29.9. Lower down than Odysseus are Theseus and Peirithous sitting upon chairs. The former is holding in his hands the sword of Peirithous and his own. Peirithous is looking at the swords, and you might conjecture that he is angry with them for having been useless and of no help in their daring adventures. Panyassis the poet says that Theseus and Peirithous did not sit chained to their chairs, but that the rock grew to their flesh and so served as chains.
29.9. κατωτέρω δὲ τοῦ Ὀδυσσέως ἐπὶ θρόνων καθεζόμενοι Θησεὺς μὲν τὰ ξίφη τό τε Πειρίθου καὶ τὸ ἑαυτοῦ ταῖς χερσὶν ἀμφοτέραις ἔχει, ὁ δὲ ἐς τὰ ξίφη βλέπων ἐστὶν ὁ Πειρίθους· εἰκάσαις ἂν ἄχθεσθαι τοῖς ξίφεσιν αὐτὸν ὡς ἀχρείοις καὶ ὄφελός σφισιν οὐ γεγενημένοις ἐς τὰ τολμήματα. Πανύασσις δὲ ἐποίησεν ὡς Θησεὺς καὶ Πειρίθους ἐπὶ τῶν θρόνων παράσχοιντο σχῆμα οὐ κατὰ δεσμώτας, προσφύεσθαι δὲ ἀπὸ τοῦ χρωτὸς ἀντὶ δεσμῶν σφισιν ἔφη τὴν πέτραν.
29.10. The proverbial friendship of Theseus and Peirithous has been mentioned by Homer in both his poems. In the Odyssey Odysseus says to the Phaeacians:—And now I should have seen more men of former days, whom I wished very much to see,Theseus and Peirithous, renowned children of gods.And in the Iliad he has made Nestor give advice to Agamemnon and Achilles, and speaking among others the following verses:—I have never yet seen such men, and I am never likely to seeAs were Peirithous, Dryas, shepherd of the folk,Caeneus, Exadius, god-like Polyphemus,And Theseus, son of Aegeus, like to the immortals.
29.10. Θησέως δὲ καὶ Πειρίθου τὴν λεγομένην φιλίαν ἐν ἀμφοτέραις ἐδήλωσεν Ὅμηρος ταῖς ποιήσεσι, καὶ Ὀδυσσεὺς μὲν πρὸς Φαίακας λέγων ἐστὶκαί νύ κʼ ἔτι προτέρους ἴδον ἀνέρας οὓς ἔθελόν περ,Θησέα Πειρίθοόν τε, θεῶν ἐρικυδέα τέκνα·πεποίηται δὲ αὐτῷ καὶ ἐν Ἰλιάδι ὁ Νέστωρ ἄλλα τε ἐπὶ Ἀγαμέμνονος καὶ Ἀχιλλέως νουθεσίᾳ καὶ ἔπη τάδε εἰρηκώς·οὐ γάρ πω τοίους ἴδον ἀνέρας οὐδὲ ἴδωμαιοἷον Πειρίθοόν τε Δρύαντά τε ποιμένα λαῶνΚαινέα τʼ Ἐξάδιόν τε καὶ ἀντίθεον ΠολύφημονΘησέα τʼ Αἰγείδην ἐπιείκελον ἀθανάτοισιν.
30.1. Next Polygnotus has painted the daughters of Pandareos. Homer makes Penelope say in a speech that the parents of the maidens died because of the wrath of the gods, that they were reared as orphans by Aphrodite and received gifts from other goddesses: from Hera wisdom and beauty of form, from Artemis high stature, from Athena schooling in the works that befit women.
30.1. ἐφεξῆς δὲ τὰς Πανδάρεω θυγατέρας ἔγραψεν ὁ Πολύγνωτος. Ὁμήρῳ δὲ ἐν Πηνελόπης λόγοις ἐστὶν ὡς ἀποθάνοιεν μὲν ταῖς παρθένοις οἱ γεινάμενοι κατὰ μήνιμα ἐκ θεῶν, αὐτὰς δὲ ὀρφανὰς τραφῆναι μὲν ὑπὸ Ἀφροδίτης, λαβεῖν δὲ καὶ παρʼ ἄλλων θεῶν, Ἥρας μὲν φρονεῖν τε ἱκανὰς εἶναι καὶ εἶδος καλάς, μῆκος δὲ τοῦ σώματος Ἄρτεμίν φησιν αὐταῖς δωρήσασθαι, ἔργα δὲ γυναιξὶν ἁρμόζοντα ὑπὸ Ἀθηνᾶς διδαχθῆναι.
30.2. He goes on to say that Aphrodite ascended into heaven, wishing to secure for the girls a happy marriage, and in her absence they were carried off by the Harpies and given by them to the Furies. This is the story as given by Homer. Polygnotus has painted them as girls crowned with flowers and playing with dice, and gives them the names of Cameiro and Clytie. I must tell you that Pandareos was a Milesian from Miletus in Crete, and implicated in the theft of Tantalus and in the trick of the oath.
30.2. Ἀφροδίτην μὲν οὖν ἐς οὐρανὸν ἀνέρχεσθαι, παρὰ Διὸς γάμον εὐδαίμονα ἐθέλουσαν ταῖς παισὶν εὕρασθαι, τὰς δὲ ἀπούσης ἐκείνης ἁρπασθῆναί τε ὑπὸ Ἁρπυιῶν καὶ Ἐρινύσιν ὑπʼ αὐτῶν δοθῆναι. τάδε μέν ἐστιν ἐς αὐτὰς Ὁμήρῳ πεποιημένα, Πολύγνωτος δὲ κόρας τε ἐστεφανωμένας ἄνθεσι καὶ παιζούσας ἔγραψεν ἀστραγάλοις, ὄνομα δὲ αὐταῖς Καμειρώ τε καὶ Κλυτίη. τὸν δὲ Πανδάρεων Μιλήσιόν τε ἐκ Μιλήτου τῆς Κρητικῆς ὄντα ἴστω τις καὶ ἀδικήματος ἐς τὴν κλοπὴν Ταντάλῳ καὶ τοῦ ἐπὶ τῷ ὅρκῳ μετασχόντα σοφίσματος.
30.3. After the daughters of Pandareos is Antilochus, with one foot upon a rock and his face and head resting upon both hands, while after Antilochus is Agamemnon, leaning on a scepter beneath his left armpit, and holding up a staff in his hands. Protesilaus is seated with his gaze fixed on Achilles. Such is the posture of Protesilaus, and beyond Achilles is Patroclus standing. With the exception of Agamemnon these figures have no beard.
30.3. μετὰ δὲ τοῦ Πανδάρεω τὰς κόρας Ἀντίλοχος τὸν μὲν ἕτερον ἐπὶ πέτρας τῶν ποδῶν, τὸ δὲ πρόσωπον καὶ τὴν κεφαλὴν ἐπὶ ταῖς χερσὶν ἀμφοτέραις ἔχων ἐστίν, Ἀγαμέμνων δὲ μετὰ τὸν Ἀντίλοχον σκήπτρῳ τε ὑπὸ τὴν ἀριστερὰν μασχάλην ἐρειδόμενος καὶ ταῖς χερσὶν ἐπανέχων ῥάβδον· Πρωτεσίλαος δὲ πρὸς Ἀχιλλέα ἀφορᾷ καθεζόμενος. καὶ ὁ Πρωτεσίλαος ⟨τοιοῦτον⟩ παρέχεται σχῆμα, ὑπὲρ δὲ τὸν Ἀχιλλέα Πάτροκλός ἐστιν ἑστηκώς. οὗτοι πλὴν τοῦ Ἀγαμέμνονος οὐκ ἔχουσι γένεια οἱ ἄλλοι.
30.4. Beyond them has been painted Phocus as a stripling, and Iaseus, well bearded, is taking off a ring from the left hand of Phocus. The story about this is as follows. When Phocus, the son of Aeacus, had crossed from Aegina into what is now called Phocis, and wished to gain the rule over the men living on that part of the mainland, and to settle there himself, Iaseus conceived a great friendship for him. Among the gifts that Iaseus gave (as friends will) was a seal-ring, a stone set in gold. But when Phocus returned, not long afterwards, to Aegina, Peleus at once plotted to kill him. This is the reason why in the painting, as a reminder of their great friendship, Iaseus is anxious to look at the ring and Phocus has let him take it.
30.4. γέγραπται δὲ ὑπὲρ αὐτοὺς Φῶκός τε ἡλικίαν μειράκιον καὶ Ἰασεὺς γενείων μὲν εὖ ἔχων, δακτύλιον δὲ ἐκ τῆς ἀριστερᾶς τοῦ Φώκου περιαιρούμενος χειρὸς ἐπὶ τοιῷδέ ἐστι λόγῳ. Φώκῳ τῷ Αἰακοῦ διαβάντι ἐξ Αἰγίνης ἐς τὴν νῦν καλουμένην Φωκίδα, καὶ ἀνθρώπων τε ἀρχὴν τῶν ἐν τῇ ἠπείρῳ ταύτῃ κτήσασθαι καὶ αὐτῷ θέλοντι ἐνταῦθα οἰκῆσαι, ἀφίκετο ἐπὶ πλεῖστον ὁ Ἰασεὺς φιλίας, καί οἱ δῶρα ἄλλα τε ὡς τὸ εἰκὸς ἐδωρήσατο καὶ λίθου σφραγῖδα ἐνδεδεμένην χρυσῷ· Φώκῳ δὲ οὐ μετὰ πολὺν χρόνον ἀνακομισθέντι ἐς Αἴγιναν Πηλεὺς αὐτίκα ἐβούλευσε τοῦ βίου τὴν τελευτήν. καὶ τοῦδε ἕνεκα ἐν τῇ γραφῇ ἐς ἀνάμνησιν ἐκείνης τῆς φιλίας ὅ τε Ἰασεὺς τὴν σφραγῖδά ἐστιν ἐθέλων θεάσασθαι καὶ ὁ Φῶκος παρεὶς λαβεῖν αὐτήν.
