Tiresias: The Ancient Mediterranean Religions Source Database

9595

Plutarch, Pericles, 1.1-1.6
ξένους τινὰς ἐν Ῥώμῃ πλουσίους κυνῶν τέκνα καὶ πιθήκων ἐν τοῖς κόλποις περιφέροντας καὶ ἀγαπῶντας ἰδὼν ὁ Καῖσαρ, ὡς ἔοικεν, ἠρώτησεν εἰ παιδία παρʼ αὐτοῖς οὐ τίκτουσιν αἱ γυναῖκες, ἡγεμονικῶς σφόδρα νουθετήσας τοὺς τὸ φύσει φιλητικὸν ἐν ἡμῖν καὶ φιλόστοργον εἰς θηρία καταναλίσκοντας ἀνθρώποις ὀφειλόμενον. On seeing certain wealthy foreigners in Rome carrying puppies and young monkeys about in their bosoms and fondling them, Caesar Caesar Augustus. asked, we are told, if the women in their country did not bear children, thus in right princely fashion rebuking those who squander on animals that proneness to love and loving affection which is ours by nature, and which is due only to our fellow-men.
ἆρʼ οὖν, ἐπεὶ φιλομαθές τι κέκτηται καὶ φιλοθέαμον ἡμῶν ἡ ψυχὴ φύσει, λόγον ἔχει ψέγειν τοὺς καταχρωμένους τούτῳ πρὸς τὰ μηδεμιᾶς ἄξια σπουδῆς ἀκούσματα καὶ θεάματα, τῶν δὲ καλῶν καὶ ὠφελίμων παραμελοῦντας; τῇ μὲν γὰρ αἰσθήσει κατὰ πάθος τῆς πληγῆς ἀντιλαμβανομένῃ τῶν προστυγχανόντων ἴσως ἀνάγκη πᾶν τὸ φαινόμενον, ἄν τε χρήσιμον ἄν τʼ ἄχρηστον ᾖ, θεωρεῖν Since, then, our souls are by nature possessed of great fondness for learning and fondness for seeing, it is surely reasonable to chide those who abuse this fondness on objects all unworthy either of their eyes or ears, to the neglect of those which are good and serviceable. Our outward sense, since it apprehends the objects which encounter it by virtue of their mere impact upon it, must needs, perhaps, regard everything that presents itself, be it useful or useless;
τῷ νῷ δʼ ἕκαστος εἰ βούλοιτο χρῆσθαι, καὶ τρέπειν ἑαυτὸν ἀεὶ καὶ μεταβάλλειν ῥᾷστα πρὸς τὸ δοκοῦν πέφυκεν, ὥστε χρὴ διώκειν τὸ βέλτιστον, ἵνα μὴ θεωρῇ μόνον, ἀλλὰ καὶ τρέφηται τῷ θεωρεῖν. ὡς γὰρ ὀφθαλμῷ χρόα πρόσφορος ἧς τὸ ἀνθηρὸν ἅμα καὶ τερπνὸν ἀναζωπυρεῖ καὶ τρέφει τὴν ὄψιν, οὕτω τὴν διάνοιαν ἐπάγειν δεῖ θεάμασιν ἃ τῷ χαίρειν πρὸς τὸ οἰκεῖον αὐτὴν ἀγαθὸν ἐκκαλεῖ. but in the exercise of his mind every man, if he pleases, has the natural power to turn himself away in every case, and to change, without the least difficulty, to that object upon which he himself determines. It is meet, therefore, that he pursue what is best, to the end that he may not merely regard it, but also be edified by regarding it. A color is suited to the eye if its freshness, and its pleasantness as well, stimulates and nourishes the vision; and so our intellectual vision must be applied to such objects as, by their very charm, invite it onward to its own proper good.
ταῦτα δὲ ἔστιν ἐν τοῖς ἀπʼ ἀρετῆς ἔργοις, ἃ καὶ ζῆλόν τινα καὶ προθυμίαν ἀγωγὸν εἰς μίμησιν ἐμποιεῖ τοῖς ἱστορήσασιν· ἱστορήσασιν Bekker, Fuhr, and Blass, with Reiske, after Amyot: ἱστορήμασιν ( researches ). ἐπεὶ τῶν γʼ ἄλλων οὐκ εὐθὺς ἀκολουθεῖ τῷ θαυμάσαι τὸ πραχθὲν ὁρμὴ πρὸς τὸ πρᾶξαι· πολλάκις δὲ καὶ τοὐναντίον χαίροντες τῷ ἔργῳ τοῦ δημιουργοῦ καταφρονοῦμεν, ὡς ἐπὶ τῶν μύρων καὶ τῶν ἁλουργῶν τούτοις μὲν ἡδόμεθα, τοὺς δὲ βαφεῖς καὶ μυρεψοὺς ἀνελευθέρους ἡγούμεθα καὶ βαναύσους. Such objects are to be found in virtuous deeds; these implant in those who search them out a great and zealous eagerness which leads to imitation. In other cases, admiration of the deed is not immediately accompanied by an impulse to do it. Nay, many times, on the contrary, while we delight in the work, we despise the workman, as, for instance, in the case of perfumes and dyes; we take a delight in them, but dyers and perfumers we regard as illiberal and vulgar folk.
διὸ καλῶς μὲν Ἀντισθένης ἀκούσας ὅτι σπουδαῖός ἐστιν αὐλητὴς Ἰσμηνίας, ἀλλʼ ἄνθρωπος, ἔφη, μοχθηρός· οὐ γὰρ ἂν οὕτω σπουδαῖος ἦν αὐλητής· ὁ δὲ Φίλιππος πρὸς τὸν υἱὸν ἐπιτερπῶς ἔν τινι πότῳ ψήλαντα καὶ τεχνικῶς εἶπεν· οὐκ αἰσχύνῃ καλῶς οὕτω ψάλλων; ἀρκεῖ γάρ, ἂν βασιλεὺς ἀκροᾶσθαι ψαλλόντων σχολάζῃ, καὶ πολὺ νέμει ταῖς Μούσαις ἑτέρων ἀγωνιζομένων τὰ τοιαῦτα θεατὴς γιγνόμενος. Therefore it was a fine saying of Antisthenes, when he heard that Ismenias was an excellent piper: But he’s a worthless man, said he, otherwise he wouldn’t be so good a piper. And so Philip Philip of Macedon, to Alexander. once said to his son, who, as the wine went round, plucked the strings charmingly and skilfully, Art not ashamed to pluck the strings so well? It is enough, surely, if a king have leisure to hear others pluck the strings, and he pays great deference to the Muses if he be but a spectator of such contests.
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Intertexts (texts cited often on the same page as the searched text):

