Pausanias 5.10.9, on the Labors of Herakles

2022.04.11 | By Gregory Nagy

{5.10.9} ἔστι δὲ ἐν Ὀλυμπίᾳ καὶ Ἡρακλέους τὰ πολλὰ τῶν ἔργων. ὑπὲρ μὲν τοῦ ναοῦ πεποίηται τῶν θυρῶν ἡ ἐξ Ἀρκαδίας ἄργα τοῦ ὑὸς καὶ τὰ πρὸς Διομήδην τὸν Θρᾷκα καὶ ἐν Ἐρυθείᾳ πρὸς Γηρυόνην, καὶ Ἄτλαντός τε τὸ φόρημα ἐκδέχεσθαι μέλλων καὶ τῆς κόπρου καθαίρων τὴν γῆν ἐστιν Ἠλείοις· ὑπὲρ δὲ τοῦ ὀπισθοδόμου τῶν θυρῶν [ὁ] τοῦ ζωστῆρος τὴν Ἀμαζόνα ἐστὶν ἀφαιρούμενος καὶ τὰ ἐς τὴν ἔλαφον καὶ τὸν ἐν Κνωσσῷ ταῦρον καὶ ὄρνιθας τὰς ἐπὶ Στυμφήλῳ καὶ ἐς ὕδραν τε καὶ τὸν ἐν τῇ γῇ τῇ Ἀργείᾳ λέοντα.

{5.10.9} At Olympia, most of the deeds [erga] of Hēraklēs are [represented] there. Above the doors of the Temple have-been-made [passive of the verb poieîn] [the following representations]:

  • the hunting-down of the Arcadian Boar,
  • the matters with regard to Diomedes of Thrace
  • also with regard to Gēryonēs in Erytheia,
  • also, in connection with Atlas, what [weight] he [= Atlas] is carrying, [the weight] that he [= Hēraklēs] is about to receive-in-relay [ek-dekhesthai],
  • and [now] he is purging the land, [getting rid] of the manure, for the sake of the people of Elis.

Then, [looming] above the doors of the rear-chamber [of the Temple],

  • there he is, removing the band-that-girds-the-waist of the Amazon,
  • and then there are the matters having to do with the Hind
  • and [having to do with] the Bull at Knossos
  • and [having to do with] the Birds at Stymphēlos,
  • also having to do with the Hydra
  • and, in the land of the people of Argos, with the Lion.
The Temple of Zeus in Olympia – Metopes. Image via Wikimedia Commons. After drawing from Olympia: Die Bildwerke von Olympia in Stein und Thon. Tafelband / ed. G. Treu (Berlin 1894).

Comments by GN 2022.04.11

§0. While describing the Temple of Zeus in Olympia—that most celebrated building located in that most celebrated site for a most celebrated seasonally recurring event, the Olympics—the traveler Pausanias confines to this single paragraph, 5.10.9, his description of the heroic deeds represented by the marble relief sculptures of the twelve metopes looming above the two sets of enormous bronze doors that opened into the front and into the back of the Temple. There were six metopes in the front and six in the back, each one of which narrated each one of the canonical Twelve Labors of the hero Hēraklēs. The stylistic bravura shown by Pausanias in compressing his description here into one single solitary paragraph is especially striking when we consider the lengthy and detailed accounts that we go on to read about the rest of the Temple. Starting at 5.10.10, where Pausanias enters the Temple (the bronze doors are mentioned in passing here), his description slows down and lingers, providing a multitude of details about the colossal statue of Zeus as also about all the other wonders to be seen inside the Temple of Zeus in the days of Pausanias, that is, in the second century CE, when the whole site of Olympia was still in safe hands. So, why is Pausanias in such a hurry to account for the metopes on the outside before he makes his entrance inside the temple? I think it is because this single solitary paragraph crafted by Pausanias about the metopes gracing the Temple of Zeus is designed not only to describe but also to retell, in a most compressed manner, the canonical Twelve Labors of the hero Hēraklēs. It is the retelling that motivates the compression, which to my mind is a masterpiece in verbal artistry.

