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Description of Greece

§10.29.1-10.29.5

Polygnotus' Underworld: Ocnus and Mythological Women

Pausanias describes the figures in Polygnotus' painting, including Odysseus' companions, Ocnus and his donkey, the faded phantom of Tityus, and Ariadne with Phaedra, while explaining their mythological backgrounds, including Dionysus, Chloris, and Thyia.

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§10.29.1

τῶν δὲ ἤδη μοι κατειλεγμένων εἰσὶν ἀνώτεροι τούτων ἱερεῖα οἱ ἑταῖροι τοῦ Ὀδυσσέως Περιμήδης καὶ Εὐρύλοχος φέροντες· τὰ δέ ἐστι μέλανες κριοὶ τὰ ἱερεῖα. μετὰ δὲ αὐτοὺς ἀνήρ ἐστι καθήμενος, ἐπίγραμμα δὲ Ὄκνον εἶναι λέγει τὸν ἄνθρωπον· πεποίηται μὲν πλέκων σχοινίον, παρέστηκε δὲ θήλεια ὄνος ἐπεσθίουσα τὸ πεπλεγμένον ἀεὶ τοῦ σχοινίου. τοῦτον εἶναι τὸν Ὄκνον φίλεργόν φασιν ἄνθρωπον, γυναῖκα δὲ ἔχειν δαπανηράν· καὶ ὁπόσα συλλέξαιτο1 ἐργαζόμενος, οὐ πολὺ δὴ ὕστερον ὑπὸ ἐκείνης ἀνήλωτο.

​Above those already listed by me are the companions of Odysseus, Perimedes and Eurylochus, carrying victims; the victims are black rams. After them is a man sitting, and an inscription says that the man is Ocnus. He is represented as weaving a rope, and a female donkey stands by, eating up what of the rope has been woven from time to time. They say that this Ocnus was an industrious man, but had a spendthrift wife; and whatever he gathered by his labor was not long after consumed by her.

§10.29.2

τὰ οὖν ἐς τοῦ Ὄκνου τὴν γυναῖκα ἐθέλουσιν αἰνίξασθαι τὸν Πολύγνωτον. οἶδα δὲ καὶ ὑπὸ Ἰώνων, ὁπότε ἴδοιέν τινα πονοῦντα ἐπὶ οὐδενὶ ὄνησιν φέροντι, ὑπὸ τούτων εἰρημένον ὡς ὁ ἀνὴρ οὗτος συνάγει τοῦ Ὄκνου τὴν θώμιγγα. ὄκνον δʼ οὖν καὶ μάντεων οἱ ὁρῶντες τοὺς οἰωνοὺς καλοῦσί τινα ὄρνιθα· καὶ ἔστιν οὗτος ὁ ὄκνος μέγιστος μὲν καὶ κάλλιστος ἐρωδιῶν, εἰ δὲ ἄλλος τις ὀρνίθων σπάνιός ἐστι καὶ οὗτος.

​It is on account of Ocnus’ wife, therefore, that they interpret Polygnotus to have wished to speak in riddles. I know also that when the Ionians see someone laboring at what brings no profit, it is said by them that this man is gathering Ocnus’ rope. But Ocnus is also what those among the seers who watch birds call a certain bird; and this Ocnus is the largest and most beautiful of herons, and if indeed any other bird is rare, this one is so too.

§10.29.3

γέγραπται δὲ καὶ Τιτυὸς οὐ κολαζόμενος ἔτι, ἀλλὰ ὑπὸ τοῦ συνεχοῦς τῆς τιμωρίας ἐς ἅπαν ἐξανηλωμένος, ἀμυδρὸν καὶ οὐδὲ ὁλόκληρον εἴδωλον. ἐπιόντι δὲ ἐφεξῆς2 τὰ ἐν τῇ γραφῇ, ἔστιν ἐγγυτάτω τοῦ στρέφοντος τὸ καλῴδιον Ἀριάδνη· κάθηται μὲν ἐπὶ πέτρας, ὁρᾷ δὲ ἐς τὴν ἀδελφὴν Φαίδραν, τό τε ἄλλο αἰωρουμένην σῶμα ἐν σειρᾷ καὶ ταῖς χερσὶν ἀμφοτέραις ἑκατέρωθεν τῆς σειρᾶς ἐχομένην· παρεῖχε δὲ τὸ σχῆμα καίπερ ἐς τὸ εὐπρεπέστερον πεποιημένον συμβάλλεσθαι τὰ ἐς τῆς Φαίδρας τὴν τελευτήν.3

​Tityus also is painted, no longer being punished, but utterly wasted away by the continuous punishment, a dim and not even complete phantom. To one proceeding in order through the things in the painting, nearest to the one twisting the cord is Ariadne; she sits upon a rock, and looks at her sister Phaedra, who is swinging the rest of her body on a rope and holding on with both hands on either side of the rope. The attitude, although depicted in a more decorous way, suggested a conjecture of the end of Phaedra.