30.5. Beyond these is Maera sitting on a rock. About her the poem Returns says that she was still a maid when she departed this life, being the daughter of Proetus, son of Thersander, who was a son of Sisyphus. Next to Maera is Actaeon, son of Aristaeus, together with the mother of Actaeon; they hold in their hands a young deer, and are sitting on a deer's skin. A hunting dog lies stretched out beside them, an allusion to Actaeon's mode of life, and to the manner of his death.
30.5. ὑπὲρ τούτους Μαῖρά ἐστιν ἐπὶ πέτρᾳ καθεζομένη· περὶ δὲ αὐτῆς πεποιημένα ἐστὶν ἐν Νόστοις ἀπελθεῖν μὲν παρθένον ἔτι ἐξ ἀνθρώπων, θυγατέρα δὲ αὐτὴν εἶναι Προίτου τοῦ Θερσάνδρου, τὸν δὲ εἶναι Σισύφου. ἐφεξῆς δὲ τῆς Μαίρας Ἀκταίων ἐστὶν ὁ Ἀρισταίου καὶ ἡ τοῦ Ἀκταίωνος μήτηρ, νεβρὸν ἐν ταῖς χερσὶν ἔχοντες ἐλάφου καὶ ἐπὶ δέρματι ἐλάφου καθεζόμενοι· κύων τε θηρευτικὴ παρακατάκειταί σφισι βίου τοῦ Ἀκταίωνος ἕνεκα καὶ τοῦ ἐς τὴν τελευτὴν τρόπου.
30.6. Turning our gaze again to the lower part of the picture we see, next after Patroclus, Orpheus sitting on what seems to be a sort of hill; he grasps with his left hand a harp, and with his right he touches a willow. It is the branches that he touches, and he is leaning against the tree. The grove seems to be that of Persephone, where grow, as Homer thought, black poplars and willows. The appearance of Orpheus is Greek, and neither his garb nor his head-gear is Thracian.
30.6. ἀποβλέψαντι δὲ αὖθις ἐς τὰ κάτω τῆς γραφῆς, ἔστιν ἐφεξῆς μετὰ τὸν Πάτροκλον οἷα ἐπὶ λόφου τινὸς Ὀρφεὺς καθεζόμενος, ἐφάπτεται δὲ καὶ τῇ ἀριστερᾷ κιθάρας, τῇ δὲ ἑτέρᾳ χειρὶ ἰτέας ψαύει· κλῶνές εἰσιν ὧν ψαύει, προσανακέκλιται δὲ τῷ δένδρῳ. τὸ δὲ ἄλσος ἔοικεν εἶναι τῆς Περσεφόνης, ἔνθα αἴγειροι καὶ ἰτέαι δόξῃ τῇ Ὁμήρου πεφύκασιν· Ἑλληνικὸν δὲ τὸ σχῆμά ἐστι τῷ Ὀρφεῖ, καὶ οὔτε ἡ ἐσθὴς οὔτε ἐπίθημά ἐστιν ἐπὶ τῇ κεφαλῇ Θρᾴκιον.
30.7. On the other side of the willow-tree Promedon is leaning against it. Some there are who think that the name Promedon is as it were a poetic invention of Polygnotus; others have said that Promedon was a Greek who was fond of listening to all kinds of music, especially to the singing of Orpheus.
30.7. τῷ δένδρῳ δὲ τῇ ἰτέᾳ κατὰ τὸ ἕτερον μέρος προσανακεκλιμένος ἐστὶν αὐτῇ Προμέδων. εἰσὶ μὲν δὴ οἳ νομίζουσι καθάπερ ἐς ποίησιν ἐπεσῆχθαι τὸ Προμέδοντος ὄνομα ὑπὸ τοῦ Πολυγνώτου· τοῖς δὲ εἰρημένον ἐστὶν ἄνδρα Ἕλληνα ἔς τε τὴν ἄλλην ἅπασαν γενέσθαι φιλήκοον μουσικὴν καὶ ἐπὶ τῇ ᾠδῇ μάλιστα τῇ Ὀρφέως.
30.8. In this part of the painting is Schedius, who led the Phocians to Troy, and after him is Pelias, sitting on a chair, with grey hair and grey beard, and looking at Orpheus. Schedius holds a dagger and is crowned with grass. Thamyris is sitting near Pelias. He has lost the sight of his eyes; his attitude is one of utter dejection; his hair and beard are long; at his feet lies thrown a lyre with its horns and strings broken.
30.8. κατὰ τοῦτο τῆς γραφῆς Σχεδίος ὁ Φωκεῦσιν ἡγησάμενος ἐς Τροίαν καὶ μετὰ τοῦτον Πελίας ἐστὶν ἐν θρόνῳ καθεζόμενος, τὰ γένεια ὁμοίως καὶ τὴν κεφαλὴν πολιός, ἐνορᾷ δὲ ἐς τὸν Ὀρφέα· ὁ δὲ Σχεδίος ἐγχειρίδιόν τε ἔχων καὶ ἄγρωστίν ἐστιν ἐστεφανωμένος. Θαμύριδι δὲ ἐγγὺς καθεζομένῳ τοῦ Πελίου διεφθαρμέναι αἱ ὄψεις καὶ ταπεινὸν ἐς ἅπαν σχῆμά ἐστι καὶ ἡ κόμη πολλὴ μὲν ἐπὶ τῆς κεφαλῆς, πολλὴ δὲ αὐτῷ καὶ ἐν τοῖς γενείοις· λύρα δὲ ἔρριπται πρὸς τοῖς ποσί, κατεαγότες αὐτῆς οἱ πήχεις καὶ αἱ χορδαὶ κατερρωγυῖαι.
30.9. Above him is Marsyas, sitting on a rock, and by his side is Olympus, with the appearance of a boy in the bloom of youth learning to play the flute. The Phrygians in Celaenae hold that the river passing through the city was once this great flute-player, and they also hold that the Song of the Mother, an air for the flute, was composed by Marsyas. They say too that they repelled the army of the Gauls by the aid of Marsyas, who defended them against the barbarians by the water from the river and by the music of his flute.
30.9. ὑπὲρ τούτου ἐστὶν ἐπὶ πέτρας καθεζόμενος Μαρσύας, καὶ Ὄλυμπος παρʼ αὐτὸν παιδός ἐστιν ὡραίου καὶ αὐλεῖν διδασκομένου σχῆμα ἔχων. οἱ δὲ ἐν Κελαιναῖς Φρύγες ἐθέλουσι μὲν τὸν ποταμὸν ὃς διέξεισιν αὐτοῖς διὰ τῆς πόλεως ἐκεῖνόν ποτε εἶναι τὸν αὐλητήν, ἐθέλουσι δὲ καὶ εὕρημα εἶναι τοῦ Μαρσύου τὸ Μητρῷον αὔλημα· φασὶ δὲ ὡς καὶ τὴν Γαλατῶν ἀπώσαιντο στρατείαν τοῦ Μαρσύου σφίσιν ἐπὶ τοὺς βαρβάρους ὕδατί τε ἐκ τοῦ ποταμοῦ καὶ μέλει τῶν αὐλῶν ἀμύναντος.
31.1. If you turn your gaze again to the upper part of the painting, you see, next to Actaeon, Ajax of Salamis, and also Palamedes and Thersites playing with dice, the invention of Palamedes; the other Ajax is looking at them as they play. The color of the latter Ajax is like that of a shipwrecked sailor with the brine still rough on the surface of his skin.
31.1. εἰ δὲ ἀπίδοις πάλιν ἐς τὸ ἄνω τῆς γραφῆς, ἔστιν ἐφεξῆς τῷ Ἀκταίωνι Αἴας ὁ ἐκ Σαλαμῖνος, καὶ Παλαμήδης τε καὶ Θερσίτης κύβοις χρώμενοι παιδιᾷ, τοῦ Παλαμήδους τῷ εὑρήματι· Αἴας δὲ ὁ ἕτερος ἐς αὐτοὺς ὁρᾷ παίζοντας. τούτῳ τῷ Αἴαντι τὸ χρῶμά ἐστιν οἷον ⟨ἂν⟩ ἀνδρὶ ναυαγῷ γένοιτο ἐπανθούσης τῷ χρωτὶ ἔτι τῆς ἅλμης.
31.2. Polygnotus has intentionally gathered into one group the enemies of Odysseus. Ajax, son of Oileus, conceived a hatred of Odysseus, because Odysseus urged the Greeks to stone him for the outrage on Cassandra. Palamedes, as I know from reading the epic poem Cypria, was drowned when he put out to catch fish, and his murderers were Diomedes and Odysseus.
31.2. ἐς δὲ τὸ αὐτὸ ἐπίτηδες τοῦ Ὀδυσσέως τοὺς ἐχθροὺς ἤγαγεν ὁ Πολύγνωτος· ἀφίκετο δὲ ἐς Ὀδυσσέως δυσμένειαν ὁ τοῦ Ὀιλέως Αἴας, ὅτι τοῖς Ἕλλησιν Ὀδυσσεὺς παρῄνει καταλιθῶσαι τὸν Αἴαντα ἐπὶ τῷ ἐς Κασσάνδραν τολμήματι· Παλαμήδην δὲ ἀποπνιγῆναι προελθόντα ἐπὶ ἰχθύων θήραν, Διομήδην δὲ τὸν ἀποκτείναντα εἶναι καὶ Ὀδυσσέα ἐπιλεξάμενος ἐν ἔπεσιν οἶδα τοῖς Κυπρίοις.
