοῦ Κομαιθὼ τὸ εἶδος καλλίστην παρθένον, τυγχάνειν δὲ αὐτῆς ἐρῶντα Μελάνιππον, τά τε ἄλλα τοὺς ἡλικιώτας καὶ ὄψεως εὐπρεπείᾳ μάλιστα ὑπερηρκότα. ὡς δὲ ὁ Μελάνιππος ἐς τὸ ἴσον τοῦ ἔρωτος ὑπηγάγετο τὴν παρθένον, ἐμνᾶτο αὐτὴν παρὰ τοῦ πατρός. ἕπεται δέ πως τῷ γήρᾳ τά τε ἄλλα ὡς τὸ πολὺ ἐναντιοῦσθαι νέοις καὶ οὐχ ἥκιστα ἐς τοὺς ἐρῶντας τὸ ἀνάλγητον, ὅπου καὶ Μελανίππῳ τότε ἐθέλοντι ἐθέλουσαν ἄγεσθαι Κομαιθὼ οὔτε παρὰ τῶν ἑαυτοῦ γονέων οὔτε παρὰ τῶν Κομαιθοῦς ἥμερον ἀπήντησεν οὐδέν.
19.3. The history of Melanippus, like that of many others, proved that love is apt both to break the laws of men and to desecrate the worship of the gods, seeing that this pair had their fill of the passion of love in the sanctuary of Artemis. And hereafter also were they to use the sanctuary as a bridal-chamber. Forthwith the wrath of Artemis began to destroy the inhabitants; the earth yielded no harvest, and strange diseases occurred of an unusually fatal character.
19.3. ἐπέδειξε δὲ ἐπὶ πολλῶν τε δὴ ἄλλων καὶ ἐν τοῖς Μελανίππου παθήμασιν, ὡς μέτεστιν ἔρωτι καὶ ἀνθρώπων συγχέαι νόμιμα καὶ ἀνατρέψαι θεῶν τιμάς, ὅπου καὶ τότε ἐν τῷ τῆς Ἀρτέμιδος ἱερῷ Κομαιθὼ καὶ Μελάνιππος [καὶ] ἐξέπλησαν τοῦ ἔρωτος τὴν ὁρμήν. καὶ οἱ μὲν ἔμελλον τῷ ἱερῷ καὶ ἐς τὸ ἔπειτα ἴσα καὶ θαλάμῳ χρήσεσθαι· τοὺς δὲ ἀνθρώπους αὐτίκα ἐξ Ἀρτέμιδος μήνιμα ἔφθειρε, τῆς τε γῆς καρπὸν οὐδένα ἀποδιδούσης καὶ νόσοι σφίσιν οὐ κατὰ τὰ εἰωθότα καὶ ἀπʼ αὐτῶν θάνατοι πλείονες ἢ τὰ πρότερα ἐγίνοντο.
19.4. When they appealed to the oracle at Delphi the Pythian priestess accused Melanippus and Comaetho. The oracle ordered that they themselves should be sacrificed to Artemis, and that every year a sacrifice should be made to the goddess of the fairest youth and the fairest maiden. Because of this sacrifice the river flowing by the sanctuary of Triclaria was called Ameilichus ( relentless). Previously the river had no name.
19.4. καταφυγόντων δὲ αὐτῶν ἐπὶ χρηστήριον τὸ ἐν Δελφοῖς, ἤλεγχεν ἡ Πυθία Μελάνιππον καὶ Κομαιθώ· καὶ ἐκείνους τε αὐτοὺς μάντευμα ἀφίκετο θῦσαι τῇ Ἀρτέμιδι καὶ ἀνὰ πᾶν ἔτος παρθένον καὶ παῖδα οἳ τὸ εἶδος εἶεν κάλλιστοι τῇ θεῷ θύειν. ταύτης μὲν δὴ τῆς θυσίας ἕνεκα ὁ ποταμὸς ὁ πρὸς τῷ ἱερῷ τῆς Τρικλαρίας Ἀμείλιχος ἐκλήθη·
19.5. The innocent youths and maidens who perished because of Melanippus and Comaetho suffered a piteous fate, as did also their relatives; but the pair, I hold, were exempt from suffering, for the one thing that is worth a man's life is to be successful in love.
19.5. τέως δὲ ὄνομα εἶχεν οὐδέν. παίδων δὲ καὶ παρθένων ὁπόσοι μὲν ἐς τὴν θεὸν οὐδὲν εἰργασμένοι Μελανίππου καὶ Κομαιθοῦς ἕνεκα ἀπώλλυντο, αὐτοί τε οἰκτρότατα καὶ οἱ προσήκοντές σφισιν ἔπασχον, Μελάνιππον δὲ καὶ Κομαιθὼ συμφορᾶς ἐκτὸς γενέσθαι τίθεμαι· μόνον γὰρ δὴ ἀνθρώπῳ ψυχῆς ἐστιν ἀντάξιον κατορθῶσαί τινα ἐρασθέντα.
19.6. The sacrifice to Artemis of human beings is said to have ceased in this way. An oracle had been given from Delphi to the Patraeans even before this, to the effect that a strange king would come to the land, bringing with him a strange divinity, and this king would put an end to the sacrifice to Triclaria. When Troy was captured, and the Greeks divided the spoils, Eurypylus the son of Euaemon got a chest. In it was an image of Dionysus, the work, so they say, of Hephaestus, and given as a gift by Zeus to Dardanus.
19.6. παύσασθαι δὲ οὕτω λέγονται θύοντες τῇ Ἀρτέμιδι ἀνθρώπους. ἐκέχρητο [δὲ] αὐτοῖς πρότερον ἔτι ἐκ Δελφῶν ὡς βασιλεὺς ξένος παραγενόμενός σφισιν ἐπὶ τὴν γῆν, ξενικὸν ἅμα ἀγόμενος δαίμονα, τὰ ἐς τὴν θυσίαν τῆς Τρικλαρίας παύσει. Ἰλίου δὲ ἁλούσης καὶ νεμομένων τὰ λάφυρα τῶν Ἑλλήνων, Εὐρύπυλος ὁ Εὐαίμονος λαμβάνει λάρνακα· Διονύσου δὲ ἄγαλμα ἦν ἐν τῇ λάρνακι, ἔργον μὲν ὥς φασιν Ἡφαίστου, δῶρον δὲ ὑπὸ Διὸς ἐδόθη Δαρδάνῳ.
19.7. But there are two other accounts of it. One is that this chest was left by Aeneas when he fled; the other that it was thrown away by Cassandra to be a curse to the Greek who found it. Be this as it may, Eurypylus opened the chest, saw the image, and forthwith on seeing it went mad. He continued to be insane for the greater part of the time, with rare lucid intervals. Being in this condition he did not proceed on his voyage to Thessaly, but made for the town and gulf of Cirrha. Going up to Delphi he inquired of the oracle about his illness.
19.7. λέγονται δὲ καὶ ἄλλοι λόγοι δύο ἐς αὐτήν, ὡς ὅτε ἔφυγεν Αἰνείας, ἀπολίποι ταύτην τὴν λάρνακα· οἱ δὲ ῥιφῆναί φασιν αὐτὴν ὑπὸ Κασσάνδρας συμφορὰν τῷ εὑρόντι Ἑλλήνων. ἤνοιξε δʼ οὖν ὁ Εὐρύπυλος τὴν λάρνακα καὶ εἶδε τὸ ἄγαλμα καὶ αὐτίκα ἦν ἔκφρων μετὰ τὴν θέαν· τὰ μὲν δὴ πλείονα ἐμαίνετο, ὀλιγάκις δὲ ἐγίνετο ἐν ἑαυτῷ. ἅτε δὲ οὕτω διακείμενος οὐκ ἐς τὴν Θεσσαλίαν τὸν πλοῦν ἐποιεῖτο, ἀλλʼ ἐπί τε Κίρραν καὶ ἐς τὸν ταύτῃ κόλπον· ἀναβὰς δὲ ἐς Δελφοὺς ἐχρᾶτο ὑπὲρ τῆς νόσου.
19.8. They say that the oracle given him was to the effect that where he should come across a people offering a strange sacrifice, there he was to set down the chest and make his home. Now the ships of Eurypylus were carried down by the wind to the sea off Aroe. On landing he came across a youth and a maiden who had been brought to the altar of Triclaria. So Eurypylus found it easy to understand about the sacrifice, while the people of the place remembered their oracle seeing a king whom they had never seen before, they also suspected that the chest had some god inside it.
