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Tiresias: The Ancient Mediterranean Religions Source Database



9595
Plutarch, Pericles, 1.2


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, θεωρεῖνSince, 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;


Intertexts (texts cited often on the same page as the searched text):

7 results
1. Plato, Theaetetus, None (5th cent. BCE - 4th cent. BCE)

2. Plutarch, Cimon, 2-3, 1 (1st cent. CE - 2nd cent. CE)

3. Plutarch, On The Glory of The Athenians, None (1st cent. CE - 2nd cent. CE)

4. Plutarch, Demetrius, 1.1-1.3, 1.5-1.6, 20.9 (1st cent. CE - 2nd cent. CE)

5. Plutarch, Fabius, 13 (1st cent. CE - 2nd cent. CE)

6. Plutarch, Pericles, 1.1, 1.3-1.6, 2.2-2.4, 11.4, 12.3-12.4, 15.1-15.3 (1st cent. CE - 2nd cent. CE)

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. 15.1. Thus, then, seeing that political differences were entirely remitted and the city had become a smooth surface, as it were, and altogether united, he brought under his own control Athens and all the issues dependent on the Athenians,—tributes, armies, triremes, the islands, the sea, the vast power derived from Hellenes, vast also from Barbarians, and a supremacy that was securely hedged about with subject nations, royal friendships, and dynastic alliances. 15.2. But then he was no longer the same man as before, nor alike submissive to the people and ready to yield and give in to the desires of the multitude as a steersman to the breezes. Nay rather, forsaking his former lax and sometimes rather effeminate management of the people, as it were a flowery and soft melody, he struck the high and clear note of an aristocratic and kingly statesmanship, and employing it for the best interests of all in a direct and undeviating fashion
7. 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
aesthetics Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
agatharchides vi Amendola, The Demades Papyrus (P.Berol. inv. 13045): A New Text with Commentary (2022) 301
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
antipater Amendola, The Demades Papyrus (P.Berol. inv. 13045): A New Text with Commentary (2022) 301
artist Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 54, 56
as if-constructions Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
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
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, 56
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
demetrius i (poliorcetes) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
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
imitation Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 40, 56
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
medical imagery/language Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
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
orator(y) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
parallelism Amendola, The Demades Papyrus (P.Berol. inv. 13045): A New Text with Commentary (2022) 301
passions Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
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, 56
pericles, building programme of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54, 56
pericles Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54, 56
persia and persians, persian wars, reception of Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 119
philosophy/philosophers/philosophical Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
plato, platonic Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
plato Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 119
plutarch, history, ideas of Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 119
plutarch, prohairesis (deliberate choice) Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 119
plutarch Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 119
politics, the subjects preoccupation with Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54
prologue (to plutarchs book) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 39, 40, 54, 56
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
rhetoric(al), of the subjects Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
sayings Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40
sea imagery Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
speech(es) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
statues Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
teachers, the subjects as' Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
teachers, the subjects as Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 54