8 results
1. Dio Chrysostom, Orations, 1.73-1.75, 3.87-3.90, 27.4, 38.8, 45.3 (1st cent. CE 27.4.  But the man that is gentle and has a properly ordered character, easily endures the rudeness of the others, and acts like a gentleman himself, trying to the best of his ability to bring the ignorant chorus into a proper demeanour by means of fitting rhythm and melody. And he introduces appropriate topics of conversation and by his tact and persuasiveness attempts to get those present to be more harmonious and friendly in their intercourse with one another. 45.3.  For what we have now obtained we might have had then, and we might have employed the present opportunity toward obtaining further grants. However that may be, when I had experienced at the hands of the present Emperor a benevolence and an interest in me whose magnitude those who were there know full well, though if I speak of it now I shall greatly annoy certain persons — and possibly the statement will not even seem credible, that one who met with such esteem and intimacy and friendship should have neglected all these things and have given them scant attention, having formed a longing for the confusion and bustle here at home, to put it mildly — for all that, I did not employ that opportunity or the goodwill of the Emperor for any selfish purpose, not even to a limited degree, for example toward restoring my ruined fortunes or securing some office or emolument, but anything that it was possible to obtain I turned in your direction and I had eyes only for the welfare of the city.
2. Plutarch, Cimon, 2-3, 1 (1st cent. CE - 2nd cent. CE)
3. Plutarch, Demetrius, 1.1-1.3, 1.5-1.6 (1st cent. CE - 2nd cent. CE)
4. Plutarch, Fabius, 13 (1st cent. CE - 2nd cent. CE)
5. Plutarch, Moralia, 267c (1st cent. CE - 2nd cent. CE)
6. Plutarch, Pericles, 1.2-1.6, 2.2-2.4, 11.4, 12.3-12.4 (1st cent. CE - 2nd cent. CE) 1.2. Since, then, our souls are by nature possessed of great fondness for learning and fondness for seeing, it is surely reasonable to chide those who abuse this fondness on objects all unworthy either of their eyes or ears, to the neglect of those which are good and serviceable. Our outward sense, since it apprehends the objects which encounter it by virtue of their mere impact upon it, must needs, perhaps, regard everything that presents itself, be it useful or useless; 1.4. Such objects are to be found in virtuous deeds; these implant in those who search them out a great and zealous eagerness which leads to imitation. In other cases, admiration of the deed is not immediately accompanied by an impulse to do it. Nay, many times, on the contrary, while we delight in the work, we despise the workman, as, for instance, in the case of perfumes and dyes; we take a delight in them, but dyers and perfumers we regard as illiberal and vulgar folk. 1.5. Therefore it was a fine saying of Antisthenes, when he heard that Ismenias was an excellent piper: But he’s a worthless man, said he, otherwise he wouldn’t be so good a piper. And so Philip Philip of Macedon, to Alexander. once said to his son, who, as the wine went round, plucked the strings charmingly and skilfully, Art not ashamed to pluck the strings so well? It is enough, surely, if a king have leisure to hear others pluck the strings, and he pays great deference to the Muses if he be but a spectator of such contests. 2.2. For it does not of necessity follow that, if the work delights you with its grace, the one who wrought it is worthy of your esteem. Wherefore the spectator is not advantaged by those things at sight of which no ardor for imitation arises in the breast, nor any uplift of the soul arousing zealous impulses to do the like. But virtuous action straightway so disposes a man that he no sooner admires the works of virtue than he strives to emulate those who wrought them. 2.4. For such reasons I have decided to persevere in my writing of Lives, and so have composed this tenth book, containing the life of Pericles, and that of Fabius Maximus, who waged such lengthy war with Hannibal. The men were alike in their virtues, and more especially in their gentleness and rectitude, and by their ability to endure the follies of their peoples and of their colleagues in office, they proved of the greatest service to their countries. But whether I aim correctly at the proper mark must be decided from what I have written. 11.4. At this time, therefore, particularly, Pericles gave the reins to the people, and made his policy one of pleasing them, ever devising some sort of a pageant in the town for the masses, or a feast, or a procession, amusing them like children with not uncouth delights, An iambic trimeter from an unknown source. and sending out sixty triremes annually, on which large numbers of the citizens sailed about for eight months under pay, practising at the same time and acquiring the art of seamanship. 12.3. For his part, Pericles would instruct the people that it owed no account of their moneys to the allies provided it carried on the war for them and kept off the Barbarians; not a horse do they furnish, said he, not a ship, not a hoplite, but money simply; and this belongs, not to those who give it, but to those who take it, if only they furnish that for which they take it in pay. 12.4. And it is but meet that the city, when once she is sufficiently equipped with all that is necessary for prosecuting the war, should apply her abundance to such works as, by their completion, will bring her everlasting glory, and while in process of completion will bring that abundance into actual service, in that all sorts of activity and diversified demands arise, which rouse every art and stir every hand, and bring, as it were, the whole city under pay, so that she not only adorns, but supports herself as well from her own resources.
7. Plutarch, Sulla, 6.9 (1st cent. CE - 2nd cent. CE)
8. Plutarch, Timoleon, 1.4 (1st cent. CE - 2nd cent. CE) 1.4. At last Dionysius, in the tenth year of his exile, 346 B.C. collected mercenaries, drove out Nisaeus; who was at that time master of Syracuse, recovered the power again, and established himself as tyrant anew; he had been unaccountably deprived by a small force of the greatest tyranny that ever was, and now more unaccountably still he had become, from a lowly exile, master of those who drove him forth.