19.8. καὶ αὐτῷ γενέσθαι λέγουσι μάντευμα, ἔνθα ἂν ἐπιτύχῃ θύουσιν ἀνθρώποις θυσίαν ξένην, ἐνταῦθα ἱδρύσασθαί τε τὴν λάρνακα καὶ αὐτὸν οἰκῆσαι. ὁ μὲν δὴ ἄνεμος τὰς ναῦς τοῦ Εὐρυπύλου κατήνεγκεν ἐπὶ τὴν πρὸς τῇ Ἀρόῃ θάλασσαν· ἐκβὰς δὲ ἐς τὴν γῆν καταλαμβάνει παῖδα καὶ παρθένον ἐπὶ τὸν βωμὸν τῆς Τρικλαρίας ἠγμένους. καὶ ὁ μὲν ἔμελλεν οὐ χαλεπῶς συνήσειν τὰ ἐς τὴν θυσίαν· ἀφίκοντο δὲ ἐς μνήμην καὶ οἱ ἐπιχώριοι τοῦ χρησμοῦ, βασιλέα τε ἰδόντες ὃν οὔπω πρότερον ἑωράκεσαν καὶ ἐς τὴν λάρνακα ὑπενόησαν ὡς εἴη τις ἐν αὐτῇ θεός.
19.9. And so the malady of Eurypylus and the sacrifice of these people came to an end, and the river was given its present name Meilichus. Certain writers have said that the events I have related happened not to the Thessalian Eurypylus, but to Eurypylus the son of Dexamenus who was king in Olenus, holding that this man joined Heracles in his campaign against Troy and received the chest from Heracles. The rest of their story is the same as mine.
19.9. καὶ οὕτω τῷ Εὐρυπύλῳ τε ἡ νόσος καὶ τοῖς ἐνταῦθα ἀνθρώποις τὰ ἐς τὴν θυσίαν ἐπαύσθη, τό τε ὄνομα ἐτέθη τὸ νῦν τῷ ποταμῷ Μείλιχος. ἔγραψαν δὲ ἤδη τινὲς οὐ τῷ Θεσσαλῷ συμβάντα Εὐρυπύλῳ τὰ εἰρημένα, ἀλλὰ Εὐρύπυλον Δεξαμενοῦ παῖδα τοῦ ἐν Ὠλένῳ βασιλεύσαντος ἐθέλουσιν ἅμα Ἡρακλεῖ στρατεύσαντα ἐς Ἴλιον λαβεῖν παρὰ τοῦ Ἡρακλέους τὴν λάρνακα· τὰ δὲ ἄλλα κατὰ τὰ αὐτὰ εἰρήκασι καὶ οὗτοι.
19.10. But I cannot bring myself to believe that Heracles did not know the facts about the chest, if they were as described, nor, if he were aware of them, do I think that he would ever have given it to an ally as a gift. Further, the people of Patrae have no tradition of a Eurypylus save the son of Euaemon, and to him every year they sacrifice as to a hero, when they celebrate the festival in honor of Dionysus.
19.10. ἐγὼ δὲ οὔτε Ἡρακλέα ἀγνοῆσαι τὰ ἐς τὴν λάρνακα εἰ δὴ τοιαῦτα ἦν πείθομαι οὔτε τὰ ἐς αὐτὴν ἐπιστάμενος δοκεῖ μοί ποτε ἂν δοῦναι δῶρον συμμαχήσαντι ἀνδρί· οὔτε μὴν οἱ Πατρεῖς ἄλλον τινὰ ἢ τὸν Εὐαίμονος ἔχουσιν Εὐρύπυλον ἐν μνήμῃ, καί οἱ καὶ ἐναγίζουσιν ἀνὰ πᾶν ἔτος, ἐπειδὰν τῷ Διονύσῳ τὴν ἑορτὴν ἄγωσι.
20.1. The surname of the god inside the chest is Aesymnetes ( Dictator), and his chief attendants are nine men, elected by the people from all the citizens for their reputation, and women equal in number to the men. On one night of the festival the priest carries the chest outside. Now this is a privilege that this night has received, and there go down to the river Meilichus a certain number of the native children, wearing on their heads garlands of corn-ears. It was in this way that they used to array of old those whom they led to be sacrificed to Artemis.
20.1. τῷ θεῷ δὲ τῷ ἐντὸς τῆς λάρνακος ἐπίκλησις μέν ἐστιν Αἰσυμνήτης, οἱ δὲ αὐτὸν ἐς τὰ μάλιστα θεραπεύοντες ἐννέα τέ εἰσιν ἄνδρες, οὓς ἂν ἐκ πάντων ὁ δῆμος προέληται κατʼ ἀξίωμα, καὶ ἴσαι γυναῖκες τοῖς ἀνδράσι. μιᾷ δὲ ἐν τῇ ἑορτῇ νυκτὶ ἐς τὸ ἐκτὸς φέρει τὴν λάρνακα ὁ ἱερεύς. αὕτη μὲν δὴ ἡ νὺξ γέρας τοῦτο εἴληφε, καταβαίνουσι δὲ καὶ ὁπόσοι δὴ τῶν ἐπιχωρίων παῖδες ἐπὶ τὸν Μείλιχον ἀστάχυσιν ἐστεφανωμένοι τὰς κεφαλάς· ἐκόσμουν δὲ οὕτω καὶ τὸ ἀρχαῖον οὓς ἄγοιεν τῇ Ἀρτέμιδι θύσοντες.
20.2. But at the present day they lay aside the garlands of corn-ears by the goddess, and after bathing in the river and putting on fresh garlands, this time made of ivy, they go to the sanctuary of the Dictator. This then is their established ritual, and within the precincts of Laphria is a temple of Athena surnamed Panachaean. The image is of ivory and gold.
20.2. τὰ δὲ ἐφʼ ἡμῶν στεφάνους μὲν τῶν ἀσταχύων ἀποτίθενται παρὰ τῇ θεῷ, λουσάμενοι δὲ τῷ ποταμῷ καὶ αὖθις στεφάνους ἐπιθέμενοι κισσοῦ πρὸς τὸ ἱερὸν ἴασι τοῦ Αἰσυμνήτου. ταῦτα μέν σφισιν οὕτω δρᾶν καθέστηκε, τοῦ περιβόλου δέ ἐστιν ἐντὸς τῆς Λαφρίας καὶ Ἀθηνᾶς ναὸς ἐπίκλησιν Παναχαΐδος· ἐλέφαντος τὸ ἄγαλμα καὶ χρυσοῦ.
20.3. On the way to the lower city there is a sanctuary of the Dindymenian Mother, and in it Attis too is worshipped. Of him they have no image to show; that of the Mother is of stone. In the marketplace is a temple of Olympian Zeus; the god himself is on a throne with Athena standing by it. Beyond the Olympian is an image of Hera and a sanctuary of Apollo. The god is of bronze, and naked. On his feet are sandals, and one foot stands upon the skull of an ox.
20.3. ἐρχομένῳ δὲ ἐς τὴν κάτω πόλιν Μητρὸς Δινδυμήνης ἐστὶν ἱερόν, ἐν δὲ αὐτῷ καὶ Ἄττης ἔχει τιμάς. τούτου μὲν δὴ [τὸ] ἄγαλμα οὐδὲν ἀποφαίνουσι· τὸ δὲ τῆς Μητρὸς λίθου πεποίηται. ἔστι δὲ ἐν τῇ ἀγορᾷ Διὸς ναὸς Ὀλυμπίου, αὐτός τε ἐπὶ θρόνου καὶ ἑστῶσα Ἀθηνᾶ παρὰ τὸν θρόνον, τῆς τε Ἥρας ἄγαλμα τοῦ Ὀλυμπίου πέραν ἱερόν τε Ἀπόλλωνος πεποίηται καὶ Ἀπόλλων χαλκοῦς, γυμνὸς ἐσθῆτος· ὑποδήματα δὲ ὑπὸ τοῖς ποσίν ἐστιν αὐτῷ, καὶ τῷ ἑτέρῳ ποδὶ ἐπὶ κρανίου βέβηκε βοός.
