Pausanias_Travel_Writing_in_Ancient Greece [Maria_Pretzler]

MACEDONIA is Greek and will always be Greek- (if they are desperate to steal a name Monkeydonkeys suits them just fine) ΦΕΚ, ΚΚΕ,ΚΟΜΜΟΥΝΙΣΜΟΣ, ΣΥΡΙΖΑ, ΠΑΣΟΚ, ΝΕΑ ΔΗΜΟΚΡΑΤΙΑ, ΕΓΚΛΗΜΑΤΑ, MACEDONIA,ΣΥΜΜΟΡΙΤΟΠΟΛΕΜΟΣ, ΑΝΘΕΛΛΗΝΙΣΜΟΣ, ΥΠΟΥΡΓΕΙΟ,ΕΝΟΠΛΕΣ ΔΥΝΑΜΕΙΣ, ΣΤΡΑΤΟΣ, ΑΕΡΟΠΟΡΙΑ, ΑΣΤΥΝΟΜΙΑ, ΔΗΜΑΡΧΕΙΟ, ΝΟΜΑΡΧΙΑ, ΠΑΝΕΠΙΣΤΗΜΙΟ, ΛΟΓΟΤΕΧΝΙΑ, ΔΗΜΟΣ, LIFO, ΠΕΡΙΦΕΡΕΙΑ,ΕΚΚΛΗΣΙΑ, ΜΟΝΗ, ΠΑΤΡΙΑΡΧΕΙΟ,ΜΕΣΗ ΕΚΠΑΙΔΕΥΣΗ, ΙΑΤΡΙΚΗ, ΟΛΜΕ, ΦΙΛΟΛΟΓΙΚΑ, ΝΟΜΟΘΕΣΙΑ, ΔΙΚΗΓΟΡΙΚΟΣ, ΣΥΜΒΟΛΑΙΟΓΡΑΦΙΚΟΣ, ΕΛΛΗΝΙΚΑ, ΜΑΘΗΜΑΤΙΚΑ,ΝΕΟΛΑΙΑ, ΟΙΚΟΝΟΜΙΚΑ,ΙΣΤΟΡΙΑ,ΙΣΤΟΡΙΚΑ, ΑΥΓΗ, ΤΑ ΝΕΑ, ΕΘΝΟΣ, ΣΟΣΙΑΛΙΣΜΟΣ, LEFT, ΚΟΚΚΙΝΟ,ATHENS VOICE, ΡΑΤΣΙΣΜΟΣ,ΠΡΟΣΦΥΓΕΣ,GREECE,ΚΟΣΜΟΣ, ΜΑΓΕΙΡΙΚΗ, ΣΥΝΤΑΓΕΣ,ΕΛΛΗΝΙΣΜΟΣ, ΕΛΛΑΔΑ, ΕΜΦΥΛΙΟΣ, ΤΗΛΕΟΡΑΣΗ, ΕΓΚΥΚΛΙΟΣ, ΡΑΔΙΟΦΩΝΟ, ΓΥΜΝΑΣΤΙΚΗ,ΠΟΛΙΤΙΚΑΝΤΗΔΕΣ, ΠΑΤΡΙΔΑ, ΒΙΒΛΙΟ, ΕΡΕΥΝΑ, ΠΟΛΙΤΙΚΗ, ΚΥΝΗΓΕΤΙΚΑ, ΚΥΝΗΓΙ, ΘΡΙΛΕΡ, ΠΕΡΙΟΔΙΚΟ, ΤΕΥΧΟΣ, ΜΥΘΙΣΤΟΡΗΜΑ, ΑΔΩΝΙΣ ΓΕΩΡΓΙΑΔΗΣ, ADONIS GEORGIADIS, ΦΑΝΤΑΣΤΙΚΕΣ ΙΣΤΟΡΙΕΣ, ΑΣΤΥΝΟΜΙΚΑ,ΦΙΛΟΣΟΦΙΚΗ, ΦΙΛΟΣΟΦΙΚΑ,ΙΚΕΑ, ΜΑΚΕΔΟΝΙΑ, ΑΤΤΙΚΗ, ΘΡΑΚΗ,ΘΕΣΣΑΛΟΝΙΚΗ, ΙΟΝΙΟ, ΧΡΗΜΑ, ΚΩΣ, ΡΟΔΟΣ, ΚΑΒΑΛΑ, ΜΟΔΑ, ΔΡΑΜΑ, ΣΕΡΡΕΣ, ΕΥΡΥΤΑΝΙΑ, ΠΑΡΓΑ, ΚΕΦΑΛΟΝΙΑ, ΠΑΞΟΙ, ΙΩΑΝΝΙΝΑ, ΛΕΥΚΑΔΑ, ΠΑΤΡΑ, ΣΠΑΡΤΗ, ΧΙΟΣ, ΜΥΤΙΛΗΝΗ MACEDONIA is Greek and will always be Greek- (if they are desperate to steal a name Monkeydonkeys suits them just fine)