31.3. Meleager, the son of Oeneus, is higher up in the picture than Ajax, the son of Oileus, and he seems to be looking at Ajax. Palamedes has no beard, but the others have. As to the death of Meleager, Homer says that the Fury heard the curses of Althaea, and that this was the cause of Meleager's death. But the poem Eoeae, as it is called, and the Minyad agree in giving a different account. For these poems say that Apollo helped the Curetes against the Aetolians, and that Meleager was killed by Apollo.
31.3. Μελέαγρος δὲ ὁ Οἰνέως ἀνωτέρω μὲν ἢ ὁ τοῦ Ὀιλέως Αἴας ἐστὶν ἐν τῇ γραφῇ, ἔοικε δὲ ὁρῶντι ἐς τὸν Αἴαντα. τούτοις πλὴν τῷ Παλαμήδει γένειά ἐστι τοῖς ἄλλοις. ἐς δὲ τοῦ Μελεάγρου τὴν τελευτὴν Ὁμήρῳ μέν ἐστιν εἰρημένα ὡς Ἐρινὺς καταρῶν ἀκούσαι τῶν Ἀλθαίας καὶ ἀποθάνοι κατὰ ταύτην ὁ Μελέαγρος τὴν αἰτίαν, αἱ δὲ Ἠοῖαί τε καλούμεναι καὶ ἡ Μινυὰς ὡμολογήκασιν ἀλλήλαις· Ἀπόλλωνα [γὰρ] δὴ αὗταί φασιν αἱ ποιήσεις ἀμῦναι Κούρησιν ἐπὶ τοὺς Αἰτωλοὺς καὶ ἀποθανεῖν Μελέαγρον ὑπὸ Ἀπόλλωνος.
31.4. The story about the brand, how it was given by the Fates to Althaea, how Meleager was not to die before the brand was consumed by fire, and how Althaea burnt it up in a passion—this story was first made the subject of a drama by Phrynichus, the son of Polyphradmon, in his Pleuronian Women:—For chill doomHe escaped not, but a swift flame consumed him,As the brand was destroyed by his terrible mother, contriver of evil.However, it appears that Phrynichus did not elaborate the story as a man would his own invention, but only touched on it as one already in the mouths of everybody in Greece.
31.4. τὸν δὲ ἐπὶ τῷ δαλῷ λόγον, ὡς δοθείη μὲν ὑπὸ Μοιρῶν τῇ Ἀλθαίᾳ, Μελεάγρῳ δὲ οὐ πρότερον ἔδει τὴν τελευτὴν συμβῆναι πρὶν ἢ ὑπὸ πυρὸς ἀφανισθῆναι τὸν δαλὸν καὶ ὡς ὑπὸ τοῦ θυμοῦ καταπρήσειεν αὐτὸν ἡ Ἀλθαία, τοῦτον τὸν λόγον Φρύνιχος ὁ Πολυφράδμονος πρῶτος ἐν δράματι ἔδειξε Πλευρωνίαις·κρυερὸν γὰρ οὐκἤλυξεν μόρον, ὠκεῖα δέ νιν φλὸξ κατεδαίσατο,δαλοῦ περθομένου ματρὸς ὑπʼ αἰνᾶς κακομηχάνου.οὐ μὴν φαίνεταί γε ὁ Φρύνιχος προαγαγὼν τὸν λόγον ἐς πλέον ὡς εὕρημα ἄν τις οἰκεῖον, προσαψάμενος δὲ αὐτοῦ μόνον ἅτε ἐς ἅπαν ἤδη διαβεβοημένου τὸ Ἑλληνικόν.
31.5. In the lower part of the picture, after the Thracian Thamyris, comes Hector, who is sitting with both hands clasped about his left knee, in an attitude of deep grief. After him is Memnon, sitting on a rock, and Sarpedon next to Memnon. Sarpedon has his face buried in both hands, and one of Memnon's hands lies on Sarpedon's shoulder.
31.5. ἐν δὲ τοῖς κάτω τῆς γραφῆς μετὰ τὸν Θρᾷκά εἰσι Θάμυριν Ἕκτωρ μὲν καθεζόμενος—ἀμφοτέρας ἔχει τὰς χεῖρας περὶ τὸ ἀριστερὸν γόνυ, ἀνιωμένου σχῆμα ἐμφαίνων—, μετὰ δὲ αὐτὸν Μέμνων ἐστὶν ἐπὶ πέτρᾳ καθεζόμενος καὶ Σαρπηδὼν συνεχὴς τῷ Μέμνονι· ἐπικέκλιται δὲ τὸ πρόσωπον ἐπὶ τὰς χεῖρας ἀμφοτέρας ὁ Σαρπηδών, ἡ δὲ ἑτέρα τῶν χειρῶν τοῦ Μέμνονος ἐπὶ τῷ ὤμῳ τοῦ Σαρπηδόνος κεῖται.
31.6. All are bearded; and on the cloak of Memnon are embroidered birds. Their name is Memnonides, and the people of the Hellespont say that on stated days every year they go to the grave of Memnon, and sweep all that part of the tomb that is bare of trees or grass, and sprinkle it with the water of the Aesepus from their wet wings.
31.6. γένεια μὲν πᾶσίν ἐστιν αὐτοῖς, ἐν δὲ τοῦ Μέμνονος τῇ χλαμύδι καὶ ὄρνιθές εἰσιν ἐπειργασμέναι· Μεμνονίδες ταῖς ὄρνισίν ἐστιν ὄνομα, κατὰ δὲ ἔτος οἱ Ἑλλησπόντιοί φασιν αὐτὰς ἐν εἰρημέναις ἡμέραις ἰέναι τε ἐπὶ τοῦ Μέμνονος τὸν τάφον, καὶ ὁπόσον τοῦ μνήματος δένδρων ἐστὶν ἢ πόας ψιλόν, τοῦτο καὶ σαίρουσιν ⟨αἱ⟩ ὄρνιθες καὶ ὑγροῖς τοῖς πτεροῖς τοῦ Αἰσήπου τῷ ὕδατι ῥαίνουσι.
31.7. Beside Memnon is depicted a naked Ethiopian boy, because Memnon was king of the Ethiopian nation. He came to Troy, however, not from Ethiopia, but from Susa in Persia and from the river Choaspes, having subdued all the peoples that lived between these and Troy. The Phrygians still point out the road through which he led his army, picking out the shortest routes. The road is divided up by halting-places.
31.7. παρὰ δὲ τῷ Μέμνονι καὶ παῖς Αἰθίοψ πεποίηται γυμνός, ὅτι ὁ Μέμνων βασιλεὺς ἦν τοῦ Αἰθιόπων γένους. ἀφίκετο μέντοι ἐς Ἴλιον οὐκ ἀπʼ Αἰθιοπίας ἀλλὰ ἐκ Σούσων τῶν Περσικῶν καὶ ἀπὸ τοῦ Χοάσπου ποταμοῦ, τὰ ἔθνη πάντα ὅσα ᾤκει μεταξὺ ὑποχείρια πεποιημένος· Φρύγες δὲ καὶ τὴν ὁδὸν ἔτι ἀποφαίνουσι διʼ ἧς τὴν στρατιὰν ἤγαγε τὰ ἐπίτομα ἐκλεγόμενος τῆς χώρας· τέτμηται δὲ διὰ τῶν μονῶν ἡ ὁδός.
31.8. Beyond Sarpedon and Memnon is Paris, as yet beardless. He is clapping his hands like a boor, and you will say that it is as though Paris were calling Penthesileia to him by the noise of his hands. Penthesileia too is there, looking at Paris, but by the toss of her head she seems to show her disdain and contempt. In appearance Penthesileia is a maiden, carrying a bow like Scythian bows, and wearing a leopard's skin on her shoulders.
31.8. ὑπὲρ δὲ τὸν Σαρπηδόνα τε καὶ Μέμνονα, ἔστιν ὑπὲρ αὐτοὺς ὁ Πάρις οὐκ ἔχων πω γένεια· κροτεῖ δὲ ταῖς χερσίν, οἷος ἂν γένοιτο ἀνδρὸς ἀγροίκου κρότος· ἐοικέναι τὸν Πάριν φήσεις τῷ ψόφῳ τῶν χειρῶν Πενθεσίλειαν παρʼ αὑτὸν καλοῦντι. ἔστι δὲ καὶ ἡ Πενθεσίλεια ὁρῶσα ἐς τὸν Πάριν, τοῦ προσώπου δὲ ἔοικε τῷ νεύματι ὑπερορᾶν τε αὐτὸν καὶ ἐν οὐδενὸς τίθεσθαι λόγῳ· τὸ δὲ σχῆμά ἐστι τῇ Πενθεσιλείᾳ παρθένος τόξον ἔχουσα τοῖς Σκυθικοῖς ἐμφερὲς καὶ παρδάλεως δέρμα ἐπὶ τῶν ὤμων.
31.9. The women beyond Penthesileia are carrying water in broken pitchers; one is depicted as in the bloom of youth, the other is already advanced in years. There is no separate inscription on either woman, but there is one common to the pair, which states that they are of the number of the uninitiated.