20.4. That Apollo takes great pleasure in oxen is shown by Alcaeus in his hymn to Hermes, who writes how Hermes stole cows of Apollo, and even before Alcaeus was born Homer made Apollo tend cows of Laomedon for a wage. In the Iliad he puts these verses in the mouth of Poseidon:— Verily I built a wall for the Trojans about their city,A wide wall and very beautiful, that the city might be impregnable;And thou, Phoebus, didst tend the shambling cows with crumpled horns.
20.4. βουσὶ γὰρ χαίρειν μάλιστα Ἀπόλλωνα Ἀλκαῖός τε ἐδήλωσεν ἐν ὕμνῳ τῷ ἐς Ἑρμῆν, γράψας ὡς ὁ Ἑρμῆς βοῦς ὑφέλοιτο τοῦ Ἀπόλλωνος, καὶ ἔτι πρότερον ἢ Ἀλκαῖον γενέσθαι πεποιημένα ἦν Ὁμήρῳ βοῦς Ἀπόλλωνα Λαομέδοντος ἐπὶ μισθῷ νέμειν· Ποσειδῶνι περιέθηκεν ἐν Ἰλιάδι τὰ ἔπη, ἤτοι ἐγὼ Τρώεσσι πόλιν πέρι τεῖχος ἔδειμα,εὐρύ τε καὶ μάλα καλόν, ἵνʼ ἄρρηκτος πόλις εἴη·
20.5. This, it may be conjectured, is the reason for the ox skull. On the market-place, in the open, is an image of Athena with the grave of Patreus in front of it.
20.5. Φοῖβε, σὺ δʼ εἰλίποδας ἕλικας βοῦς βουκολέεσκες.τὰ μὲν δὴ ἐς τὸ κρανίον τοῦ βοὸς ἐπὶ τοιῷδε ἄν τις εἰκάσειε πεποιῆσθαι· ἔστι δὲ ἐν ὑπαίθρῳ τῆς ἀγορᾶς ἄγαλμά τε Ἀθηνᾶς καὶ πρὸ αὐτοῦ Πατρέως τάφος.
20.6. Next to the market-place is the Music Hall, where has been dedicated an Apollo well worth seeing. It was made from the spoils taken when alone of the Achaeans the people of Patrae helped the Aetolians against the army of the Gauls. The Music Hall is in every way the finest in Greece, except, of course, the one at Athens. This is unrivalled in size and magnificence, and was built by Herodes, an Athenian, in memory of his dead wife. The reason why I omitted to mention this Music Hall in my history of Attica is that my account of the Athenians was finished before Herodes began the building.
20.6. ἔχεται δὲ τῆς ἀγορᾶς τὸ Ὠιδεῖον, καὶ Ἀπόλλων ἐνταῦθα ἀνάκειται θέας ἄξιος· ἐποιήθη δὲ ἀπὸ λαφύρων, ἡνίκα ἐπὶ τὸν στρατὸν τῶν Γαλατῶν οἱ Πατρεῖς ἤμυναν Αἰτωλοῖς Ἀχαιῶν μόνοι. κεκόσμηται δὲ καὶ ἐς ἄλλα τὸ Ὠιδεῖον ἀξιολογώτατα τῶν ἐν Ἕλλησι, πλήν γε δὴ τοῦ Ἀθήνῃσι· τοῦτο γὰρ μεγέθει τε καὶ ἐς τὴν πᾶσαν ὑπερῆρκε κατασκευήν, ἀνὴρ δὲ Ἀθηναῖος ἐποίησεν Ἡρώδης ἐς μνήμην ἀποθανούσης γυναικός. ἐμοὶ δὲ ἐν τῇ Ἀτθίδι συγγραφῇ τὸ ἐς τοῦτο παρείθη τὸ Ὠιδεῖον, ὅτι πρότερον ἔτι ἐξείργαστό μοι τὰ ἐς Ἀθηναίους ἢ ὑπῆρκτο Ἡρώδης τοῦ οἰκοδομήματος.
20.7. As you leave the market-place of Patrae, where the sanctuary of Apollo is, at this exit is a gate, upon which stand gilt statues, Patreus, Preugenes, and Atherion; the two latter are represented as boys, because Patreus is a boy in age. Opposite the marketplace by this exit is a precinct and temple of Artemis, the Lady of the Lake.
20.7. ἐν Πάτραις δὲ ἰόντι ἐκ τῆς ἀγορᾶς, ᾗ τὸ ἱερὸν τοῦ Ἀπόλλωνος, πύλη κατὰ τὴν ἔξοδόν ἐστι ταύτην, καὶ ἐπιθήματα ἐπὶ τῆς πύλης ἀνδριάντες εἰσὶν ἐπίχρυσοι, Πατρεύς τε καὶ Πρευγένης καὶ Ἀθερίων, οἳ Πατρέως ἡλικίαν παιδὸς ἔχοντος καὶ αὐτοὶ παῖδές εἰσι. τῆς δὲ ἀγορᾶς ἄντικρυς κατὰ ταύτην τὴν διέξοδον τέμενός ἐστιν Ἀρτέμιδος καὶ ναὸς Λιμνάτιδος.
20.8. When the Dorians were now in possession of Lacedaemon and Argos, it is said that Preugenes, in obedience to a dream, stole from Sparta the image of our Lady of the Lake, and that he had as partner in his exploit the most devoted of his slaves. The image from Lacedaemon is usually kept at Mesoa, because it was to this place that it was originally brought by Preugenes. But when the festival of our Lady is being held, one of the slaves of the goddess comes from Mesoa bringing the ancient wooden image to the precinct in the city.
20.8. ἐχόντων δὲ ἤδη Λακεδαίμονα καὶ Ἄργος Δωριέων, ὑφελέσθαι Πρευγένην τῆς Λιμνάτιδος τὸ ἄγαλμα κατὰ ὄψιν ὀνείρατος λέγουσιν ἐκ Σπάρτης, κοινωνῆσαι δὲ αὐτῷ τοῦ ἐγχειρήματος τῶν δούλων τὸν εὐνούστατον. τὸ δὲ ἄγαλμα τὸ ἐκ τῆς Λακεδαίμονος τὸν μὲν ἄλλον χρόνον ἔχουσιν ἐν Μεσόᾳ, ὅτι καὶ ἐξ ἀρχῆς ὑπὸ τοῦ Πρευγένους ἐς τοῦτο ἐκομίσθη τὸ χωρίον· ἐπειδὰν δὲ τῇ Λιμνάτιδι τὴν ἑορτὴν ἄγωσι, τῆς θεοῦ τις τῶν οἰκετῶν ἐκ Μεσόας ἔρχεται τὸ ξόανον κομίζων τὸ ἀρχαῖον ἐς τὸ τέμενος τὸ ἐν τῇ πόλει.
20.9. Near this precinct the people of Patrae have other sanctuaries. These are not in the open, but there is an entrance to them through the porticoes. The image of Asclepius, save for the drapery, is of stone; Athena is made of ivory and gold. Before the sanctuary of Athena is the tomb of Preugenes. Every year they sacrifice to Preugenes as to a hero, and likewise to Patreus also, when the festival of our Lady is being held. Not far from the theater is a temple of Nemesis, and another of Aphrodite. The images are colossal and of white marble.
20.9. τούτου δὲ τοῦ τεμένους ἐστὶ καὶ ἄλλα τοῖς Πατρεῦσιν ἱερά· πεποίηται δὲ ταῦτα οὐκ ἐν ὑπαίθρῳ, ἀλλὰ ἔσοδος ἐς αὐτὰ διὰ τῶν στοῶν ἐστι. τὸ μὲν δὴ ἄγαλμα τοῦ Ἀσκληπιοῦ, πλὴν ἐσθῆτος, λίθου τὰ ἄλλα· Ἀθηνᾶ δὲ ἐλέφαντος εἴργασται καὶ χρυσοῦ. πρὸ δὲ τῆς Ἀθηνᾶς τοῦ ἱεροῦ Πρευγένους μνῆμά ἐστιν· ἐναγίζουσι δὲ καὶ τῷ Πρευγένει κατὰ ἔτος, ὡσαύτω; δὲ καὶ Πατρεῖ, τὴν ἑορτὴν τῇ Λιμνάτιδι ἄγοντες. τοῦ θεάτρου δὲ οὐ πόρρω Νεμέσεως ναὸς καὶ ἕτερός ἐστιν Ἀφροδίτης· μεγέθει μεγάλα λίθου λευκοῦ τὰ ἀγάλματα.