§10.29.4

τὴν δὲ Ἀριάδνην ἢ κατά τινα ἐπιτυχὼν δαίμονα ἢ καὶ ἐπίτηδες αὐτὴν λοχήσας ἀφείλετο Θησέα ἐπιπλεύσας Διόνυσος στόλῳ μείζονι, οὐκ ἄλλος κατὰ ἐμὴν δόξαν, ἀλλὰ ὁ πρῶτος μὲν ἐλάσας ἐπὶ Ἰνδοὺς στρατείᾳ, πρῶτος δὲ Εὐφράτην γεφυρώσας ποταμόν· Ζεῦγμά τε ὠνομάσθη πόλις καθʼ ὅ τι ἐζεύχθη τῆς χώρας ὁ Εὐφράτης, καὶ ἔστιν ἐνταῦθα ὁ κάλως καὶ ἐς ἡμᾶς ἐν ᾧ τὸν ποταμὸν ἔζευξεν, ἀμπελίνοις ὁμοῦ πεπλεγμένος καὶ κισσοῦ κλήμασι.

​As for Ariadne, Dionysus took her from Theseus, sailing against him with a larger fleet, either having fallen in with her by some divine chance or else having set an ambush for her on purpose. This Dionysus, in my opinion, was no other than the one who first marched on the Indians with an army, and first bridged the river Euphrates; and Zeugma was the name given to the city where the Euphrates was bridged in that territory, and there is still preserved there down to our time the cable with which he bridged the river, woven together with vine-twigs and ivy-shoots.

§10.29.5

τὰ μὲν δὴ ἐς Διόνυσον πολλὰ ὑπό τε Ἑλλήνων λεγόμενα καὶ ὑπὸ Αἰγυπτίων ἐστίν· ὑπὸ δὲ τὴν Φαίδραν ἐστὶν ἀνακεκλιμένη Χλῶρις ἐπὶ τῆς Θυίας γόνασιν. οὐχ ἁμαρτήσεται μὲν δὴ οὐδὲ ὅστις φησὶ φιλίαν εἶναι ἐς ἀλλήλας, ἡνίκα ἔτυχον αἱ γυναῖκες ζῶσαι· ἦσαν γὰρ δὴ ἡ μὲν ἐξ Ὀρχομενοῦ τοῦ ἐν Βοιωτίᾳ ἡ Χλῶρις, ἡ δὲ Κασταλίου θυγάτηρ ἀπὸ τοῦ Παρνασσοῦ. εἶπον δʼ ἂν4 καὶ ἄλλοι τὸν ἐς αὐτὰς λόγον, τῇ μὲν συγγενέσθαι Ποσειδῶνα τῇ Θυίᾳ, Χλῶριν δὲ Ποσειδῶνος παιδὶ Νηλεῖ συνοικῆσαι.

​Indeed, many things are said about Dionysus both by Greeks and by Egyptians; and under Phaedra is Chloris reclining on the knees of Thyia. Nor indeed will anyone be wrong who says that there was friendship between them when the women happened to be alive; for Chloris indeed was from Orchomenus in Boeotia, and the other was the daughter of Castalius from Parnassus. Others would also tell the story about them, that Poseidon united with Thyia, and Chloris married Neleus, the son of Poseidon.

Syntax notes4 items
  1. 10.29.1ὁπόσα συλλέξαιτο

    The combination of the relative pronoun ὁπόσα with the optative mood (συλλέξαιτο) represents a past general repetition ('whenever he would gather'), corresponding with the past-tense verb in the main clause (ἀνήλωτο).

  2. 10.29.3ἐπιόντι δὲ ἐφεξῆς

    The masculine dative singular of the present participle ἐπιόντι (from ἔπειμι, to go on) serves as a dative of reference or dative of the person judging, meaning 'to one proceeding in order...'

  3. 10.29.3συμβάλλεσθαι τὰ ἐς τῆς Φαίδρας τὴν τελευτήν

    The infinitive συμβάλλεσθαι functions as the object or result after the verb παρεῖχε, meaning 'afforded (an opportunity) to conjecture' or 'suggested the conjecture of' Phaedra's death.

  4. 10.29.5εἶπον δʼ ἂν

    The past indicative εἶπον with ἄν expresses past potentiality ('others might have told' or 'others could tell').

Translated by Gemini 3.5 Flash (published 2026-05-25)urn:cts:greekLit:tlg0525.tlg001.humanitext-grc2:10.29.1-10.29.5