31.9. αἱ δὲ ὑπὲρ τὴν Πενθεσίλειαν φέρουσαι μέν εἰσιν ὕδωρ ἐν κατεαγόσιν ὀστράκοις, πεποίηται δὲ ἡ μὲν ἔτι ὡραία τὸ εἶδος, ἡ δὲ ἤδη τῆς ἡλικίας προήκουσα· ἰδίᾳ μὲν δὴ οὐδὲν ἐπίγραμμα ἐπὶ ἑκατέρᾳ τῶν γυναικῶν, ἐν κοινῷ δέ ἐστιν ἐπὶ ἀμφοτέραις εἶναι σφᾶς τῶν οὐ μεμυημένων γυναικῶν.
31.10. Higher up than these is Callisto, daughter of Lycaon, Nomia, and Pero, daughter of Neleus. As her bride-price Neleus asked for the oxen of Iphiclus. Instead of a mattress, Callisto has a bearskin, and her feet are lying on Nomia's knees. I have already mentioned that the Arcadians say that Nomia is a nymph native to their country. The poets say that the nymphs live for a great number of years, but are not altogether exempt from death. After Callisto and the women with her is the form of a cliff, and Sisyphus, the son of Aeolus, is trying his hardest to push the rock up it.
31.10. ἀνωτέρω τούτων ἐστὶν ἡ Λυκάονος Καλλιστὼ καὶ Νομία τε καὶ ἡ Νηλέως Πηρώ· ταύτης ἕδνα τῶν γάμων βοῦς ὁ Νηλεὺς ᾔτει τὰς Ἰφίκλου. τῇ Καλλιστοῖ δὲ ἀντὶ μὲν στρωμνῆς ἐστιν αὐτῇ δέρμα ἄρκτου, τοὺς πόδας δὲ ἐν τοῖς Νομίας γόνασιν ἔχει κειμένους. ἐδήλωσε δέ μοι τὰ πρότερα τοῦ λόγου φάναι τοὺς Ἀρκάδας Νομίαν εἶναι [φασὶν] ἐπιχώριον νύμφην· τὰς νύμφας δὲ εἶναι πολὺν μέν τινα ἀριθμὸν βιούσας ἐτῶν, οὐ μέντοι παράπαν γε ἀπηλλαγμένας θανάτου, ποιητῶν ἐστιν ἐς αὐτὰς λόγος. μετὰ δὲ τὴν Καλλιστὼ καὶ ὅσαι σὺν ἐκείνῃ γυναῖκες, κρημνοῦ τε σχῆμά ἐστι καὶ ὁ Αἰόλου Σίσυφος ἀνῶσαι πρὸς τὸν κρημνὸν βιαζόμενος τὴν πέτραν.
31.11. There is also in the painting a jar, and an old man, with a boy and two women. One of these, who is young, is under the rock; the other is beside the old man and of a like age to his. The others are carrying water, but you will guess that the old woman's water-jar is broken. All that remains of the water in the sherd she is pouring out again into the jar. We inferred that these people too were of those who had held of no account the rites at Eleusis. For the Greeks of an earlier period looked upon the Eleusinian mysteries as being as much higher than all other religious acts as gods are higher than heroes.
31.11. ἔστι δὲ καὶ πίθος ἐν τῇ γραφῇ, πρεσβύτης δὲ ἄνθρωπος, ὁ δὲ ἔτι παῖς, καὶ γυναῖκες, νέα μὲν ὑπὸ τῇ πέτρᾳ, παρὰ δὲ τὸν πρεσβύτην ἐοικυῖα ἐκείνῳ τὴν ἡλικίαν· οἱ μὲν δὴ ἄλλοι φέρουσιν ὕδωρ, τῇ δὲ γραῒ κατεᾶχθαι τὴν ὑδρίαν εἰκάσεις· ὅσον δὲ ἐν τῷ ὀστράκῳ λοιπόν ἦν τοῦ ὕδατος, ἐκχέουσά ἐστιν αὖθις ἐς τὸν πίθον. ἐτεκμαιρόμεθα δʼ εἶναι καὶ τούτους τῶν τὰ δρώμενα Ἐλευσῖνι ἐν οὐδενὶ θεμένων λόγῳ· οἱ γὰρ ἀρχαιότεροι τῶν Ἑλλήνων τελετὴν τὴν Ἐλευσινίαν πάντων ὁπόσα ἐς εὐσέβειαν ἥκει τοσούτῳ ἦγον ἐντιμότερον ὅσῳ καὶ θεοὺς ἐπίπροσθεν ἡρώων.
31.12. Under this jar is Tantalus, enduring all the pains that Homer speaks of, and in addition the terror of the stone that hangs over him. Polygnotus has plainly followed the account of Archilochus, but I do not know whether Archilochus borrowed from others the story of the stone or whether it was an invention of his that he introduced into his poem. So great is the number of the figures and so many are their beauties, in this painting of the Thasian artist.
31.12. ὑπὸ τούτῳ δὲ τῷ πίθῳ Τάνταλος καὶ ἄλλα ἔχων ἐστὶν ἀλγεινὰ ὁπόσα Ὅμηρος ἐπʼ αὐτῷ πεποίηκεν, ἐπὶ δὲ αὐτοῖς πρόσεστίν οἱ καὶ τὸ ἐκ τοῦ ἐπηρτημένου λίθου δεῖμα. Πολύγνωτος μὲν δῆλός ἐστιν ἐπακολουθήσας τῷ Ἀρχιλόχου λόγῳ· Ἀρχίλοχος δὲ οὐκ οἶδα εἴτε ἐδιδάχθη παρὰ ἄλλων τὰ ἐς τὸν λίθον εἴτε καὶ αὐτὸς ἐς τὴν ποίησιν ἐσηνέγκατο. τοσαύτη μὲν πλῆθος καὶ εὐπρεπείας ἐς τοσοῦτόν ἐστιν ἥκουσα ἡ τοῦ Θασίου γραφή·
32.1. Adjoining the sacred enclosure is a theater worth seeing, and on coming up from the enclosure...and here is an image of Dionysus, dedicated by the Cnidians. The Delphian race-course is on the highest part of their city. It was made of the stone that is most common about Parnassus, until Herodes the Athenian rebuilt it of Pentelic marble. Such in my day the objects remaining in Delphi that are worth recording.
32.1. τοῦ περιβόλου δὲ τοῦ ἱεροῦ θέατρον ἔχεται θέας ἄξιον, ἐπαναβάντι δὲ ἐκ τοῦ περιβόλου Διονύσου δὲ ἄγαλμα ἐνταῦθα Κνιδίων ἐστὶν ἀνάθημα. στάδιον δέ σφισιν ἀνωτάτω τῆς πόλεως τοῦτό ἐστιν· ἐπεποίητο δὲ ἐκ τῆς πέτρας ὁποῖαι περὶ τὸν Παρνασσόν εἰσιν αἱ πολλαί, ἄχρις Ἀθηναῖος Ἡρώδης λίθῳ τῷ Πεντελῆσιν αὐτὸ μετεκόσμησεν. τὰ μὲν δὴ ἀνήκοντα ἐς συγγραφὴν τοσαῦτά τε καὶ τοιαῦτα κατʼ ἐμὲ ἦν τὰ [δὲ] λειπόμενα ἐν Δελφοῖς·
32.2. On the way from Delphi to the summit of Parnassus, about sixty stades distant from Delphi, there is a bronze image. The ascent to the Corycian cave is easier for an active walker than it is for mules or horses. I mentioned a little earlier in my narrative that this cave was named after a nymph called Corycia, and of all the caves I have ever seen this seemed to me the best worth seeing.
32.2. ἰόντι δὲ ἐκ Δελφῶν ἐπὶ τὰ ἄκρα τοῦ Παρνασσοῦ, σταδίοις μὲν ὅσον ἑξήκοντα ἀπωτέρω Δελφῶν ἐστιν ἄγαλμα χαλκοῦν, καὶ ῥᾴων εὐζώνῳ ἀνδρὶ ἢ ἡμιόνοις τε καὶ ἵπποις ἐπὶ τὸ ἄντρον ἐστὶν ἄνοδος τὸ Κωρύκιον. τούτῳ δὲ τῷ ἄντρῳ γενέσθαι τὸ ὄνομα ἀπὸ νύμφης Κωρυκίας ἐδήλωσα ὀλίγον τι ἔμπροσθεν· σπηλαίων δὲ ὧν εἶδον θέας ἄξιον μάλιστα ἐφαίνετο εἶναί μοι.
32.3. It would be impossible to discover even the mere number of caves whose entrances face the beach or the deep sea, but the most famous ones in Greek or in foreign lands are the following. The Phrygians on the river Pencelas, and those who came to this land originally from the Azanians in Arcadia, show visitors a cave called Steunos, which is round, and handsome in its loftiness. It is sacred to the Mother, and there is an image of her.
32.3. ὅσα μὲν γὰρ ἐπί τε αἰγιαλοῖς καὶ ἀγχιβαθεῖ τῇ θαλάσσῃ, τούτων μὲν οὐδὲ ἀριθμὸν ἄν τις ἐθέλων ἐξεύροι, ὀνομαστότατα δὲ ἔν τε Ἕλλησι καὶ ἐν γῇ τῇ βαρβάρων ἐστί· Φρύγες οἱ ἐπὶ ποταμῷ Πεγκέλᾳ, τὰ δὲ ἄνωθεν ἐξ Ἀρκαδίας καὶ Ἀζάνων ἐς ταύτην ἀφικόμενοι τὴν χώραν, δεικνύουσιν ἄντρον καλούμενον Στεῦνος περιφερές τε καὶ ὕψους ἔχον εὐπρεπῶς· Μητρὸς δέ ἐστιν ἱερόν, καὶ ἄγαλμα Μητρὸς πεποίηται.