21.1. In this part of the city is also a sanctuary of Dionysus surnamed Calydonian, for the image of Dionysus too was brought from Calydon. When Calydon was still inhabited, among the Calydonians who became priests of the god was Coresus, who more than any other man suffered cruel wrongs because of love. He was in love with Callirhoe, a maiden. But the love of Coresus for Callirhoe was equalled by the maiden's hatred of him.
21.1. καὶ Διονύσου κατὰ τοῦτο τῆς πόλεώς ἐστιν ἱερὸν ἐπίκλησιν Καλυδωνίου· μετεκομίσθη γὰρ καὶ τοῦ Διονύσου τὸ ἄγαλμα ἐκ Καλυδῶνος. ὅτε δὲ ᾠκεῖτο ἔτι Καλυδών, ἄλλοι τε Καλυδωνίων ἐγένοντο ἱερεῖς τῷ θεῷ καὶ δὴ καὶ Κόρεσος, ὃν ἀνθρώπων μάλιστα ἐπέλαβεν ἄδικα ἐξ ἔρωτος παθεῖν. ἤρα μὲν Καλλιρόης παρθένου· ὁπόσον δὲ ἐς Καλλιρόην ἔρωτος Κορέσῳ μετῆν, τοσοῦτο εἶχεν ἀπεχθείας ἐς αὐτὸν ἡ παρθένος.
21.2. When the maiden refused to change her mind, in spite of the many prayers and promises of Coresus, he then went as a suppliant to the image of Dionysus. The god listened to the prayer of his priest, and the Calydonians at once became raving as though through drink, and they were still out of their minds when death overtook them. So they appealed to the oracle at Dodona. For the inhabitants of this part of the mainland, the Aetolians and their Acarnanian and Epeirot neighbors, considered that the truest oracles were the doves and the responses from the oak.
21.2. ὡς δὲ τοῦ Κορέσου δεήσεις τε ποιουμένου πάσας καὶ δώρων ὑποσχέσεις παντοίας οὐκ ἐνετρέπετο ἡ γνώμη τῆς παρθένου, ἐκομίζετο ἱκέτης ἤδη παρὰ τοῦ Διονύσου τὸ ἄγαλμα. ὁ δὲ ἤκουσέ τε εὐχομένου τοῦ ἱερέως καὶ οἱ Καλυδώνιοι τὸ παραυτίκα ὥσπερ ὑπὸ μέθης ἐγίνοντο ἔκφρονες καὶ ἡ τελευτὴ σφᾶς παραπλῆγας ἐπελάμβανε. καταφεύγουσιν οὖν ἐπὶ τὸ χρηστήριον τὸ ἐν Δωδώνῃ· τοῖς γὰρ τὴν ἤπειρον ταύτην οἰκοῦσι, τοῖς τε Αἰτωλοῖς καὶ τοῖς προσχώροις αὐτῶν Ἀκαρνᾶσι καὶ Ἠπειρώταις, αἱ πέλειαι καὶ τὰ ἐκ τῆς δρυὸς μαντεύματα μετέχειν μάλιστα ἐφαίνετο ἀληθείας.
21.3. On this occasion the oracles from Dodona declared that it was the wrath of Dionysus that caused the plague, which would not cease until Coresus sacrificed to Dionysus either Callirhoe herself or one who had the courage to die in her stead. When the maiden could find no means of escape, she next appealed to her foster parents. These too failing her, there was no other way except for her to be put to the sword.
21.3. τότε δὲ τὰ χρησθέντα ἐκ Δωδώνης Διονύσου μὲν ἔλεγεν εἶναι τὸ μήνιμα, ἔσεσθαι δὲ οὐ πρότερον λύσιν πρὶν ἢ θύσῃ τῷ Διονύσῳ Κόρεσος ἢ αὐτὴν Καλλιρόην ἢ τὸν ἀποθανεῖν ἀντʼ ἐκείνης τολμήσαντα. ὡς δὲ οὐδὲν ἐς σωτηρίαν εὑρίσκετο ἡ παρθένος, δεύτερα ἐπὶ τοὺς θρεψαμένους καταφεύγει· ἁμαρτάνουσα δὲ καὶ τούτων, ἐλείπετο οὐδὲν ἔτι ἢ αὐτὴν φονεύεσθαι.
21.4. When everything had been prepared for the sacrifice according to the oracle from Dodona, the maiden was led like a victim to the altar. Coresus stood ready to sacrifice, when, his resentment giving way to love, he slew himself in place of Callirhoe. He thus proved in deed that his love was more genuine than that of any other man we know.
21.4. προεξεργασθέντων δὲ ὁπόσα ἐς τὴν θυσίαν ἄλλα ἐκ Δωδώνης μεμαντευμένα ἦν, ἡ μὲν ἱερείου τρόπον ἦκτο ἐπὶ τὸν βωμόν, Κόρεσος δὲ ἐφειστήκει μὲν τῇ θυσίᾳ, τῷ δὲ ἔρωτι εἴξας καὶ οὐ τῷ θυμῷ ἑαυτὸν ἀντὶ Καλλιρόης διεργάζεται. ὁ μὲν δὴ ἀπέδειξεν ἔργον ἀνθρώπων ὧν ἴσμεν διατεθεὶς ἐς ἔρωτα ἀπλαστότατα·
21.5. When Callirhoe saw Goresus lying dead, the maiden repented. Overcome by pity for Goresus, and by shame at her conduct towards him, she cut her throat at the spring in Galydon not far from the harbor, and later generations call the spring Callirhoe after her.
21.5. Καλλιρόη τε ὡς Κόρεσον τεθνεῶτα εἶδεν, μετέπεσε τῇ παιδὶ ἡ γνώμη, καὶ—ἐσῄει γὰρ αὐτὴν Κορέσου τε ἔλεος καὶ ὅσα ἐς αὐτὸν εἴργασται αἰδώς—ἀπέσφαξέ ⟨τε⟩ αὑτὴν ἐς τὴν πηγήν, [τοῦ λιμένος] ἣ ἐν Καλυδῶνί ἐστιν οὐ πόρρω ⟨τοῦ λιμένος⟩, καὶ ἀπʼ ἐκείνης οἱ ἔπειτα ἄνθρωποι Καλλιρόην τὴν πηγὴν καλοῦσι.
21.6. Near to the theater there is a precinct sacred to a native lady. Here are images of Dionysus, equal in number to the ancient cities, and named after them Mesateus, Antheus and Aroeus. These images at the festival of Dionysus they bring into the sanctuary of the Dictator. This sanctuary is on the right of the road from the market-place to the sea-quarter of the city.
21.6. τοῦ θεάτρου δὲ ἐγγὺς πεποίηται Πατρεῦσι γυναικὸς ἐπιχωρίας τέμενος. Διονύσου δέ ἐστιν ἐνταῦθα ἀγάλματα, ἴσοι τε τοῖς ἀρχαίοις πολίσμασι καὶ ὁμώνυμοι· Μεσατεὺς γὰρ καὶ Ἀνθεύς τε καὶ Ἀροεύς ἐστιν αὐτοῖς τὰ ὀνόματα. ταῦτα τὰ ἀγάλματα ἐν τῇ Διονύσου [τῇ] ἑορτῇ κομίζουσιν ἐς τὸ ἱερὸν τοῦ Αἰσυμνήτου· τὸ δὲ ἱερὸν τοῦτο ἐς τὰ ἐπὶ θαλάσσῃ τῆς πόλεως ἐρχομένοις ἔστιν ἐκ τῆς ἀγορᾶς ἐν δεξιᾷ τῆς ὁδοῦ.
21.7. As you go lower down from the Dictator there is another sanctuary with an image of stone. It is called the sanctuary of Recovery, and the story is that it was originally founded by Eurypylus on being cured of his madness. At the harbor is a temple of Poseidon with a standing image of stone. Besides the names given by poets to Poseidon to adorn their verses, and in addition to his local names, all men give him the following surnames—Marine, Giver of Safety, God of Horses.