ΦΕΚ, ΚΚΕ,ΚΟΜΜΟΥΝΙΣΜΟΣ, ΣΥΡΙΖΑ, ΠΑΣΟΚ, ΝΕΑ ΔΗΜΟΚΡΑΤΙΑ, ΕΓΚΛΗΜΑΤΑ, MACEDONIA,ΣΥΜΜΟΡΙΤΟΠΟΛΕΜΟΣ, ΑΝΘΕΛΛΗΝΙΣΜΟΣ, ΥΠΟΥΡΓΕΙΟ,ΕΝΟΠΛΕΣ ΔΥΝΑΜΕΙΣ, ΣΤΡΑΤΟΣ, ΑΕΡΟΠΟΡΙΑ, ΑΣΤΥΝΟΜΙΑ, ΔΗΜΑΡΧΕΙΟ, ΝΟΜΑΡΧΙΑ, ΠΑΝΕΠΙΣΤΗΜΙΟ, ΛΟΓΟΤΕΧΝΙΑ, ΔΗΜΟΣ, LIFO, ΠΕΡΙΦΕΡΕΙΑ,ΕΚΚΛΗΣΙΑ, ΜΟΝΗ, ΠΑΤΡΙΑΡΧΕΙΟ,ΜΕΣΗ ΕΚΠΑΙΔΕΥΣΗ, ΙΑΤΡΙΚΗ, ΟΛΜΕ, ΦΙΛΟΛΟΓΙΚΑ, ΝΟΜΟΘΕΣΙΑ, ΔΙΚΗΓΟΡΙΚΟΣ, ΣΥΜΒΟΛΑΙΟΓΡΑΦΙΚΟΣ, ΕΛΛΗΝΙΚΑ, ΜΑΘΗΜΑΤΙΚΑ,ΝΕΟΛΑΙΑ, ΟΙΚΟΝΟΜΙΚΑ,ΙΣΤΟΡΙΑ,ΙΣΤΟΡΙΚΑ, ΑΥΓΗ, ΤΑ ΝΕΑ, ΕΘΝΟΣ, ΣΟΣΙΑΛΙΣΜΟΣ, LEFT, ΚΟΚΚΙΝΟ,ATHENS VOICE, ΡΑΤΣΙΣΜΟΣ,ΠΡΟΣΦΥΓΕΣ,GREECE,ΚΟΣΜΟΣ, ΜΑΓΕΙΡΙΚΗ, ΣΥΝΤΑΓΕΣ,ΕΛΛΗΝΙΣΜΟΣ, ΕΛΛΑΔΑ, ΕΜΦΥΛΙΟΣ, ΤΗΛΕΟΡΑΣΗ, ΕΓΚΥΚΛΙΟΣ, ΡΑΔΙΟΦΩΝΟ, ΓΥΜΝΑΣΤΙΚΗ,ΠΟΛΙΤΙΚΑΝΤΗΔΕΣ, ΠΑΤΡΙΔΑ, ΒΙΒΛΙΟ, ΕΡΕΥΝΑ, ΠΟΛΙΤΙΚΗ, ΚΥΝΗΓΕΤΙΚΑ, ΚΥΝΗΓΙ, ΘΡΙΛΕΡ, ΠΕΡΙΟΔΙΚΟ, ΤΕΥΧΟΣ, ΜΥΘΙΣΤΟΡΗΜΑ, ΑΔΩΝΙΣ ΓΕΩΡΓΙΑΔΗΣ, ADONIS GEORGIADIS, ΦΑΝΤΑΣΤΙΚΕΣ ΙΣΤΟΡΙΕΣ, ΑΣΤΥΝΟΜΙΚΑ,ΦΙΛΟΣΟΦΙΚΗ, ΦΙΛΟΣΟΦΙΚΑ,ΙΚΕΑ, ΜΑΚΕΔΟΝΙΑ, ΑΤΤΙΚΗ, ΘΡΑΚΗ,ΘΕΣΣΑΛΟΝΙΚΗ, ΙΟΝΙΟ, ΧΡΗΜΑ, ΚΩΣ, ΡΟΔΟΣ, ΚΑΒΑΛΑ, ΜΟΔΑ, ΔΡΑΜΑ, ΣΕΡΡΕΣ, ΕΥΡΥΤΑΝΙΑ, ΠΑΡΓΑ, ΚΕΦΑΛΟΝΙΑ, ΠΑΞΟΙ, ΙΩΑΝΝΙΝΑ, ΛΕΥΚΑΔΑ, ΠΑΤΡΑ, ΣΠΑΡΤΗ, ΧΙΟΣ, ΜΥΤΙΛΗΝΗ