32.4. Themisonium above Laodiceia is also inhabited by Phrygians. When the army of the Gauls was laying waste Ionia and the borders of Ionia, the Themisonians say that they were helped by Heracles, Apollo and Hermes, who revealed to their magistrates in dreams a cave, and commanded that in it should be hidden the Themisonians with their wives and children.
32.4. Θεμισώνιον δὲ τὸ ὑπὲρ Λαοδικείας Φρύγες μὲν καὶ τοῦτο οἰκοῦσιν· ὅτε δὲ ὁ Γαλατῶν στρατὸς ἔφερε καὶ ἦγεν Ἰωνίαν καὶ Ἰωνίας τὰ ὅμορα, οἱ Θεμισωνεῖς φασιν αὑτοῖς Ἡρακλέα βοηθὸν καὶ Ἀπόλλωνα γενέσθαι καὶ Ἑρμῆν· τούτους γὰρ τοῖς τὰς ἀρχὰς ἔχουσιν ἄντρον τε διʼ ὀνειράτων δεῖξαι καὶ ἀποκρυφθῆναι Θεμισωνεῦσι καὶ γυναιξὶν αὐτῶν καὶ παισὶν ἐς τοῦτο προστάξαι τὸ ἄντρον.
32.5. This is the reason why in front of the cave they have set up small images, called Gods of the Cave, of Heracles, Hermes and Apollo. The cave is some thirty stades distant from the city, and in it are springs of water. There is no entrance to it, the sunlight does not reach very far, and the greater part of the roof lies quite close to the floor.
32.5. καὶ ἐπὶ τούτῳ πρὸ τοῦ σπηλαίου σφίσιν ἀγάλματα οὐ μεγάλα ἐστὶν Ἡρακλέους καὶ Ἑρμοῦ τε καὶ Ἀπόλλωνος, Σπηλαῗται καλούμενοι· τὸ δὲ ἀπέχει ὅσον τριάκοντα τοῦ ἄστεως σταδίους, ὕδατος δέ εἰσιν ἐν αὐτῷ πηγαί· οὔτε δὲ ἔσοδος ἐς αὐτὸ φέρει οὔτε ἐπὶ πολὺ ἡ αὐγὴ δίεισι τοῦ ἡλίου, τοῦ τε ὀρόφου τὰ πλείονα ἐγγυτάτω τοῦ ἐδάφους γίνεται.
32.6. There is also near Magnesia on the river Lethaeus a place called Aulae (Halls), where there is a cave sacred to Apollo, not very remarkable for its size, but the image of Apollo is very old indeed, and bestows strength equal to any task. The men sacred to the god leap down from sheer precipices and high rocks, and uprooting trees of exceeding height walk with their burdens down the narrowest of paths.
32.6. ἔστι δὲ καὶ τοῖς ἐπὶ ποταμῷ Ληθαίῳ Μάγνησιν Αὐλαὶ καλούμενον χωρίον· ἐνταῦθα Ἀπόλλωνι ἀνεῖται σπήλαιον, μεγέθους μὲν εἵνεκα οὐ πολλοῦ θαύματος, τὸ δὲ ἄγαλμα τοῦ Ἀπόλλωνος τὰ μάλιστα ἀρχαῖον καὶ ἰσχὺν ἐπὶ ἔργῳ παρέχεται παντί· καὶ αὐτῷ ἄνδρες ἱεροὶ κατὰ κρημνῶν τε ἀποτόμων καὶ πετρῶν πηδῶσιν ὑψηλῶν καὶ ὑπερμήκη δένδρα ἐριπόντες ἐκ ῥιζῶν κατὰ τὰ στενώτατα τῶν ἀτραπῶν ὁμοῦ τοῖς ἄχθεσιν ὁδεύουσι.
32.7. But the Corycian cave exceeds in size those I have mentioned, and it is possible to make one's way through the greater part of it even without lights. The roof stands at a sufficient height from the floor, and water, rising in part from springs but still more dripping from the roof, has made clearly visible the marks of drops on the floor throughout the cave. The dwellers around Parnassus believe it to be sacred to the Corycian nymphs, and especially to Pan. From the Corycian cave it is difficult even for an active walker to reach the heights of Parnassus. The heights are above the clouds, and the Thyiad women rave there in honor of Dionysus and Apollo.
32.7. τὸ δὲ ἄντρον τὸ Κωρύκιον μεγέθει τε ὑπερβάλλει τὰ εἰρημένα καὶ ἔστιν ἐπὶ πλεῖστον ὁδεῦσαι διʼ αὐτοῦ καὶ ἄνευ λαμπτήρων· ὅ τε ὄροφος ἐς αὔταρκες ἀπὸ τοῦ ἐδάφους ἀνέστηκε, καὶ ὕδωρ τὸ μὲν ἀνερχόμενον ἐκ πηγῶν, πλέον δὲ ἔτι ἀπὸ τοῦ ὀρόφου στάζει, ὥστε καὶ δῆλα ἐν τῷ ἐδάφει σταλαγμῶν τὰ ἴχνη διὰ παντός ἐστι τοῦ ἄντρου. ἱερὸν δὲ αὐτὸ οἱ περὶ τὸν Παρνασσὸν Κωρυκίων τε εἶναι Νυμφῶν καὶ Πανὸς μάλιστα ἥγηνται. ἀπὸ δὲ τοῦ Κωρυκίου χαλεπὸν ἤδη καὶ ἀνδρὶ εὐζώνῳ πρὸς τὰ ἄκρα ἀφικέσθαι τοῦ Παρνασσοῦ· τὰ δὲ νεφῶν τέ ἐστιν ἀνωτέρω τὰ ἄκρα καὶ αἱ Θυιάδες ἐπὶ τούτοις τῷ Διονύσῳ καὶ τῷ Ἀπόλλωνι μαίνονται.
32.8. Tithorea is, I should guess, about one hundred and eighty stades distant from Delphi on the road across Parnassus. This road is not mountainous throughout, being fit even for vehicles, but was said to be several stades longer. I am aware that Herodotus in his account of the Persian invasion gives the town a different name from that given to it in the oracles of Bacis.
32.8. Τιθορέα δὲ ἀπωτέρω Δελφῶν ὀγδοήκοντα ὡς εἰκάσαι σταδίοις ἐστὶ ⟨καὶ ἑκατὸν⟩ ἰόντι τὴν διὰ τοῦ Παρνασσοῦ· τὴν δὲ οὐ πάντα ὀρεινήν, ἀλλὰ καὶ ὀχήμασιν ἐπιτήδειον πλεόνων ἔτι ἐλέγετο εἶναι σταδίων. διάφορα ἐς τὸ ὄνομα οἶδα τῆς πόλεως Ἡροδότῳ τε εἰρημένα ἐν ἐπιστρατείᾳ τοῦ Μήδου καὶ Βάκιδι ἐν χρησμοῖς.
32.9. For Bacis called the inhabitants Tithoreans, but the account of them in Herodotus states that during the advance of the barbarian the people dwelling here fled up to the summit, and that the city's name was Neon, Tithorea being the name of the peak of Parnassus. It appears, then, that at first Tithorea was the name applied to the whole district; but in course of time, when the people migrated from the villages, the city too came to be called Tithorea, and not Neon any longer. The natives say that Tithorea was so called after a nymph of the same name, one of those who in days of old, according to the story of the poets, grew out of trees and especially out of oaks.
32.9. Βάκις μέν γε Τιθορέας τοὺς ἐνθάδε ἐκάλεσεν ἀνθρώπους· Ἡροδότου δὲ ὁ ἐς αὐτοὺς λόγος ἐπιόντος φησὶ τοῦ βαρβάρου τοὺς ἐνταῦθα οἰκοῦντας ἀναφυγεῖν ἐς τὴν κορυφήν, ὄνομα δὲ Νεῶνα μὲν τῇ πόλει, Τιθορέαν δὲ εἶναι τοῦ Παρνασσοῦ τῇ ἄκρᾳ. ἔοικεν οὖν ἀνὰ χρόνον πρῶτα μὲν δὴ τῇ ἁπάσῃ χώρᾳ, μετὰ δὲ ταῦτα, ἐπειδὴ ἀνῳκίσθησαν ἀπὸ τῶν κωμῶν, ἐκνικῆσαι καὶ ἐπὶ τῇ πόλει Τιθορέαν μηδὲ ἔτι Νεῶνα ὀνομάζεσθαι· Τιθορέᾳ δὲ οἱ ἐπιχώριοι τεθῆναί φασιν ἀπὸ Τιθορέας νύμφης, οἷαι τὸ ἀρχαῖον λόγῳ τῷ ποιητῶν ἐφύοντο ἀπό τε ἄλλων δένδρων καὶ μάλιστα ἀπὸ τῶν δρυῶν.