21.7. ἀπὸ δὲ τοῦ Αἰσυμνήτου κατωτέρω ἰόντι ἄλλο ἱερὸν καὶ ἄγαλμα λίθου· καλεῖται μὲν Σωτηρίας, ἱδρύσασθαι δὲ αὐτὸ ἐξ ἀρχῆς ἀποφυγόντα φασὶ τὴν μανίαν Εὐρύπυλον. πρὸς δὲ τῷ λιμένι Ποσειδῶνός τε ναὸς καὶ ἄγαλμά ἐστιν ὀρθὸν λίθου. Ποσειδῶνι δὲ παρὲξ ἢ ὁπόσα ὀνόματα ποιηταῖς πεποιημένα ἐστὶν ἐς ἐπῶν κόσμον καὶ ἰδίᾳ σφίσιν ἐπιχώρια ὄντα ἕκαστοι τίθενται, τοσαίδε ἐς ἅπαντας γεγόνασιν ἐπικλήσεις αὐτῷ, Πελαγαῖος καὶ Ἀσφάλιός τε καὶ Ἵππιος.
21.8. Various reasons could be plausibly assigned for the last of these surnames having been given to the god, but my own conjecture is that he got this name as the inventor of horsemanship. Homer, at any rate, when describing the chariot-race, puts into the mouth of Menelaus a challenge to swear an oath by this god:—Touch the horses, and swear by the earth-holder, earth-shaker,That thou didst not intentionally, through guile, obstruct my chariot.
21.8. ὠνομάσθαι δὲ Ἵππιον τὸν θεὸν πείθοιτο μὲν ἄν τις καὶ ἐπʼ αἰτίαις ἄλλαις· ἐγὼ δὲ εὑρετὴν ἱππικῆς ὄντα ἀπὸ τούτου σχεῖν καὶ τὸ ὄνομα εἰκάζω. Ὅμηρος μέν γε ἐν ἵππων ἄθλοις Μενελάῳ κατὰ τοῦ θεοῦ τούτου πρόκλησιν περιέθηκεν ὅρκου·ἵππων ἁψάμενος, γαιήοχον ἐννοσίγαιονὄμνυθι μηδὲν ἑκὼν τὸ ἐμὸν δόλῳ ἅρμα πεδῆσαι.
21.9. Pamphos also, who composed for the Athenians the most ancient of their hymns, says that Poseidon is—Giver of horses and of ships with sails set.So it is from horsemanship that he has acquired his name, and not for any other reason.
21.9. Πάμφως δέ, ὃς Ἀθηναίοις τοὺς ἀρχαιοτάτους ⟨τῶν⟩ ὕμνων ἐποίησεν, εἶναί φησι τὸν Ποσειδῶναἵππων τε δωτῆρα νεῶν τʼ ἰθυκρηδέμνων.οὕτω διὰ τὴν ἱππικὴν καὶ οὐκ ἀπὸ ἑτέρας προφάσεως τὸ ὄνομα ἔσχηκεν.
21.10. In Patrae, not far from that of Poseidon, are sanctuaries of Aphrodite. One of the two images was drawn up by fishermen in a net a generation before my time. There are also quite near to the harbor two images of bronze, one of Ares and the other of Poseidon. The image of Aphrodite, whose precinct too is by the harbor, has its face, hands and feet of stone, while the rest of the figure is made of wood.
21.10. ἐν Πάτραις δὲ οὐ πολὺ ἀπωτέρω τοῦ Ποσειδῶνος ἱερά ἐστιν Ἀφροδίτης· τὸ δὲ ἕτερον τῶν ἀγαλμάτων γενεᾷ πρότερον ἢ κατʼ ἐμὲ ἁλιεῖς ἄνδρες ἀνείλκυσαν ἐν δικτύῳ. ἔστι δὲ καὶ ἀγάλματα τοῦ λιμένος ἐγγυτάτω χαλκοῦ πεποιημένα Ἄρεως, τὸ δὲ Ἀπόλλωνος· καὶ Ἀφροδίτης, ⟨ἧς⟩ καὶ πρὸς τῷ λιμένι [δὲ] ἐστὶ τέμενος, λίθου μὲν πρόσωπον καὶ ἄκραι χεῖρες καὶ πόδες, ξύλου δὲ τὰ λοιπὰ εἴργασται.
21.11. They have also a grove by the sea, affording in summer weather very agreeable walks and a pleasant means generally of passing the time. In this grove are also two temples of divinities, one of Apollo, the other of Aphrodite. The images of these too are made of stone. Next to the grove is a sanctuary of Demeter; she and her daughter are standing, but the image of Earth is seated.
21.11. ἔστι δέ σφισι καὶ ἄλσος ἐπὶ θαλάσσῃ, δρόμους τε ἐπιτηδειοτάτους καὶ ἐς τἄλλα δίαιταν ἡδεῖαν ὥρᾳ παρεχόμενον θερινῇ. ἐν τούτῳ τῷ ἄλσει καὶ ναοὶ θεῶν, Ἀπόλλωνος, ὁ δὲ Ἀφροδίτης· πεποίηται λίθου καὶ τούτοις τὰ ἀγάλματα. τοῦ δὲ ἄλσους ἱερὸν ἔχεται Δήμητρος· αὕτη μὲν καὶ ἡ παῖς ἑστᾶσι, τὸ δὲ ἄγαλμα τῆς Γῆς ἐστι καθήμενον.
21.12. Before the sanctuary of Demeter is a spring. On the side of this towards the temple stands a wall of stones, while on the outer side has been made a descent to the spring. Here there is an infallible oracle, not indeed for everything, but only in the case of sick folk. They tie a mirror to a fine cord and let it down, judging the distance so that it does not sink deep into the spring, but just far enough to touch the water with its rim. Then they pray to the goddess and burn incense, after which they look into the mirror, which shows them the patient either alive or dead.
21.12. πρὸ δὲ τοῦ ἱεροῦ τῆς Δήμητρός ἐστι πηγή· ταύτης τὰ μὲν πρὸς τοῦ ναοῦ λίθων ἀνέστηκεν αἱμασιά, κατὰ δὲ τὸ ἐκτὸς κάθοδος ἐς αὐτὴν πεποίηται. μαντεῖον δὲ ἐνταῦθά ἐστιν ἀψευδές, οὐ μὲν ἐπὶ παντί γε πράγματι, ἀλλὰ ἐπὶ τῶν καμνόντων. κάτοπτρον καλῳδίῳ τῶν λεπτῶν δήσαντες καθιᾶσι, σταθμώμενοι μὴ πρόσω καθικέσθαι τῆς πηγῆς, ἀλλʼ ὅσον ἐπιψαῦσαι τοῦ ὕδατος τῷ κύκλῳ τοῦ κατόπτρου. τὸ δὲ ἐντεῦθεν εὐξάμενοι τῇ θεῷ καὶ θυμιάσαντες ἐς τὸ κάτοπτρον βλέπουσι· τὸ δέ σφισι τὸν νοσοῦντα ἤτοι ζῶντα ἢ καὶ τεθνεῶτα ἐπιδείκνυσι.
21.13. This water partakes to this extent of truth, but close to Cyaneae by Lycia, where there is an oracle of Apollo Thyrxeus, the water shows to him who looks into the spring all the things that he wants to behold. By the grove in Patrae are also two sanctuaries of Serapis. In one is the tomb of Aegyptus, the son of Belus. He is said by the people of Patrae to have fled to Aroe because of the misfortunes of his children and because he shuddered at the mere name of Argos, and even more through dread of Danaus.
21.13. τούτῳ μὲν τῷ ὕδατι ἐς τοσοῦτο μέτεστιν ἀληθείας, Κυανεῶν δὲ τῶν πρὸς Λυκίᾳ πλησιαίτατα χρηστήριον Ἀπόλλωνός ἐστι Θυρξέως· παρέχεται δὲ ὕδωρ τὸ πρὸς ταῖς Κυανέαις ἔσω ἐνιδόντα τινὰ ἐς τὴν πηγὴν ὁμοίως πάντα ὁπόσα θέλει θεάσασθαι. ἐν Πάτραις δὲ πρὸς τῷ ἄλσει καὶ ἱερὰ δύο ἐστὶ Σαράπιδος· ἐν δὲ τῷ ἑτέρῳ πεποίηται μνῆμα Αἰγύπτου τοῦ Βήλου. φυγεῖν δὲ ἐς τὴν Ἀρόην οἱ Πατρεῖς φασιν αὐτὸν τοῖς τε ἐς τοὺς παῖδας παθήμασι καὶ τὸ ὄνομα αὐτὸ πεφρικότα τοῦ Ἄργους καὶ ἐς πλέον τοῦ Δαναοῦ δείματι.
