Studies in Greek Scenery, Legend and History Selected from His Commentary on Pausanias' 'Description of Greece,' — Context and Discussion
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edition of the _Encyclopaedia Britannica_. I desire to thank Messrs. A. and C. Black for their courteous permission to republish it. The other sketches are reprinted, with some small changes and adjustments of detail, from my commentary on Pausanias. References to authorities have been omitted as needless in a book which is not specially addressed to the learned. Any one who wishes to pursue the subject further will find my authorities amply cited in the original volumes. Among works from which I have borrowed both outlines and colours for some of my sketches of Greek landscape I will here mention only two—the _Erinnerungen und Eindrücke aus Griechenland_ of the Swiss scholar W. Vischer, and the _Peloponnes_ of the German geologist Mr. A. Philippson. Slight and fragmentary as these sketches are, I am not without hope that they may convey to readers who have never seen Greece something of the eternal charm of its scenery. To such as already know and love the country they will yet be welcome, if here and there they revive some beautiful or historic scene on those tablets of the mind from which even the brightest hues so quickly fade.
CAMBRIDGE, _March 30, 1900_.
PAGE 1. PAUSANIAS AND HIS DESCRIPTION OF GREECE 1 2. OROPUS 160 3. RHAMNUS 163 4. MARATHON 165 5. PRASIAE 174 6. MOUNT HYMETTUS 178 7. MOUNT PENTELICUS 182 8. PHYLE 187 9. THE PORT OF ATHENS 191 10. THE SACRED WAY 209 11. THE HALL OF INITIATION AT ELEUSIS 214 12. ELEUTHERAE 216 13. MEGARA 219 14. THE SCIRONIAN ROAD 220 15. THE ISTHMUS OF CORINTH 223 16. THE BATH OF APHRODITE 226 17. THE PROSPECT FROM ACRO-CORINTH 227 18. THE CAPTURE OF CORINTH BY ARATUS 228 19. SICYON 232 20. PHLIASIA 233 21. NEMEA 237 22. THE PASS OF THE TRETUS 238 23. MYCENAE 242 24. THE END OF THE MYCENAEAN AGE 245 25. MOUNT ARACHNAEUS 248 26. EPIDAURUS 249 27. THE TEMPLE IN AEGINA 251 28. THE SANCTUARY OF POSEIDON IN CALAURIA 252 29. TROEZEN 253 30. FROM TROEZEN TO EPIDAURUS 255 31. METHANA 260 32. NAUPLIA 261 33. THE SPRINGS OF THE ERASINUS 263 34. THE LERNEAN MARSH 266 35. THE ANIGRAEAN ROAD 269 36. THE BATTLEFIELD OF SELLASIA 270 37. SPARTA 271 38. MISTRA 274 39. ON THE ROAD FROM SPARTA TO ARCADIA 278 40. CAPE MALEA 279 41. MONEMVASIA 281 42. MAINA 282 43. PHARAE AND THE MESSENIAN PLAIN 284 44. MESSENE 285 45. ON THE ROAD TO OLYMPIA 287 46. OLYMPIA 290 47. PHIDIAS’S IMAGE OF OLYMPIAN ZEUS 292 48. THE HERMES OF PRAXITELES 293 49. LASION 296 50. THE ERYMANTHUS 299 51. THE MONASTERY OF MEGASPELEUM 300 52. THE GULF OF CORINTH 301 53. ON THE COAST OF ACHAIA 303 54. PELLENE 304 55. THE ROAD FROM ARGOS TO ARCADIA 306 56. MANTINEA 308 57. THE ROAD TO STYMPHALUS 310 58. THE LAKE AND VALLEY OF STYMPHALUS 312 59. THE LAKE OF PHENEUS 315 60. FROM PHENEUS TO NONACRIS 320 61. THE FALL OF THE STYX 324 62. THE VALLEY OF THE AROANIUS 330 63. THE SPRINGS OF THE LADON 331 64. THE GORGE OF THE LADON 333 65. ALIPHERA 336 66. DIMITSANA 337 67. GORTYS 338 68. THE PLAIN OF MEGALOPOLIS 342 69. THE CAVE OF THE BLACK DEMETER 343 70. THE TEMPLE OF APOLLO AT BASSAE 345 71. THE TEMPLE OF ARTEMIS AT AULIS 346 72. GLAUCUS’S LEAP 347 73. EVENING ON THE EURIPUS 349 74. THE COPAIC LAKE 349 75. THE GREAT KATAVOTHRA 355 76. THE VALE OF THE MUSES 357 77. HIPPOCRENE 358 78. LEBADEA 359 79. THE BOEOTIAN ORCHOMENUS 361 80. THE PLAIN OF CHAERONEA 364 81. PANOPEUS 364 82. NEAR HYAMPOLIS 365 83. TITHOREA 366 84. FROM AMPHISSA TO GRAVIA 369 85. DAULIS 371 86. THE CLEFT WAY 373 87. DELPHI 374 88. AESCHINES AT DELPHI 378 89. THE PYTHIAN TUNE 379 90. THE LACEDAEMONIAN TROPHY AT DELPHI 380 91. THE GODS IN BATTLE 382 92. THE SIBYL’S WISH 384 93. ORPHEUS IN HELL 386 94. THE ACHERON 387 95. A RIDE ACROSS PARNASSUS 389 96. PERICLES 392
PAUSANIAS | AND OTHER GREEK SKETCHES
[Sidenote: Greece in the second century A.D.]