32.10. One generation before I was born heaven made the fortunes of Tithorea decay. There are the buildings of a theater, and the enclosure of a rather ancient market-place. The most noteworthy objects in the city are the grove, temple and image of Athena. There is also the tomb of Antiope and Phocus. I have already in my account of Thebes mentioned how Antiope went mad because of the wrath of Dionysus, and the reason why she brought on herself the anger of the god;
32.10. γενεᾷ δὲ ἤ με γενέσθαι μιᾷ πρότερον ἐς τὸ χεῖρον ἔτρεψεν ὁ δαίμων τὰ ἐν τῇ Τιθορέᾳ. θεάτρου μὲν δὴ [καὶ] κατασκευὴ καὶ περίβολός ἐστιν ἀγορᾶς ἀρχαιοτέρας· τὰ δὲ τῶν ἐν τῇ πόλει μάλιστα ⟨ἐς μνήμην⟩ ἥκοντα Ἀθηνᾶς ἐστιν ἄλσος καὶ ναός τε καὶ ἄγαλμα· καὶ [ἐς μνήμην] Ἀντιόπης μνῆμά ἐστι καὶ Φώκου. καί μοι τοῦ λόγου τὰ ἔχοντα ἐς Θηβαίους ἐδήλωσε μὲν ὡς ἡ Ἀντιόπη διʼ ὀργὴν ἐκ Διονύσου μανείη, καὶ κατὰ αἰτίαν ἥντινα ἐπεσπάσατο ἐκ τοῦ θεοῦ τὸ μήνιμα, ἐδήλωσε δὲ καὶ ὡς ἐρασθέντι Φώκῳ τῷ Ὀρνυτίωνος συνῴκησε καὶ τέθαπται ὁμοῦ τῷ Φώκῳ, καὶ Βάκιδι ὁποῖά ἐστι τῷ χρησμολόγῳ κοινὰ ἐς τοῦτον τὸν τάφον καὶ ἐς τὸν Ζήθου τε ἐν Θήβαις καὶ Ἀμφίονος.
32.11. I have also told how Phocus, the son of Ornytion, fell in love with her, how she married him and is buried with him, and what Bacis the soothsayer says about this grave in common with that of Zethus and Amphion at Thebes. I found nothing else remarkable in the town except what I have already mentioned. Running past the city of Tithorea is a river that gives the inhabitants drinking-water. They go down to the bank and draw the water up. The name of the river is Cachales.
32.11. τὰ μὲν δὴ ἐς συγγραφὴν τῶν ἐν τῷ πολίσματι ὅτι μὴ τὰ εἰρημένα ἄλλο ἦν οὐδέν, ποταμὸς δὲ παρὰ τῶν Τιθορέων ῥέων τὴν πόλιν ποτόν σφισι γίνεται καταβαίνουσί τε ἐπὶ τὴν ὄχθην καὶ ἀρυομένοις τὸ ὕδωρ· ὄνομα δέ ἐστιν αὐτῷ Καχάλης.
32.12. Seventy stades distant from Tithorea is a temple of Asclepius, called Archagetas (Founder). He receives divine honors from the Tithoreans, and no less from the other Phocians. Within the precincts are dwellings for both the suppliants of the god and his servants. In the middle is the temple of the god and an image made of stone, having a beard more than two feet long. A couch is set on the right of the image. It is usual to sacrifice to the god any animal except the goat.
32.12. σταδίοις δὲ ἀπωτέρω Τιθορέας ἑβδομήκοντα ναός ἐστιν Ἀσκληπιοῦ, καλεῖται δὲ Ἀρχαγέτας· τιμὰς δὲ παρὰ αὐτῶν ἔχει Τιθορέων καὶ ἐπʼ ἴσης παρὰ Φωκέων τῶν ἄλλων. ἐντὸς μὲν δὴ τοῦ περιβόλου τοῖς τε ἱκέταις καὶ ὅσοι τοῦ θεοῦ δοῦλοι, τούτοις μὲν ἐνταῦθά εἰσι καὶ οἰκήσεις· ἐν μέσῳ δὲ ὅ τε ναὸς καὶ ἄγαλμα λίθου πεποιημένον, γένεια ἔχον μέγεθος καὶ ὑπὲρ δύο πόδας· κλίνη δὲ ἐν δεξιᾷ κεῖται τοῦ ἀγάλματος, θύειν δὲ αὐτῷ τὰ πάντα ὁμοίως νομίζουσι πλὴν αἰγῶν.
32.13. About forty stades distant from Asclepius is a precinct and shrine sacred to Isis, the holiest of all those made by the Greeks for the Egyptian goddess. For the Tithoreans think it wrong to dwell round about it, and no one may enter the shrine except those whom Isis herself has honored by inviting them in dreams. The same rule is observed in the cities above the Maeander by the gods of the lower world; for to all whom they wish to enter their shrines they send visions seen in dreams.
32.13. τοῦ δὲ Ἀσκληπιοῦ περὶ τεσσαράκοντα ἀπέχει σταδίους περίβολος καὶ ἄδυτον ἱερὸν Ἴσιδος, ἁγιώτατον ὁπόσα Ἕλληνες θεῷ τῇ Αἰγυπτίᾳ πεποίηνται· οὔτε γὰρ περιοικεῖν ἐνταῦθα οἱ Τιθορεεῖς νομίζουσιν οὔτε ἔσοδος ἐς τὸ ἄδυτον ἄλλοις γε ἢ ἐκείνοις ἐστὶν οὓς ἂν αὐτὴ προτιμήσασα ἡ Ἶσις καλέσῃ σφᾶς διʼ ἐνυπνίων. τὸ δὲ αὐτὸ καὶ ἐν ταῖς ὑπὲρ Μαιάνδρου πόλεσι θεοὶ ποιοῦσιν οἱ καταχθόνιοι· οὓς γὰρ ἂν ἐς τὰ ἄδυτα ἐσιέναι θελήσωσιν, ἀποστέλλουσιν αὐτοῖς ὀνειράτων ὄψεις.
32.14. In the country of the Tithoreans a festival in honor of Isis is held twice each year, one in spring and the other in autumn. On the third day before each of the feasts those who have permission to enter cleanse the shrine in a certain secret way, and also take and bury, always in the same spot, whatever remnants they may find of the victims thrown in at the previous festival. We estimated that the distance from the shrine to this place was two stades.
32.14. ἐν δὲ τῇ Τιθορέων καὶ δὶς ἑκάστου τοῦ ἔτους τῇ Ἴσιδι πανήγυριν ἄγουσι, τὴν μὲν τῷ ἦρι, τὴν δὲ μετοπωρινήν· τρίτῃ δὲ ἡμέρᾳ πρότερον κατὰ ἑκατέραν τῶν πανηγύρεων, ὅσοις ἐστὶν ἐσελθεῖν ἄδεια, τὸ ἄδυτον ἐκκαθαίρουσι τρόπον τινὰ ἀπόρρητον, καὶ δὴ καὶ τῶν ἱερείων ἃ ἐπὶ τῆς προτέρας ἐνεβλήθη πανηγύρεως, τούτων ὁπόσα ἂν ὑπολειπόμενα εὕρωσι κομίζουσιν ἐς τὸ αὐτὸ ἀεὶ χωρίον καὶ κατορύσσουσιν ἐνταῦθα· δύο τε ἀπὸ τοῦ ἀδύτου στάδια ἐτεκμαιρόμεθα ἐς τοῦτο εἶναι τὸ χωρίον.
32.15. So on this day they perform these acts about the sanctuary, and on the next day the small traders make themselves booths of reeds or other improvised material. On the last of the three days they hold a fair, selling slaves, cattle of all kinds, clothes, silver and gold.
32.15. ταύτῃ μὲν δὴ τῇ ἡμέρᾳ τοσαῦτα περὶ τὸ ἱερὸν δρῶσι, τῇ δὲ ἐπιούσῃ σκηνὰς οἱ καπηλεύοντες ποιοῦνται καλάμου τε καὶ ἄλλης ὕλης αὐτοσχεδίου· τῇ τελευταίᾳ δὲ τῶν τριῶν πανηγυρίζουσι πιπράσκοντες καὶ ἀνδράποδα καὶ κτήνη τὰ πάντα, ἔτι δὲ ἐσθῆτας καὶ ἄργυρον καὶ χρυσόν·
32.16. After mid-day they turn to sacrificing. The more wealthy sacrifice oxen and deer, the poorer people geese and guinea fowl. But it is not the custom to use for the sacrifice sheep, pigs or goats. Those whose business it is to burn the victims and send them into the shrine...having made a beginning must wrap the victims in bandages of coarse or fine linen; the mode of preparing is the Egyptian.
32.16. μετὰ δὲ μεσοῦσαν τὴν ἡμέραν τρέπονται πρὸς θυσίαν. θύουσι δὲ καὶ βοῦς καὶ ἐλάφους οἱ εὐδαιμονέστεροι, ὅσοι δέ εἰσιν ἀποδέοντες πλούτῳ, καὶ χῆνας καὶ ὄρνιθας τὰς μελεαγρίδας· οἰσὶ δὲ ἐς τὴν θυσίαν οὐ νομίζουσιν οὐδὲ ὑσὶ χρῆσθαι καὶ αἰξίν. ὅσοις μὲν δὴ καθαγίσασι τὰ ἱερεῖα ἐς τὸ ἄδυτον ἀποστεῖλαι πεποιημένους ἀρχήν, καθελίξαι δεῖ σφᾶς τὰ ἱερεῖα λίνου τελαμῶσιν ἢ βύσσου· τρόπος δὲ τῆς σκευασίας ἐστὶν ὁ Αἰγύπτιος.
32.17. All that they have devoted to sacrifice are led in procession; some send the victims into the shrine, while others burn the booths before the shrine and themselves go away in haste. They say that once a profane man, who was not one of those descending into the shrine, when the pyre began to burn, entered the shrine to satisfy his rash inquisitiveness. It is said that everywhere he saw ghosts, and on returning to Tithorea and telling what he had seen he departed this life.