21.14. There is also at Patrae a sanctuary of Asclepius. This sanctuary is beyond the acropolis near the gate leading to Mesatis. The women of Patrae outnumber the men by two to one. These women are amongst the most charming in the world. Most of them gain a livelihood from the fine flax that grows in Elis, weaving from it nets for the head as well as dresses.
21.14. ἔστι δὲ καὶ ἱερὸν Πατρεῦσιν Ἀσκληπιοῦ· τοῦτο τὸ ἱερὸν ὑπὲρ τὴν ἀκρόπολιν τῶν πυλῶν ἐστιν ἐγγὺς αἳ ἐπὶ Μεσάτιν ἄγουσιν. αἱ δὲ γυναῖκές εἰσιν ἐν ταῖς Πάτραις ἀριθμὸν μὲν καὶ ἐς δὶς τῶν ἀνδρῶν· Ἀφροδίτης δέ, εἴπερ ἄλλαις γυναιξί, μέτεστι καὶ ταύταις. βίος δὲ αὐτῶν ταῖς πολλαῖς ἐστιν ἀπὸ τῆς βύσσου τῆς ἐν τῇ Ἤλιδι φυομένης· κεκρυφάλους τε γὰρ ἀπʼ αὐτῆς καὶ ἐσθῆτα ὑφαίνουσι τὴν ἄλλην.
22.1. Pharae, a city of the Achaeans, belongs to Patrae, having been given to it by Augustus. The road from the city of Patrae to Pharae is a hundred and fifty stades, while Pharae is about seventy stades inland from the coast. Near to Pharae runs the river Pierus, which in my opinion is the same as the one flowing past the ruins of Olenus, called by the men of the coast the Peirus. Near the river is a grove of plane-trees, most of which are hollow through age, and so huge that they actually feast in the holes, and those who have a mind to do so sleep there as well.
22.1. Φαραὶ δέ, Ἀχαιῶν πόλις, τελοῦσι μὲν ἐς Πάτρας δόντος Αὐγούστου, ὁδὸς δὲ ἐς Φαρὰς Πατρέων μὲν ἐκ τοῦ ἄστεως στάδιοι πεντήκοντά εἰσι καὶ ἑκατόν, ἀπὸ θαλάσσης δὲ ἄνω πρὸς ἤπειρον περὶ ἑβδομήκοντα. ποταμὸς δὲ ῥεῖ πλησίον Φαρῶν Πίερος, ὁ αὐτὸς ἐμοὶ δοκεῖν ὃς καὶ τὰ Ὠλένου παρέξεισιν ἐρείπια, ὑπὸ ἀνθρώπων τῶν πρὸς θαλάσσῃ καλούμενος Πεῖρος. πρὸς δὲ τῷ ποταμῷ πλατάνων ἐστὶν ἄλσος, κοῖλαί τε ὑπὸ παλαιότητος αἱ πολλαὶ καὶ ἥκουσαι μεγέθους ἐς τοσοῦτο ὥστε καὶ ἑστιῶνται τῶν χηραμῶν ἐντός, καὶ ὁπόσοις ἂν κατὰ γνώμην ᾖ, καὶ ἐγκαθεύδουσι.
22.2. The market-place of Pharae is of wide extent after the ancient fashion, and in the middle of it is an image of Hermes, made of stone and bearded. Standing right on the earth, it is of square shape, and of no great size. On it is an inscription, saying that it was dedicated by Simylus the Messenian. It is called Hermes of the Market, and by it is established an oracle. In front of the image is placed a hearth, which also is of stone, and to the hearth bronze lamps are fastened with lead.
22.2. περίβολος δὲ ἀγορᾶς μέγας κατὰ τρόπον τὸν ἀρχαιότερόν ἐστιν ἐν Φαραῖς, Ἑρμοῦ δὲ ἐν μέσῃ τῇ ἀγορᾷ λίθου πεποιημένον ἄγαλμα ἔχον καὶ γένεια· ἑστηκὼς δὲ πρὸς αὐτῇ τῇ γῇ παρέχεται μὲν τὸ τετράγωνον σχῆμα, μεγέθει δέ ἐστιν οὐ μέγας. καὶ αὐτῷ καὶ ἐπίγραμμα ἔπεστιν, ἀναθεῖναι αὐτὸ Μεσσήνιον Σιμύλον· καλεῖται μὲν δὴ Ἀγοραῖος, παρὰ δὲ αὐτῷ καὶ χρηστήριον καθέστηκε. κεῖται δὲ πρὸ τοῦ ἀγάλματος ἑστία, λίθου καὶ αὐτή, μολίβδῳ δὲ πρὸς τὴν ἑστίαν προσέχονται λύχνοι χαλκοῖ.
22.3. Coming at eventide, the inquirer of the god, having burnt incense upon the hearth, filled the lamps with oil and lighted them, puts on the altar on the right of the image a local coin, called a “copper,” and asks in the ear of the god the particular question he wishes to put to him. After that he stops his ears and leaves the marketplace. On coming outside he takes his hands from his ears, and whatever utterance he hears he considers oracular.
22.3. ἀφικόμενος οὖν περὶ ἑσπέραν ⟨ὁ⟩ τῷ θεῷ χρώμενος λιβανωτόν τε ἐπὶ τῆς ἑστίας θυμιᾷ καὶ ἐμπλήσας τοὺς λύχνους ἐλαίου καὶ ἐξάψας τίθησιν ἐπὶ τὸν βωμὸν τοῦ ἀγάλματος ἐν δεξιᾷ νόμισμα ἐπιχώριον— καλεῖται δὲ χαλκοῦς τὸ νόμισμα—καὶ ἐρωτᾷ πρὸς τὸ οὖς τὸν θεὸν ὁποῖόν τι καὶ ἑκάστῳ τὸ ἐρώτημά ἐστι. τὸ ἀπὸ τούτου δὲ ἄπεισιν ἐκ τῆς ἀγορᾶς ἐπιφραξάμενος τὰ ὦτα· προελθὼν δὲ ἐς τὸ ἐκτὸς τὰς χεῖρας ἀπέσχεν ἀπὸ τῶν ὤτων, καὶ ἧστινος ἂν ἐπακούσῃ φωνῆς, μάντευμα ἡγεῖται.
22.4. There is a similar method of divination practised at the sanctuary of Apis in Egypt. At Pharae there is also a water sacred to Hermes. The name of the spring is Hermes' stream, and the fish in it are not caught, being considered sacred to the god. Quite close to the image stand square stones, about thirty in number. These the people of Pharae adore, calling each by the name of some god. At a more remote period all the Greeks alike worshipped uncarved stones instead of images of the gods.
22.4. τοιαύτη καὶ Αἰγυπτίοις ἑτέρα περὶ τοῦ Ἄπιδος τὸ ἱερὸν μαντεία καθέστηκεν· ἐν Φαραῖς δὲ καὶ ὕδωρ ἱερόν ἐστι τοῦ Ἑρμοῦ· ⟨Ἑρμοῦ⟩ νᾶμα μὲν τῇ πηγῇ τὸ ὄνομα, τοὺς δὲ ἰχθῦς οὐχ αἱροῦσιν ἐξ αὐτῆς, ἀνάθημα εἶναι τοῦ θεοῦ νομίζοντες. ἑστήκασι δὲ ἐγγύτατα τοῦ ἀγάλματος τετράγωνοι λίθοι τριάκοντα μάλιστα ἀριθμόν· τούτους σέβουσιν οἱ Φαρεῖς, ἑκάστῳ θεοῦ τινὸς ὄνομα ἐπιλέγοντες. τὰ δὲ ἔτι παλαιότερα καὶ τοῖς πᾶσιν Ἕλλησι τιμὰς θεῶν ἀντὶ ἀγαλμάτων εἶχον ἀργοὶ λίθοι.
