Actaeon reconstruction opposes a too-pat consensus that has an archaic Actaeon aspiring to Semele, a classical Actaeon boasting of his hunting prowess and a Hellenistic Actaeon glimpsing Artemis' bath. Lacy identifies the site of Actaeon's transgression as a spring sacred to Artemis at Plataea where Actaeon was a " hero archegetes" ("hero-founder") The righteous hunter, the companion of Artemis, seeing her bathing naked in the spring, was moved to try to make himself her consort, as Diodorus Siculus noted, and was punished, in part for transgressing the hunter's "ritually enforced deference to Artemis" (Lacy 1990:42). Notes: In the second century AD,
Diana and Actaeon Greek hunter. She included a few spectacular "stag leaps" for the male dancer, but she largely abandoned the well-known story of Actaeon in creating this "divertissement" and made instead a rapturous dance for two lovers, set to music by Pugni. Diana is seen as the beautiful goddess of the moon and the hunt, usually wearing a wispy red chiton and carrying a small golden bow; Actaeon is portrayed as a strong, handsome, mortal youth, clad in a short chiton or loincloth. At the premiere, Diana was danced by Galina Ulanova and Actaeon by Vaktang Chabukiani. Vaganova's popular "pas de deux,"