32.17. πομπεύει τε δὴ πάντα ὅσα ἔθυσαν καὶ οἱ μὲν ἐς τὸ ἄδυτον τὰ ἱερεῖα ἐσπέμπουσιν, οἱ δὲ ἔμπροσθε τοῦ ἀδύτου καθαγίζουσι τὰς σκηνὰς καὶ ἀποχωροῦσιν αὐτοὶ σπουδῇ. καί φασί ποτε ἄνθρωπον οὐ τῶν καταβαινόντων ἐς τὸ ἄδυτον, βέβηλον δέ, ἡνίκα ἤρχετο ἡ πυρὰ καίεσθαι, τηνικαῦτα ἐσελθεῖν ἐς τὸ ἄδυτον ὑπὸ πολυπραγμοσύνης τε καὶ τόλμης· καί οἱ πάντα ἀνάπλεα εἰδώλων φαίνεσθαι, καὶ ἀναστρέψαι μὲν αὐτὸν ἐς τὴν Τιθορέαν, διηγησάμενον δὲ ἃ ἐθεάσατο ἀφεῖναι τὴν ψυχήν.
32.18. I have heard a similar story from a man of Phoenicia, that the Egyptians hold the feast for Isis at a time when they say she is mourning for Osiris. At this time the Nile begins to rise, and it is a saying among many of the natives that what makes the river rise and water their fields is the tears of Isis. At that time then, so said my Phoenician, the Roman governor of Egypt bribed a man to go down into the shrine of Isis in Coptus. The man despatched into the shrine returned indeed out of it, but after relating what he had seen, he too, so I was told, died immediately. So it appears that Homer's verse speaks the truth when it says that it bodes no good to man to see godhead face to face.
32.18. ἐοικότα δὲ ἀνδρὸς ἤκουσα Φοίνικος, ἄγειν τῇ Ἴσιδι Αἰγυπτίους τὴν ἑορτήν, ὅτε αὐτὴν τὸν Ὄσιριν πενθεῖν λέγουσι· τηνικαῦτα δὲ καὶ ὁ Νεῖλος ἀναβαίνειν σφίσιν ἄρχεται, καὶ τῶν ἐπιχωρίων πολλοῖς ἐστιν εἰρημένα ὡς τὰ αὔξοντα τὸν ποταμὸν καὶ ἄρδειν τὰς ἀρούρας ποιοῦντα δάκρυά ἐστι τῆς Ἴσιδος. τότε οὖν τὸν Ῥωμαῖον, ὃς ἐπετέτραπτο Αἴγυπτον, ἄνδρα ἔφη χρήμασιν ἀναπείσαντα ἐς τὸ ἄδυτον καταπέμψαι τῆς Ἴσιδος τὸ ἐν Κόπτῳ· καὶ ὁ ἐσπεμφθεὶς ἀνέστρεψε μὲν ἐκ τοῦ ἀδύτου, διηγησάμενον δὲ ὁπόσα ἐθεάσατο καὶ τοῦτον αὐτίκα ἐπυνθανόμην τελευτῆσαι. τὸ ἔπος οὖν ἀληθεύειν ἔοικε τὸ Ὁμήρου, σὺν οὐδενὶ αἰσίῳ τοὺς θεοὺς τῷ γένει τῶν ἀνθρώπων ἐναργῶς ὁρᾶσθαι.
32.19. The olive oil of Tithorea is less abundant than Attic or Sicyonian oil, but in color and pleasantness it surpasses Iberian oil and that from the island of Istria. They distil all manner of unguents from the oil, and also send it to the Emperor.
32.19. τὸ δὲ ἔλαιον τὸ ἐν τῇ Τιθορέων ἀποδεῖ μὲν πλήθει τοῦ τε Ἀττικοῦ καὶ τοῦ Σικυωνίου, χρόᾳ δὲ ὑπερβάλλει καὶ ἡδονῇ ⟨τὸ⟩ Ἰβηρικὸν καὶ τὸ ἐκ τῆς νήσου τῆς Ἰστρίας· καὶ μύρα τε ἀπʼ αὐτοῦ παντοῖα ἑψοῦσι καὶ τὸ ἔλαιον ὡς βασιλέα ἄγουσιν.
33.1. Another road from Tithorea is the one that leads to Ledon. Once Ledon also was considered a city, but in my day the Ledontians owing to their weakness had abandoned the city, and the dwellers on the Cephisus were about seventy people. Still the name of Ledon is given to their dwellings, and the citizens, like the Panopeans, have the right to be represented at the general assembly of the Phocians. The ruins of the ancient Ledon are forty stades farther up from these dwellers on the Cephisus. They say that the city took its name from an aboriginal.
33.1. ἑτέρα δὲ ἐκ Τιθορέας ὁδὸς ἡ ἐπὶ Λέδοντά ἐστιν· πόλις δέ ποτε ἐνομίζετο καὶ αὕτη, κατʼ ἐμὲ δὲ ὑπὸ ἀσθενείας ἐξελελοίπεσαν οἱ Λεδόντιοι τὴν πόλιν, καὶ ἄνθρωποι περὶ ἑβδομήκοντα οἱ οἰκοῦντες ἦσαν ἐπὶ τῷ Κηφισῷ· Λέδων δʼ οὖν ὄνομα ταῖς οἰκήσεσίν ἐστιν αὐτῶν, καὶ ἐς τὸν Φωκέων σύλλογον κοινὸν τελεῖν ἠξίωνται καὶ οὗτοι, καθάπερ γε καὶ οἱ Πανοπεῖς. τῶν δὲ ἀνθρώπων οἳ οἰκοῦσιν ἐπὶ τῷ Κηφισῷ τεσσαράκοντά ἐστιν ἀνωτέρω σταδίοις Λέδοντος τῆς ἀρχαίας τὰ ἐρείπια, καὶ τὸ ὄνομα ἀπὸ ἀνδρὸς λαβεῖν τὴν πόλιν φασὶν αὐτόχθονος.
33.2. Other cities have incurred incurable harm through the sin of their own citizens, hut Troy's ruin was complete when it fell through the outrage that Alexander committed against Menelaus, and Miletus through the lack of control shown by Histiaeus, and his passionate desire, now to possess the city in the land of the Edonians, now to be admitted to the councils of Dareius, and now to go back to Ionia. Again, Philomelus brought on the community of Ledon the punishment to be paid for the crime of his own impiety.
33.2. κακῶν δὲ ἀπέλαυσαν μὲν ἀνιάτων καὶ ἄλλαι πόλεις διʼ ἀδικίαν ἐπιχωρίων ἀνδρῶν· ἐς τελέαν δὲ ἀπώλειαν ὤλισθον Ἴλιον μὲν διὰ τὴν ἐς Μενέλαον ὕβριν τοῦ Ἀλεξάνδρου, Μιλήσιοι δὲ διὰ τὸ ἐς τὰς ἐπιθυμίας Ἑστιαίου πρόχειρον καὶ ἔρωτα ἄλλοτε μὲν τῆς ἐν Ἠδωνοῖς πόλεως, τοτὲ δὲ εἶναι Δαρείου σύμβουλον, ἄλλοτε δὲ ἐπανήκειν ἐς Ἰωνίαν· καὶ δὴ καὶ Λεδοντίοις Φιλόμηλος ἀσέβειαν τὴν ἑαυτοῦ δημοσίᾳ παρέσχε σφίσιν ἀναμάξασθαι.
33.3. Lilaea is a winter day's journey distant from Delphi; we estimated the length of the road, which goes across and down Parnassus, to be one hundred and eighty stades. Even after their city had been restored, its inhabitants were fated to suffer a second disaster at the hands of the Macedonians. Besieged by Philip, the son of Demetrius, they made terms and surrendered, and a garrison was brought into the city, until a native of the city, whose name was Patron, united against the garrison those of the citizens who were of military age, conquered the Macedonians in battle, and forced them to withdraw under a truce. In return for this good deed the Lilaeans dedicated his statue at Delphi.
33.3. Λίλαια δὲ ἡμέρας μὲν ὁδὸν καὶ ὥρᾳ χειμῶνος ἀπέχει Δελφῶν κατιοῦσι διὰ τοῦ Παρνασσοῦ, στάδια δὲ ἐτεκμαιρόμεθα ὀγδοήκοντα εἶναι τῆς ὁδοῦ καὶ ἑκατόν. τοὺς δὲ ἐνταῦθα ἀνθρώπους, καὶ ἐπειδὴ ἀνῳκίσθη αὐτοῖς ἡ πόλις, ἀτύχημα ἐκ Μακεδονίας δεύτερον σφᾶς ἔμελλεν ἐπιλήψεσθαι. πολιορκηθέντες γὰρ ὑπὸ Φιλίππου τοῦ Δημητρίου παρέστησαν κατὰ συνθήκας, καὶ ἐσήχθη φρουρά σφισιν ἐς τὴν πόλιν, ἕως οὗ ἀνὴρ ἐπιχώριος—ὄνομα δέ οἱ ἦν Πάτρων—τούς τε ἐν ἡλικίᾳ τῶν πολιτῶν συνέστησεν ἐπὶ τὴν φρουρὰν καὶ κρατήσας τοὺς Μακεδόνας μάχῃ ἠνάγκασεν ἀπελθεῖν σφᾶς ὑποσπόνδους· Λιλαιεῖς δὲ αὐτὸν ἀντὶ τῆς εὐεργεσίας ταύτης ἀνέθεσαν ἐς Δελφούς.
33.4. In Lilaea are also a theater, a market-place and baths. There is also a sanctuary of Apollo, and one of Artemis. the images are standing, of Attic workmanship, and of marble from the Pentelic quarries. They say that Lilaea was one of the Naids, as they are called, a daughter of the Cephisus, and that after this nymph the city was named. Here the river has its source.