16.01.2018 Views

Pausanias: Travel Writing in Ancient Greece Many modern visitors came to Greece already expecting to find a landscape where much was lost, and the ancient authors provided a template for their response. The decline, which was traditionally associated with Roman rule, could be easily compared with the development of the region under the Ottomans, only now the decline seemed even more pronounced, since the Greeks themselves appeared to have forgotten their great heritage. 42 Pausanias plays a double role in this discourse between ancient and modern: on the one hand, his work offered a detailed view of a glorious lost world which could serve as a contrast to the sad present state of the landscape, and on the other hand he himself was confronted with signs of decline, so that his observations often seemed to parallel the experiences of later travellers. References to ruins, lost cities and missing artefacts are an integral part of Pausanias’ project. After all, only a notion that traditions and physical remains are likely to disappear can inspire such a colossal effort of recording monuments and traditions. There needs to be a sense of distance and loss that separates the past from the present, and references to monuments that have disappeared or stories that have (almost) been forgotten add to a sense of complex layers in the memorial landscape. 43 Pausanias demonstrates a nuanced attitude to the lost heritage of Greece, and it is important not to overemphasise his sense of separation from a lost past. The Periegesis has often been called a nostalgic text which focuses on the decline of Greek culture under Roman rule, and, as so often in Pausanias, there is no lack of passages to support this impression. 44 This is, however, not the whole picture: Pausanias does not present an image of a deserted Greece; on the contrary, the emphasis is on monuments that are intact, traditions that are remembered and rituals that are still carried out faithfully. In fact, the Periegesis often offers a valuable alternative to ancient authors who suggest that Greece was almost completely deserted and in ruins. 45 It was probably easy to dismiss the whole region from a distance, or with the knowledge of a few poignant places. A ruin one encounters in the landscape is, however, always ambiguous: it is a testimony to the loss of a site, but at the same time it serves as a powerful memorial which keeps the ancient meaning of a place from being completely forgotten. Pausanias reacts to this ambiguity by adopting different modes of dealing with abandoned sites. Many ruins are just mentioned matter-of-factly to fill gaps in the memorial landscape. Where he decides to comment on the fact that a site is ruined Pausanias does sometimes reflect on the loss of a monument or site, but in other cases he emphasises the fact that some remains still survived in his own time, and he clearly appreciates the value of unimpressive remains in comparison to those sad places where he could not even discover ruins. 46 Nostalgia is sometimes implicit in the Periegesis, particularly when great events in the past are juxtaposed with modest contemporary remains. There are a few instances where Pausanias comments on the fact 144

10. Discovering Greece with Pausanias that the heyday of Greece was well in the past, particularly in historical accounts that deal with the loss of Greek freedom. 47 In spite of his great patience with very modest sites and monuments he registers disappointment about the state of some Greek cities, most notably in his dismissive description of Panopeus. 48 The description of Megalopolis leads him to ponder the rise and decline of great cities: Megalopolis was founded by the Arkadians with great enthusiasm and it inspired the highest hopes of the Greeks, but it has lost all its splendour and ancient prosperity, and in our day it is mostly in ruins. I am not surprised because I know that heaven always wants to bring about something new, and also that all things, strong or weak, growing or perishing, are being changed by fortune, and she drives them with inevitable force according to her whim. 49 (Paus. 8.33.1) This passage comes after Pausanias has already passed through a part of the countryside around Megalopolis with many settlements that had been abandoned when the new city was founded. The grand name would also have emphasised the less than impressive state of the town. For early modern travellers the contrast between the great classical past as they imagined it and the state of the landscape they found was much greater, and they were often vocal about their feelings of nostalgia and disappointment. The almost invisible remains of Delphi induced Spon to ponder the fall of the sanctuary that was once so famous: What I found most strange is that the most famous place on earth has seen such a reversal of fortune, so that we had to look for Delphi at the site of Delphi itself and to ask where the temple had been although we stood on its foundations. (Spon (1678) II.58) Spon and Wheler were in fact the first to investigate the site of ancient Delphi and they were quite successful in identifying some of its main features. Spon’s comments on these few unimpressive ruins echo Pausanias’ thoughts on Megalopolis: both could draw on the same long tradition of thoughts about the rise and fall of great cities. 50 Spon leaves the site with another poignant comment: We had to leave the site and to content ourselves with what the books can convey about the riches and ornaments of that place, because there is no longer anything but misery there and all its splendour has passed like a dream. (Spon (1678) II.66) In fact, the texts that describe the splendour of ancient Delphi are also the cause of Spon’s nostalgia. The rich tradition that is tied in with the landscape makes a trip to Greece worthwhile, and it turns every visit to ancient remains into a quintessentially romantic encounter between a vanished past and resurrected memories. 51 Pausanias’ Periegesis usually 145