§1. When I say “canonical” here, I mean simply whatever was generally considered to be the standard set of twelve āthloi or ‘labors” attributed to Hēraklēs in the era of Pausanias. As I hope to show, the syntax of Pausanias here is meant to convey his own attitude about the canonicity of the Twelve Labors as represented in the twelve metopes of the Temple. Here I agree with a relevant point made by Greta Hawes (2021:58): wherever Pausanias expects his readers to be familiar with a given myth or set of myths, he tends to elide details. But I would add that such elision can in some cases become an artistic challenge: how to formulate familiar myths in a way that challenges the intelligence and the sensitivity of your readers? In the case of the Twelve Labors of Hēraklēs, Pausanias rises to the occasion, I think, as he creates a masterpiece of stylistic compression in his mode of retelling the myths as already retold in the metopes of the Temple of Zeus.

§2. My working translation of the text as I presented it right after my quoting the original Greek of Pausanias has been designed to convey how the verbal art of our traveler here has actually imitated the visual art that retold the myths that are represented in the marble relief sculptures of the metopes. In my translation, I have added visual signposts for such verbal artistry by way of formatting separately, in bullet-point style, each one of the compressed retellings that correspond to each one of the Labors—as retold not only in the metopes but also in the compressed descriptions by Pausanias. Even the syntax of my translation, punctuated by way of bullet points as well as commas, is meant to imitate the syntax of connections that Pausanias has constructed in framing his own retellings while describing the metopes. Thus I have signaled, by way of literal translations that are made to correspond as closely as possible to the word-order we find in the original Greek, the artistic elisions we also find in the transitions from one phase of retelling to the next.

§3. Among the elisions, I think, is a case of outright omission. When Hēraklēs brings the Hound of Hādēs from the realm of darkness and death to the realm of light and life, this deed of his should be the Twelfth of the Twelve Labors in terms of the sequence of Labors as narrated in some canonical narratives, as in the Herakles of Euripides, lines 359–427 (commentary in Nagy 2022.04.04). But the local version of the Labors as transmitted by the state of Elis in the narrative sequence of the metopes gracing the Temple of Zeus requires that the Twelfth Labor be the clearing of the Stables of Augeias (analysis at §1.2.2 in Nagy 2019.08.15): from Boar to Horses to Cattle to Apples to [Hound to] the Stables of Augeias. Accordingly, the bringing of the Hound, which would have to take eleventh place in the retelling by Pausanias, is simply elided here in his description of the metopes. Our traveler had already made room for a detailed retelling about the Hound, by way of another local version, at an earlier point in his far-flung journeyings, at 3.25.5–6 (Nagy 2022.04.04).

 

Bibliography

H24H = Nagy 2013 (The Ancient Greek Hero in 24 Hours)

Hawes, G. 2021. Pausanias in the World of Greek Myth. Oxford.

Nagy, G. 2013. The Ancient Greek Hero in 24 Hours. Cambridge, MA. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_NagyG.The_Ancient_Greek_Hero_in_24_Hours.2013.

Nagy, G. 2019.08.15. “Thinking comparatively about Greek mythology IV, Reconstructing Hēraklēs backward in time.” Classical Inquirieshttps://classical-inquiries.chs.harvard.edu/thinking-comparatively-about-greek-mythology-iv-reconstructing-herakles-backward-in-time/.

Nagy, G. 2022.03.28. “A sampling of comments on the Herakles of Euripides: ready for annotation.” Classical Continuum. https://continuum.fas.harvard.edu/a-sampling-of-comments-on-the-herakles-of-euripides/.

Nagy, G. 2022.04.04. “Pausanias 3.25.5–6, with translation and comments.” Classical Continuum. https://continuum.fas.harvard.edu/pausanias-3-25-5-6-with-translation-and-comments/.



Leave a Reply

Your email address will not be published.