33.4. ἔστι δὲ ἐν Λιλαίᾳ θέατρον καὶ ἀγορά τε καὶ λουτρά· ἔστι δὲ καὶ θεῶν ἱερὰ Ἀπόλλωνος, τὸ δὲ Ἀρτέμιδος· ἀγάλματα δὲ ὀρθὰ ἐργασίας τε τῆς Ἀττικῆς καὶ τῆς Πεντελῆσι λιθοτομίας. Λίλαιαν δὲ τῶν καλουμένων Ναΐδων καὶ θυγατέρα εἶναι τοῦ Κηφισοῦ καὶ ἀπὸ τῆς νύμφης τὸ ὄνομα τεθῆναι τῇ πόλει φασί.
33.5. It is not always quiet when it rises from the ground, but it usually happens that at about mid-day it makes a noise as it wells up. You could compare the roar of the water to the bellowing of a bull. Lilaea has a temperate climate in autumn, in summer, and in spring; but Mount Parnassus prevents the winter from being correspondingly mild.
33.5. καὶ ὁ ποταμὸς ἐνταῦθα ἔχει τὰς πηγάς· ἄνεισι δὲ ἐκ τῆς γῆς οὐ τὰ πάντα μεθʼ ἡσυχίας, ἀλλʼ ὡς τὰ πλείω συμβαίνειν μεσούσης μάλιστα τῆς ἡμέρας παρέχεται φωνὴν ἀνερχόμενος· εἰκάσαις ἂν μυκωμένῳ ταύρῳ τὸν ἦχον τοῦ ὕδατος. ἔχει δὲ ἡ Λίλαια καὶ πρὸς τὰς τοῦ ἔτους ὥρας μετοπώρου καὶ ἐν θέρει καὶ ἦρος ἐπιτηδείως· τὸν δὲ χειμῶνα μὴ ὁμοίως ἤπιον γίνεσθαι κωλύει τὸ ὄρος ὁ Παρνασσός.
33.6. Charadra is twenty stades distant, situated on the top of a lofty crag. The inhabitants are badly off for water; their drinking water is the river Charadrus, and they have to go down about three stades to reach it. This river is a tributary of the Cephisus, and it seems to me that the town was named after the Charadrus. In the market-place at Charadra are altars of Heroes, as they are called, said by some to be the Dioscuri, by others to be local heroes.
33.6. Χαράδρα δὲ εἴκοσιν ἀπωτέρω σταδίοις ἐστὶν ὑπὲρ ὑψηλοῦ κειμένη κρημνοῦ, καὶ ὕδατος οἱ ἐνταῦθα σπανίζουσιν ἄνθρωποι, ποτὸν δέ σφισι ποταμός ἐστι Χάραδρος κατερχομένοις ὅσον τρία ἐπʼ αὐτὸν στάδια· ἐκδίδωσι δὲ ἐς τὸν Κηφισόν, καί μοι τὸ ὄνομα ἀπὸ τοῦ ποταμοῦ φαίνεται τεθῆναι τοῦ Χαράδρου τῇ πόλει. Χαραδραίοις δὲ Ἡρώων καλουμένων εἰσὶν ἐν τῇ ἀγορᾷ βωμοί, καὶ αὐτοὺς οἱ μὲν Διοσκούρων, οἱ δὲ ἐπιχωρίων εἶναί φασιν ἡρώων.
33.7. The land beside the Cephisus is distinctly the best in Phocis for planting, sowing and pasture. This part of the district, too, is the one most under cultivation, so that there is a saying that the verse,And they who dwelt beside the divine river Cephisus,alludes, not to a city Parapotamii (Riverside), but to the farmers beside the Cephisus.
33.7. γῆ δὲ διακεκριμένη ἀρίστη τῆς Φωκίδος ἐστὶν ἡ παρὰ τὸν Κηφισὸν καὶ φυτεῦσαι καὶ σπείρειν καὶ ἀνεῖναι νομάς· καὶ γεωργεῖται ταῦτα μάλιστα τῆς χώρας, ὥστε καὶ λόγος ἐστὶ πόλιν μὲν Παραποταμίους μὴ ὀνομασθῆναι, ἐπὶ δὲ τῶν παρὰ τὸν Κηφισὸν γεωργούντων πεποιῆσθαι τὸ ἔπος,οἵ τʼ ἄρα πὰρ ποταμὸν Κηφισὸν δῖον ἔναιον.
33.8. The saying, however, is at variance with the history of Herodotus as well as with the records of victories at the Pythian games. For the Pythian games were first held by the Amphictyons, and at this first meeting a Parapotamian of the name of Aechmeas won the prize in the boxing match for boys. Similarly Herodotus, enumerating the cities that King Xerxes burnt in Phocis, includes among them the city of Parapotamii. However, Parapotamii was not restored by the Athenians and Boeotians, but the inhabitants, being poverty stricken and few in number, were distributed among the other cities.I found no ruins of Parapotamii left, nor is the site of the city remembered.
33.8. τούτῳ τῷ λόγῳ διάφορα μὲν ἐν τῇ Ἡροδότου συγγραφῇ, διάφορα δέ ἐστιν αὐτῷ καὶ ὅσα ἐπὶ ταῖς νίκαις ταῖς Πυθικαῖς μνημονεύουσιν· Ἀμφικτύονες γὰρ Πύθια ἐτίθεσαν πρῶτον, καὶ Αἰχμέας Παραποτάμιος πυγμὴν ἐνίκησεν ἐν παισίν· ὡσαύτως δὲ Ἡρόδοτος καταλέγων τὰς πόλεις, ὅσας βασιλεὺς Ξέρξης τῶν ἐν Φωκεῦσιν ἐνέπρησε, καὶ Παραποταμίους κατείλοχεν ἐν αὐταῖς πόλιν. οὐ μέντοι οἱ Παραποτάμιοί γε ὑπὸ Ἀθηναίων καὶ Βοιωτῶν ἀνῳκίσθησαν, ἀλλὰ ἐς τὰς ἄλλας πόλεις οἱ ἄνθρωποι κατενεμήθησαν ὑπό τε ἀσθενείας καὶ σπάνει χρημάτων. Παραποταμίων μὲν δὴ οὔτε ἐρείπια ἔτι ἦν οὔτε ἔνθα τῆς χώρας ᾠκίσθη ἡ πόλις μνημονεύουσιν·
33.9. The road from Lilaea to Amphicleia is sixty stades. The name of this Amphicleia has been corrupted by the native inhabitants. Herodotus, following the most ancient account, called it Amphicaea; but the Amphictyons, when they published their decree for the destruction of the cities in Phocis, gave it the name of Amphicleia. The natives tell about it the following story. A certain chief, suspecting that enemies were plotting against his baby son, put the child in a vessel, and hid him in that part of the land where he knew there would be most security. Now a wolf attacked the child, but a serpent coiled itself round the vessel, and kept up a strict watch.
33.9. ὁδὸς δὲ ἡ ἐς Ἀμφίκλειαν σταδίων ἐκ Λιλαίας ἐστὶν ἑξήκοντα. ταύτην τὴν Ἀμφίκλειαν ἐλυμήναντο οἱ [τε] ἐπιχώριοι τῷ ὀνόματι, καὶ Ἡρόδοτος μὲν Ἀμφίκαιαν ἐκάλεσεν ἑπόμενος τῷ ἀρχαιοτάτῳ τῶν λόγων, Ἀμφικτύονες δὲ δόγμα ἐπὶ τῇ τῶν πόλεων ἀπωλείᾳ τῶν ἐν Φωκεῦσιν ἐξενεγκόντες ὄνομα ἔθεντο αὐτῇ Ἀμφίκλειαν. οἱ δὲ ἐπιχώριοι τοιάδε ἐπʼ αὐτῇ λέγουσι· δυνάστην ἄνδρα ἐπιβουλὴν ἐχθρῶν ὑποπτεύσαντα ἐς νήπιον παῖδα καταθέσθαι τὸν παῖδα ἐς ἀγγεῖον, καὶ ἀποκρύψαι τῆς χώρας ἔνθα οἱ ἄδειαν ἔσεσθαι πλείστην ἠπίστατο. λύκον μὲν δὴ ἐπιχειρεῖν τῷ παιδί, δράκοντα δὲ ἰσχυρὰν ἔχειν τὴν φρουρὰν ἐσπειραμένον περὶ τὸ ἀγγεῖον.
33.10. When the child's father came, supposing that the serpent had purposed to attack the child, he threw his javelin, which killed the serpent and his son as well. But being informed by the shepherds that he had killed the benefactor and protector of his child, he made one common pyre for both the serpent and his son. Now they say that even to-day the place resembles a burning pyre, maintaining that after this serpent the city was called Ophiteia.
33.10. ὡς δὲ ὁ πατὴρ ἦλθε τοῦ παιδός, τὸν δράκοντα ἐπιβουλεῦσαι τῷ παιδὶ ἐλπίζων ἀφίησι τὸ ἀκόντιον, καὶ ἐκεῖνόν τε καὶ ὁμοῦ τῷ δράκοντι τὸν παῖδα ἀπέκτεινε· διδαχθεὶς δὲ ὑπὸ τῶν ποιμαινόντων ὡς εὐεργέτην καὶ φύλακα τοῦ παιδὸς ἀπεκτονὼς εἴη, πυρὰν τῷ δράκοντι καὶ τῷ παιδὶ ἐποίησεν ἐν κοινῷ. τό τε δὴ χωρίον ἐοικέναι καὶ ἐς τόδε καιομένῃ πυρᾷ φασι καὶ ἀπὸ τοῦ δράκοντος ἐκείνου τὴν πόλιν ἐθέλουσιν Ὀφιτείαν ὀνομασθῆναι.