Posts Tagged by Athena
|April 26, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2018.04.26 | By Gregory Nagy
This posting for 2018.04.26, on Pausanias 1.27.4–1.29.1, is a continuation of the posting for 2018.04.05, on Pausanias 1.24.8–1.27.3, but the format will now change. Besides the more focused comments that have characterized the postings on Pausanias so far, I will start to add some abridged comments that are more tentative, in need of more precision. A case in point, as we will see, is an abridged comment on what Pausanias at 1.28.7 says—and does not say—about the Cave of the Furies, situated at “ground zero” underneath the Areopagus in Athens. A photograph of that cave is shown here at the start of the post. Standing somewhat tentatively in front of that cave is the writer of all the comments that follow.
|April 5, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2018.04.05 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2018.03.01. I will highlight here a ritual noted by Pausanias at 1.27.3 involving two Athenian girls who are selected annually to serve the goddess Athena. The word that refers to these girls in their overall role as servants of Athena is arrhēphoroi, hereafter transcribed as Arrhephoroi. After the annual service of the two Arrhephoroi is concluded, they are replaced by two new Arrhephoroi, and the cycle is repeated, notionally for all time to come. The concluding event of the service performed by these two annually renewed Arrhephoroi is the ritual that I will highlight when I get to my comments on Pausanias 1.27.3. In this ritual, as he describes it, the two Arrhephoroi descend from the top of the Acropolis to a sacred space down below—while carrying on top of their heads containers that contain things that cannot be mentioned. Pausanias is being ostentatiously guarded here about revealing the full significance of the ritual, which as I argue can only be understood by way of correlating it with the myth about the daughters of Kekrops—a myth to which Pausanias himself refers at 1.27.2, and this reference occurs, most pointedly, right before his description of the ritual. The aetiological connection of ritual and myth here, as I also argue, is in some details so old as to reveal traces of a Mycenaean tradition.
|March 1, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2018.03.01 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2018.02.21. I picture here a modern version of the face of the goddess of Athens, Athena Parthenos, whose statue was seen by Pausanias, as he says at 1.24.7. This picturing of the statue surely cannot do justice to the “real thing” as seen by Pausanias. The experience of seeing a colossal gold-and-ivory statue of a divinity is comparable to experiencing a Wonder of the World, as Pausanias is moved to say indirectly at a later point, 5.10.1-2, 5.11.9-10, with reference to the statue of Zeus at Olympia. We read there the impression that Pausanias experiences when he sees at Olympia another colossal gold-and-ivory statue that matches in wonder what he saw earlier in Athens. He says that no measurements, no objective descriptions, can come to terms with the infinite grandeur of such absolute divinity.
|January 12, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2018.01.11 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2018.01.04. I focus here on a passing mention made by Pausanias at 1.17.2 about the picturing of a famous mythological scene: it is the Battle of the Athenians and Amazons, known in other ancient sources as the Amazonomakhiā ‘Amazonomachy’. I have already commented on previous references made by Pausanias, at 1.2.1 and at 1.15.2, to the fighting between the Amazons and the Athenians as led by their hero-king Theseus. Here at 1.17.2, Pausanias mentions a picturing of the Amazonomachy by the great Athenian artist Pheidias. For the cover illustration, I have chosen a close-up of a detail from the Amazonomachy as originally pictured by Pheidias. The detail comes from the so-called Peiraieus Reliefs, dating from the second century CE, which replicate faithfully what was pictured in the Amazonomachy of Pheidias in the fifth century BCE. We see in this detail a fleeing Amazon whose head is violently jerked backward by a pursuing Athenian who has grabbed from behind the woman’s hair, which has come undone and is flowing luxuriantly in the air.
|December 28, 2017||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2017.12.28 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2017.12.21. Here on the cover page, I focus on what Pausanias says at 1.14.6 about the mystical birth of Erikhthonios. I show a painting that represents this birth as visualized in the fifth century BCE. Pictured here is the moment when the goddess Gē/Gaia, or Earth, who is the mother of Erikhthonios, is lifting her earthborn child and handing him over to the goddess Athena for safe keeping.
|October 12, 2017||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2017.10.10 (revised 2017.10.14) | By Gregory Nagy
This sampling of comments is taken from an online project A Pausanias Reader, edited by Greta Hawes and Gregory Nagy. My set of comments on the first two sentences in the text of Pausanias 1.1.1 is divided into seven paragraphs, §§1–7. Among the many points of interest noted by Pausanias in these two sentences is his mention of a temple of the goddess Athena at the headland of Sounion—a mention that seems to anticipate what he will say at a later point about a colossal bronze statue of the goddess Athena Promakhos (sometimes spelled Promachos) guarding the Acropolis in Athens.