I. PAUSANIAS AND HIS DESCRIPTION OF GREECE.—It may be reckoned a peculiar piece of good fortune that among the wreckage of classical literature the _Description of Greece_ by Pausanias should have come down to us entire. In this work we possess a plain, unvarnished account by an eye-witness of the state of Greece in the second century of our era. Of no other part of the ancient world has a description at once so minute and so trustworthy survived, and if we had been free to single out one country in one age of which we should wish a record to be preserved, our choice might well have fallen on Greece in the age of the Antonines. No other people has exerted so deep and abiding an influence on the course of modern civilisation as the Greeks, and never could all the monuments of their chequered but glorious history have been studied so fully as in the second century of our era. The great age of the nation, indeed, had long been over, but in the sunshine of peace and imperial favour Greek art and literature had blossomed again. New temples had sprung up; new images had been carved; new theatres and baths and aqueducts ministered to the amusement and luxury of the people. Among the new writers whose works the world will not willingly let die, it is enough to mention the great names of Plutarch and Lucian.
James George Frazer's Studies in Greek Scenery, Legend and History extracts and reworks passages from his monumental commentary on Pausanias' second-century travelogue. The prose moves between two distinct registers: a taut, almost technical description of terrain—roads, springs, masonry—and a looser, associative voice that reaches toward myth, ritual, and historical anecdote. In the excerpt tracing the Sacred Way to Eleusis, Frazer notes the precise location of salt-springs, the dam that pools them, and the right of fishing reserved for Eleusinian priests, then pivots to mention flying-fish observed by a nineteenth-century traveller. This oscillation between ancient authority and modern observation is characteristic of the work's method.
Topography as Narrative
Frazer's descriptive passages often read like a guided itinerary, but one in which the landscape itself becomes a palimpsest. He notes the 'cubical mass of earth, cased with white marble' marking the tomb of Strato, Polla Munatia, and Isidotus—a monument Pausanias does not mention. This inclusion signals Frazer's willingness to supplement ancient testimony with archaeological and epigraphic evidence. The route is traced with careful attention to changes in elevation and view: the pass 'opening out' to reveal the Gulf of Salamis 'like a lake,' the distant peak of Cyllene visible 'in clear weather.' Such details anchor the reader in a specific, embodied experience of place.
The Voice of the Commentator
Frazer's authorial presence is felt most strongly in his parenthetical asides and comparative gestures. When describing the salt-pools, he adds that 'Fiedler observed flying-fish of the size of herrings rising from the surface' and notes their flesh was 'white and succulent.' This sudden shift from ancient custom to a naturalist's report from the 1830s exemplifies Frazer's method: he layers sources without explicit hierarchy. The prose is generally declarative, but occasionally a note of uncertainty enters—'or rather used to turn, another mill'—reminding the reader that the commentary is itself a provisional reconstruction.
Pace and the Accumulation of Detail
The narrative rhythm in the Sacred Way passage is deliberate, almost cumulative. Frazer builds the scene step by step: the monastery, the ancient masonry, the niches cut into rock, the sanctuary of Aphrodite. Then the hills 'retire on both sides' and the road turns sharply. This measured progression mirrors the traveller's own movement. Yet within this steady pace, Frazer inserts compressed digressions—the fishing rights, the mill-stream, the debate over the ancient road's alignment—that momentarily halt forward motion. The effect is a texture of stops and starts, where the commentary's scholarly apparatus periodically interrupts the descriptive flow.
Readers approaching this work should attend to the interplay between Frazer's two voices: the precise topographer and the speculative folklorist. The excerpts offer only a partial view—the full text likely extends these habits across many more sites and legends. A useful strategy is to track how Frazer signals his own uncertainty, and to note where he lets a modern observation stand without ancient corroboration. The book rewards those who read with a map in hand and a willingness to follow the digressions.
There are afternoons when Frazer’s old map-lines blur into the scent of pine and dust, and I feel I’ve walked those Arcadian paths myself, half-listening for a god’s footfall. That same ache—the pull of a place holding more than its geography—returns when I open Sketch-Book of the North — Story, Setting & Ideas; it’s less a guide than a companion’s murmur over shared, fading country.
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