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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

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

eration. Recent research has, however, shown that <strong>Pausanias</strong> had ambitious<br />

literary aims which need to be taken <strong>in</strong>to account <strong>in</strong> <strong>in</strong>terpret<strong>in</strong>g his<br />

text. 2 As an author, <strong>Pausanias</strong> almost makes a show of keep<strong>in</strong>g a low<br />

profile, but he allows us to discern a man who is confident <strong>in</strong> his judgement<br />

and knowledge. In fact, the Periegesis leaves no doubt that its author spent<br />

many years travell<strong>in</strong>g, research<strong>in</strong>g and writ<strong>in</strong>g. Numerous cross-references<br />

and a complex geographical framework show that the whole work is<br />

carefully planned and structured. Nevertheless, <strong>in</strong>dividual passages can<br />

pose <strong>in</strong>tricate problems, and at times it seems difficult to expla<strong>in</strong> mistakes<br />

or omissions. For example, how could <strong>Pausanias</strong> at the start of his work<br />

describe sail<strong>in</strong>g round Cape Sounion but not mention the temple of Poseidon<br />

which is so famous today, or identify it wrongly as a temple of Athena? 3<br />

Problems with <strong>Pausanias</strong> as a source arise not only from his own errors<br />

and peculiarities. In the past his work has often been m<strong>in</strong>ed for <strong>in</strong>formation<br />

without much consideration for context or chronology: a knowledge of<br />

the Periegesis, its background and its aims is necessary for anyone who<br />

wants to make good use of the many treasures it can offer. Tackl<strong>in</strong>g the<br />

Periegesis as a whole is not an easy task. It is difficult to ga<strong>in</strong> an overview<br />

and to keep track of passages that might comb<strong>in</strong>e to give a more complete<br />

view of the author’s op<strong>in</strong>ions and approach. Study<strong>in</strong>g the work <strong>in</strong> depth<br />

almost <strong>in</strong>evitably requires some elaborate method of collect<strong>in</strong>g passages<br />

with common themes, just to allow the reader to appreciate the range of<br />

<strong>in</strong>terests and ideas covered. While it rema<strong>in</strong>s crucial to ga<strong>in</strong> a full overview<br />

of the range of op<strong>in</strong>ions expressed <strong>in</strong> the Periegesis, I believe that it<br />

is impossible to understand <strong>Pausanias</strong> merely through stubborn compilation.<br />

His op<strong>in</strong>ion on a subject cannot be deduced simply by collat<strong>in</strong>g and<br />

summaris<strong>in</strong>g all relevant passages, because the work is more than a sum<br />

of its many parts. Particular statements need to be <strong>in</strong>terpreted with<strong>in</strong><br />

their context <strong>in</strong> the work, and with special attention to the circumstances<br />

<strong>in</strong> any given place that may have triggered a specific comment. <strong>Pausanias</strong>’<br />

errors and omissions, though highly problematic for those who use the<br />

Periegesis as a source for ancient <strong>Greece</strong>, can provide particularly valuable<br />

<strong>in</strong>sights <strong>in</strong>to his attitudes, ideas and methods. In short, it is crucial to ga<strong>in</strong><br />

an overview without los<strong>in</strong>g sight of the details.<br />

Readers of <strong>Pausanias</strong>, whether they are just <strong>in</strong>terested <strong>in</strong> a specific<br />

place or piece of <strong>in</strong>formation, or want to get to know his work as a whole,<br />

need to be alert to the many factors that may have shaped the Periegesis.<br />

Apart from the author’s methods and aims, we need to consider the<br />

cultural background that he shared with his <strong>in</strong>formants and <strong>in</strong>tended<br />

readership. <strong>Pausanias</strong>’ approach to the cultural landscape of <strong>Greece</strong><br />

should be seen as a deliberate response to already exist<strong>in</strong>g literary traditions.<br />

His work and his readers’ expectations were shaped by travel<br />

literature (<strong>in</strong> the widest sense) and by the many texts def<strong>in</strong><strong>in</strong>g the history<br />

and culture of <strong>Greece</strong>. The overarch<strong>in</strong>g theme of the Periegesis is <strong>Greece</strong><br />

itself. <strong>Pausanias</strong> is discover<strong>in</strong>g, describ<strong>in</strong>g and def<strong>in</strong><strong>in</strong>g <strong>Greece</strong> and Greek<br />

2

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