<strong>Pausanias</strong>: <strong>Travel</strong> <strong>Writ<strong>in</strong>g</strong> <strong>in</strong> <strong>Ancient</strong> <strong>Greece</strong><br />

Many modern visitors came to <strong>Greece</strong> already expect<strong>in</strong>g to f<strong>in</strong>d a landscape<br />

where much was lost, and the ancient authors provided a template<br />

for their response. The decl<strong>in</strong>e, which was traditionally associated with<br />

Roman rule, could be easily compared with the development of the region<br />

under the Ottomans, only now the decl<strong>in</strong>e seemed even more pronounced,<br />

s<strong>in</strong>ce the Greeks themselves appeared to have forgotten their great heritage.<br />

42 <strong>Pausanias</strong> plays a double role <strong>in</strong> this discourse between ancient and<br />

modern: on the one hand, his work offered a detailed view of a glorious lost<br />

world which could serve as a contrast to the sad present state of the<br />

landscape, and on the other hand he himself was confronted with signs of<br />

decl<strong>in</strong>e, so that his observations often seemed to parallel the experiences<br />

of later travellers.<br />

References to ru<strong>in</strong>s, lost cities and miss<strong>in</strong>g artefacts are an <strong>in</strong>tegral part<br />

of <strong>Pausanias</strong>’ project. After all, only a notion that traditions and physical<br />

rema<strong>in</strong>s are likely to disappear can <strong>in</strong>spire such a colossal effort of<br />

record<strong>in</strong>g monuments and traditions. There needs to be a sense of distance<br />

and loss that separates the past from the present, and references to<br />

monuments that have disappeared or stories that have (almost) been<br />

forgotten add to a sense of complex layers <strong>in</strong> the memorial landscape. 43<br />

<strong>Pausanias</strong> demonstrates a nuanced attitude to the lost heritage of <strong>Greece</strong>,<br />

and it is important not to overemphasise his sense of separation from a<br />

lost past. The Periegesis has often been called a nostalgic text which<br />

focuses on the decl<strong>in</strong>e of Greek culture under Roman rule, and, as so often<br />

<strong>in</strong> <strong>Pausanias</strong>, there is no lack of passages to support this impression. 44 This<br />

is, however, not the whole picture: <strong>Pausanias</strong> does not present an image<br />

of a deserted <strong>Greece</strong>; on the contrary, the emphasis is on monuments that<br />

are <strong>in</strong>tact, traditions that are remembered and rituals that are still carried<br />

out faithfully. In fact, the Periegesis often offers a valuable alternative to<br />

ancient authors who suggest that <strong>Greece</strong> was almost completely deserted<br />

and <strong>in</strong> ru<strong>in</strong>s. 45<br />

It was probably easy to dismiss the whole region from a<br />

distance, or with the knowledge of a few poignant places. A ru<strong>in</strong> one<br />

encounters <strong>in</strong> the landscape is, however, always ambiguous: it is a testimony<br />

to the loss of a site, but at the same time it serves as a powerful<br />

memorial which keeps the ancient mean<strong>in</strong>g of a place from be<strong>in</strong>g completely<br />

forgotten. <strong>Pausanias</strong> reacts to this ambiguity by adopt<strong>in</strong>g different<br />

modes of deal<strong>in</strong>g with abandoned sites. Many ru<strong>in</strong>s are just mentioned<br />

matter-of-factly to fill gaps <strong>in</strong> the memorial landscape. Where he decides<br />

to comment on the fact that a site is ru<strong>in</strong>ed <strong>Pausanias</strong> does sometimes<br />

reflect on the loss of a monument or site, but <strong>in</strong> other cases he emphasises<br />

the fact that some rema<strong>in</strong>s still survived <strong>in</strong> his own time, and he clearly<br />

appreciates the value of unimpressive rema<strong>in</strong>s <strong>in</strong> comparison to those sad<br />

places where he could not even discover ru<strong>in</strong>s. 46<br />

Nostalgia is sometimes implicit <strong>in</strong> the Periegesis, particularly when<br />

great events <strong>in</strong> the past are juxtaposed with modest contemporary rema<strong>in</strong>s.<br />

There are a few <strong>in</strong>stances where <strong>Pausanias</strong> comments on the fact<br />

144

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!