22.5. About fifteen stades from Pharae is a grove of the Dioscuri. The trees in it are chiefly laurels; I saw in it neither temple nor images, the latter, according to the natives, having been carried away to Rome. In the grove at Pharae is an altar of unshaped stones. I could not discover whether the founder of Pharae was Phares, son of Phylodameia, daughter of Danais, or someone else with the same name.
22.5. Φαρεῦσι δὲ ὅσον πέντε σταδίους καὶ δέκα ἀπωτέρω τῆς πόλεώς ἐστιν ἄλσος Διοσκούρων. δάφναι μάλιστα ἐν αὐτῷ πεφύκασι, ναὸς δὲ οὐκ ἦν ἐν αὐτῷ οὐδὲ ἀγάλματα· κομισθῆναι δὲ οἱ ἐπιχώριοί φασιν ἐς Ῥώμην τὰ ἀγάλματα. ἐν Φαραῖς δὲ ἐν τῷ ἄλσει βωμὸς λίθων λογάδων ἐστί. πυθέσθαι δὲ οὐκ εἶχον εἰ [ὁ] Φάρης ὁ Φυλοδαμείας τῆς Δαναοῦ σφισιν ἢ ὁμώνυμος ἐκείνῳ τις ἐγένετο οἰκιστής.
22.6. Triteia, also a city of Achaia, is situated inland, but like Pharae belongs to Patrae, having been annexed by the emperor. The distance to Triteia from Pharae is a hundred and twenty stades. Before you enter the city is a tomb of white marble, well worth seeing, especially for the paintings on the grave, the work of Nicias. There is an ivory chair on which is a young and beautiful woman, by whose side is a handmaid carrying a sunshade. There is also a young man, who is standing.
22.6. Τρίτεια δέ, Ἀχαιῶν ⟨καὶ⟩ αὕτη πόλις, ἐν μεσογαίῳ μὲν ᾤκισται, τελοῦσι δὲ ἐς Πάτρας καὶ αὐτοὶ βασιλέως δόντος· στάδιοι δὲ ἐς Τρίτειαν εἴκοσί τε καὶ ἑκατόν εἰσιν ἐκ Φαρῶν. πρὶν δὲ ἢ ἐς τὴν πόλιν ἐσελθεῖν, μνῆμά ἐστι λευκοῦ λίθου, θέας καὶ ἐς τὰ ἄλλα ἄξιον καὶ οὐχ ἥκιστα ἐπὶ ταῖς γραφαῖς αἵ εἰσιν ἐπὶ τοῦ τάφου, τέχνη Νικίου· θρόνος τε ἐλέφαντος καὶ γυνὴ νέα καὶ εἴδους εὖ ἔχουσα ἐπὶ τῷ θρόνῳ, θεράπαινα δὲ αὐτῇ προσέστηκε σκιάδιον φέρουσα·
22.7. He is too young for a beard, and wears a tunic with a purple cloak over it. By his side is a servant carrying javelins and leading hounds. I could not discover their names, but anyone can conjecture that here man and wife share a common grave.
22.7. καὶ νεανίσκος ὀρθὸς οὐκ ἔχων πω γένειά ἐστι χιτῶνα ἐνδεδυκὼς καὶ χλαμύδα ἐπὶ τῷ χιτῶνι φοινικῆν· παρὰ δὲ αὐτὸν οἰκέτης ἀκόντια ἔχων ἐστὶ καὶ ἄγει κύνας ἐπιτηδείας θηρεύουσιν ἀνθρώποις. πυθέσθαι μὲν δὴ τὰ ὀνόματα αὐτῶν οὐκ εἴχομεν· ταφῆναι δὲ ἄνδρα καὶ γυναῖκα ἐν κοινῷ παρίστατο ἅπασιν εἰκάζειν.
22.8. The founder of Triteia is said by some to have been Celbidas, who came from Cumae in the country of the Opici. Others say that Ares mated with Triteia the daughter of Triton, that this maiden was priestess to Athena, and that Melanippus, the son of Ares and Triteia, founded the city when he grew up, naming it after his mother.
22.8. Τριτείας δὲ οἰκιστὴν οἱ μὲν Κελβίδαν γενέσθαι λέγουσιν, ἀφικόμενον [δὲ] ἐκ Κύμης τῆς ἐν Ὀπικοῖς· οἱ δὲ ὡς Ἄρης συγγένοιτο Τριτείᾳ θυγατρὶ Τρίτωνος, ἱερᾶσθαι δὲ τῆς Ἀθηνᾶς τὴν παρθένον, Μελάνιππον δὲ παῖδα Ἄρεως καὶ Τριτείας οἰκίσαι τε ὡς ηὐξήθη τὴν πόλιν καὶ θέσθαι τὸ ὄνομα ἀπὸ τῆς μητρός.
22.9. In Triteia is a sanctuary of the gods called Almighty, and their images are made of clay. In honor of these every year they celebrate a festival, exactly the same sort of festival as the Greeks hold in honor of Dionysus. There is also a temple of Athena, and the modern image is of stone. The ancient image, as the folk of Triteia say, was carried to Rome. The people here are accustomed to sacrifice both to Ares and to Triteia.
22.9. ἐν Τριτείᾳ δὲ ἔστι μὲν ἱερὸν καλουμένων Μεγίστων θεῶν, ἀγάλματα δέ σφισι πηλοῦ πεποιημένα· τούτοις κατὰ ἔτος ἑορτὴν ἄγουσιν, οὐδέν τι ἀλλοίως ἢ καὶ τῷ Διονύσῳ δρῶσιν Ἕλληνες. ἔστι δὲ καὶ Ἀθηνᾶς ναός, τὸ δὲ ἄγαλμα λίθου τὸ ἐφʼ ἡμῶν· τὸ δὲ ἀρχαῖον ἐς Ῥώμην, καθὰ οἱ Τριταιεῖς λέγουσιν, ἐκομίσθη. θύειν δὲ οἱ ἐνταῦθα καὶ Ἄρει καὶ τῇ Τριτείᾳ νομίζουσιν.
22.10. These cities are at some distance from the sea and completely inland. As you sail to Aegium from Patrae you come first to the cape called Rhium, fifty stades from Patrae, the harbor of Panormus being fifteen stades farther from the cape. It is another fifteen stades from Panormus to what is known as the Fort of Athena. From the Fort of Athena to the harbor of Erineus is a coastal voyage of ninety stades, and from Erineus to Aegium is sixty. But the land route is about forty stades less than the number here given.
22.10. αἵδε μὲν οὖν θαλάσσης τέ εἰσιν ἀπωτέρω πόλεις καὶ ἠπειρώτιδες βεβαίως· πλέοντι δὲ ἐς Αἴγιον ἐκ Πατρῶν ἄκρα πρῶτόν ἐστιν ὀνομαζομένη Ῥίον, σταδίους [δὲ] Πατρῶν πεντήκοντα ἀπέχουσα, λιμὴν δὲ ὁ Πάνορμος σταδίοις πέντε καὶ δέκα ἀπωτέρω τῆς ἄκρας. τοσούτους δὲ ἀφέστηκεν ἑτέρους ἀπὸ Πανόρμου τὸ Ἀθηνᾶς καλούμενον τεῖχος. ἐς δὲ λιμένα Ἐρινεὸν ἐξ Ἀθηνᾶς τείχους παράπλους ἐνενήκοντά εἰσι στάδιοι, ἑξήκοντα δὲ ἐς Αἴγιον ἀπὸ τοῦ Ἐρινεοῦ· ὁδὸς δὲ ἡ πεζὴ σταδίους τεσσαράκοντα μάλιστα ἐς τὸν ἀριθμὸν ἀποδεῖ τὸν εἰρημένον.
22.11. Not far from the city of Patrae is the river Meilichus, and the sanctuary of Triclaria, which no longer has an image. This is on the right. Advancing from the Meilichus you come to another river, the name of which is the Charadrus. The flocks and herds that drink of this river in spring are bound to have male young ones for the most part, and for this reason the herdsmen remove all except the cows to another part of the country. The cows they leave behind by the river, because for sacrifices and for agriculture bulls are more suitable than cows, but in the case of other cattle the females are preferred.