Subjects of this text:

subject	book bibliographic info
ambiguity, concerning narrator and readers	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
ambiguity	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
anecdotes	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 40
artist	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 54
athenians, and pericles	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
athenians	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
athens	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
caesar, c. iulius	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
chance	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
character (plutarchs and readers concern with)	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
characterisation, of the readers	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
characterisation, plutarchs self-	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
contrasts, as theme in plutarchs narrative	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
contrasts	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
criticism	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
decisions, of the subjects	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
dion of prousa	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
ekhthra (enmity)	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
examples (i.e. paradigm), comparative/parallel	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
examples (i.e. paradigm)	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
fabius maximus, as teacher	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
fabius maximus	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
first-person plurals, inclusive	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
general statements (moral)	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
groups (in-text)	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
homonoia	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
imitation	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 40
impersonal constructions	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
learning	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 54
lykourgos of sparta	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
minds, internal	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
minds	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
perception	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
pericles, as teacher of virtue	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
pericles, building programme of	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
pericles	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
philia, philoi	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
plutarch	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
politics, the subjects preoccupation with	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
pompeius magnus, cn.	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
prologue (to plutarchs book)	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 40, 54
prousa (in bithynia)	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
questions (narrative technique), in the prologues	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
questions (narrative technique), rhetorical	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
questions (narrative technique)	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
readers, critical/resistant	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 40
reflection, moral	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39
rhetoric(al), of plutarch	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
sayings	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
stasis (factional conflict)	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
tarsos	Stanton, Unity and Disunity in Greek and Christian Thought under the Roman Peace (2021) 46
teachers, the subjects as'	Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54