22.11. οὐ πόρρω δὲ τοῦ Πατρέων ἄστεως ποταμός τε ὁ Μείλιχος καὶ τὸ ἱερὸν τῆς Τρικλαρίας [ἐν ὧ] ἐστίν, ἄγαλμα οὐδὲν ἔτι ἔχον. τοῦτο μὲν δή ἐστιν ἐν δεξιᾷ, προελθόντι δὲ ἀπὸ τοῦ Μειλίχου ποταμός ἐστιν ἄλλος· ὄνομα μὲν τῷ ποταμῷ Χάραδρος, ὥρᾳ δὲ ἦρος πίνοντα ἐξ αὐτοῦ τὰ βοσκήματα ὀφείλει τίκτειν ἄρρενα ὡς τὰ πλείω συμβαίνει, καὶ τοῦδε ἕνεκα οἱ νομεῖς ἑτέρωσε αὐτὰ τῆς χώρας μεθιστᾶσι πλήν γε δὴ τὰς βοῦς· ταύτας δὲ αὐτοῦ καταλείπουσιν ἐπὶ τῷ ποταμῷ, διότι καὶ πρὸς θυσίας οἱ ταῦροί σφισι καὶ ἐς τὰ ἔργα ἐπιτηδειότεροι θηλειῶν βοῶν εἰσιν, ἐπὶ δὲ τοῖς ἄλλοις κτήνεσι τὸ θῆλυ ἐπὶ πλέον τετίμηται.
23.1. After the Charadrus you come to some ruins, not at all remarkable, of the city Argyra, to the spring Argyra, on the right of the high road, and to the river Selemnus going down to the sea. The local legend about Selemnus is that he was a handsome lad who used to feed his flocks here. Argyra, they say, was a sea-nymph, who fell in love with Selemnus and used to come up out of the sea to visit him, sleeping by his side.
23.1. μετὰ δὲ τὸν Χάραδρον ἐρείπια οὐκ ἐπιφανῆ πόλεώς ἐστιν Ἀργυρᾶς, καὶ πηγή τε Ἀργυρᾶ ἐν δεξιᾷ τῆς λεωφόρου καὶ Σέλεμνος ποταμὸς κατιὼν ἐς θάλασσαν. λόγος δὲ τῶν ἐπιχωρίων ἐς αὐτόν ἐστι, Σέλεμνον μειράκιον ὡραῖον ποιμαίνειν ἐνταῦθα, Ἀργυρᾶν δὲ εἶναι μὲν τῶν ἐν θαλάσσῃ νυμφῶν, ἐρασθεῖσαν δὲ αὐτὴν Σελέμνου φοιτᾶν τε ὡς αὐτόν φασιν ἐκ θαλάσσης ἀνιοῦσαν, καὶ καθεύδειν παρʼ αὐτῷ·
23.2. After no long while Selemnus no longer seemed so handsome, and the nymph would not visit him. So Selemnus, deserted by Argyra, died of love, and Aphrodite turned him into a river. This is what the people of Patrae say. As Selemnus continued to love Argyra even when he was turned into water, just as Alpheius in the legend continued to love Arethusa, Aphrodite bestowed on him a further gift, by blotting out the memory of Argyra.
23.2. μετὰ δὲ οὐ πολὺν χρόνον οὔτε ὡραῖος ἔτι ἐφαίνετο Σέλεμνος οὔτε ὡς αὐτὸν φοιτήσειν ἔμελλεν ἡ νύμφη, Σέλεμνον δὲ μονωθέντα Ἀργυρᾶς καὶ τελευτήσαντα ὑπὸ τοῦ ἔρωτος ἐποίησεν Ἀφροδίτη ποταμόν. λέγω δὲ τὰ ὑπὸ Πατρέων λεγόμενα. καὶ—ἤρα γὰρ καὶ ὕδωρ γενόμενος Ἀργυρᾶς, καθότι ἔχει καὶ ἐπὶ τῷ Ἀλφειῷ λόγος Ἀρεθούσης ἔτι ἐρᾶν αὐτόν—δωρεῖται καὶ τῷδε Ἀφροδίτη Σέλεμνον·
23.3. I heard too another tale about the water, how that it is a useful remedy for both men and women when in love; if they wash in the river they forget their passion. If there is any truth in the story the water of the Selemnus is of more value to mankind than great wealth.
23.3. ἐς λήθην ἄγει τὸν ποταμὸν Ἀργυρᾶς. ἤκουσα δὲ καὶ ἄλλον ἐπʼ αὐτῷ λόγον, τὸ ὕδωρ τοῦ Σελέμνου σύμφορον καὶ ἀνδράσιν εἶναι καὶ γυναιξὶν ἐς ἔρωτος ἴαμα, λουομένοις ἐν τῷ ποταμῷ λήθην ἔρωτος γίνεσθαι. εἰ δὲ μέτεστιν ἀληθείας τῷ λόγῳ, τιμιώτερον χρημάτων πολλῶν ἐστιν ἀνθρώποις τὸ ὕδωρ τοῦ Σελέμνου.
23.4. At some distance from Argyra is a river named Bolinaeus, and by it once stood a city Bolina. Apollo, says a legend, fell in love with a maiden called Bolina, who fleeing to the sea here threw herself into it, and by the favour of Apollo became an immortal. Next to it a cape juts out into the sea, and of it is told a story how Cronus threw into the sea here the sickle with which he mutilated his father Uranus. For this reason they call the cape Drepanum. Beyond the high road are the ruins of Rhypes. Aegium is about thirty stades distant from Rhypes.
23.4. ἀπωτέρω δὲ Ἀργυρᾶς ποταμός ἐστιν ὀνομαζόμενος Βολιναῖος, καὶ πόλις ποτὲ ᾠκεῖτο πρὸς αὐτῷ Βολίνα. παρθένου δὲ ἐρασθῆναι Βολίνης Ἀπόλλωνα, τὴν δὲ φεύγουσαν ἐς τὴν ταύτῃ φασὶν ἀφεῖναι θάλασσαν αὑτήν, καὶ ἀθάνατον γενέσθαι χάριτι τοῦ Ἀπόλλωνος. ἐφεξῆς δὲ ἄκρα τε ἐς τὴν θάλασσαν ἔχει, καὶ ἐπʼ αὐτῇ λέγεται λόγος ὡς Κρόνος τῆς θαλάσσης ἐνταῦθα ἔρριψε τὸ δρέπανον, ᾧ τὸν πατέρα Οὐρανὸν ἐλυμήνατο· ἐπὶ τούτῳ δὲ καὶ τὴν ἄκραν Δρέπανον ὀνομάζουσιν. ὀλίγον δὲ ὑπὲρ τὴν λεωφόρον Ῥυπῶν ἐστι τὰ ἐρείπια· σταδίους δὲ Αἴγιον περὶ τοὺς τριάκοντα ἀπέχει Ῥυπῶν.
23.5. The territory of Aegium is crossed by a river Phoenix, and by another called Meiganitas, both of which flow into the sea. A portico near the city was made for Straton, an athlete who won at Olympia on the same day victories in the pancratium and in wrestling. The portico was built that this man might exercise himself in it. At Aegium is an ancient sanctuary of Eileithyia, and her image is covered from head to foot with finely-woven drapery; it is of wood except the face, hands and feet, which are made of Pentelic marble.
23.5. Αἰγίου δὲ τὴν χώραν διέξεισι μὲν ποταμὸς Φοῖνιξ, διέξεισι δὲ καὶ ἕτερος Μειγανίτας, ἐς θάλασσαν ῥέοντες. στοὰ δὲ τῆς πόλεως πλησίον ἐποιήθη Στράτωνι ἀθλητῇ, Ὀλυμπίασιν ἐπὶ ἡμέρας τῆς αὐτῆς παγκρατίου καὶ πάλης ἀνελομένῳ νίκας. αὕτη μὲν ἐγγυμνάζεσθαι τούτῳ τῷ ἀνδρὶ ἐποιήθη· Αἰγιεῦσι δὲ Εἰλειθυίας ἱερόν ἐστιν ἀρχαῖον, καὶ ἡ Εἰλείθυια ἐς ἄκρους ἐκ κεφαλῆς τοὺς πόδας ὑφάσματι κεκάλυπται λεπτῷ, ξόανον πλὴν προσώπου τε καὶ χειρῶν ἄκρων καὶ ποδῶν, ταῦτα δὲ τοῦ Πεντελησίου λίθου πεποίηται·