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Tiresias: The Ancient Mediterranean Religions Source Database



9595
Plutarch, Pericles, 2.2-2.3


οὐ γὰρ ἀναγκαῖον, εἰ τέρπει τὸ ἔργον ὡς χάριεν, ἄξιον σπουδῆς εἶναι τὸν εἰργασμένον. ὅθεν οὐδʼ ὠφελεῖ τὰ τοιαῦτα τοὺς θεωμένους, πρὸς ἃ μιμητικὸς οὐ γίνεται ζῆλος οὐδὲ ἀνάδοσις κινοῦσα προθυμίαν καὶ ὁρμὴν ὁρμὴν Fuhr and Blass, after Reiske: ἀφορμήν . ἐπὶ τὴν ἐξομοίωσιν. ἀλλʼ ἥ γε ἀρετὴ ταῖς πράξεσιν εὐθὺς οὕτω διατίθησιν ὥστε ἅμα θαυμάζεσθαι τὰ ἔργα καὶ ζηλοῦσθαι τοὺς εἰργασμένους.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.


τῶν μὲν γὰρ ἐκ τῆς τύχης ἀγαθῶν τὰς κτήσεις καὶ ἀπολαύσεις, τῶν δʼ ἀπʼ ἀρετῆς τὰς πράξεις ἀγαπῶμεν, καὶ τὰ μὲν ἡμῖν παρʼ ἑτέρων, τὰ δὲ μᾶλλον ἑτέροις παρʼ ἡμῶν ὑπάρχειν βουλόμεθα. τὸ γὰρ καλὸν ἐφʼ αὑτὸ πρακτικῶς κινεῖ καὶ πρακτικὴν εὐθὺς ὁρμὴν ἐντίθησιν, ἠθοποιοῦν οὐ τῇ μιμήσει τὸν θεατήν, ἀλλὰ τῇ ἱστορίᾳ τοῦ ἔργου τὴν προαίρεσιν παρεχόμενον.The good things of Fortune we love to possess and enjoy; those of Virtue we love to perform. The former we are willing should be ours at the hands of others; the latter we wish that others rather should have at our hands. The Good creates a stir of activity towards itself, and implants at once in the spectator an active impulse; it does not form his character by ideal representation alone, but through the investigation of its work it furnishes him with a dominant purpose.


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

11 results
1. Plato, Republic, None (5th cent. BCE - 4th cent. BCE)

2. Plutarch, Alexander The Great, 41.1 (1st cent. CE - 2nd cent. CE)

41.1. Alexander, then, in exercising himself and at the same time inciting others to deeds of valour, was wont to court danger; but his friends, whose wealth and magnificence now gave them a desire to live in luxury and idleness, were impatient of his long wanderings and military expeditions, and gradually went so far as to abuse him and speak ill of him. He, however, was very mildly disposed at first toward this treatment of himself and used to say that it was the lot of a king to confer favours and be ill-spoken of therefor.
3. Plutarch, Cato The Younger, 9.9-9.10 (1st cent. CE - 2nd cent. CE)

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

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

6. Plutarch, Oracles At Delphi No Longer Given In Verse, None (1st cent. CE - 2nd cent. CE)

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

8. Plutarch, Fabius, 3.7, 4.4, 17.5 (1st cent. CE - 2nd cent. CE)

17.5. For he who, in times of apparent security, appeared cautious and irresolute, then, when all were plunged in boundless grief and helpless confusion, was the only man to walk the city with calm step, composed countece, and gracious address, checking effeminate lamentation, and preventing those from assembling together who were eager to make public their common complaints. He persuaded the senate to convene, heartened up the magistrates, and was himself the strength and power of every magistracy, since all looked to him for guidance.
9. Plutarch, Numa Pompilius, 20.11-20.12 (1st cent. CE - 2nd cent. CE)

10. Plutarch, Pericles, 1.1-1.6, 2.3-2.4, 11.4, 12.1, 12.6, 15.1-15.3, 38.3-38.4 (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. 2.4. 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. 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
11. Plutarch, How The Young Man Should Study Poetry, None (1st cent. CE - 2nd cent. CE)



Subjects of this text:

subject book bibliographic info
aesthetics Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55, 56
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) 40
artist Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53, 55, 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) 55
athens Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
character (plutarchs and readers concern with) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 53, 56
characterisation, of the readers Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
characterisation, of the subjects Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
closure (endings of biographies) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
complicity (between plutarch and readers) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
contrasts, as theme in plutarchs narrative Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
contrasts Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
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), the subjects as Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
examples (i.e. paradigm) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 53
fabius maximus, as teacher Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
fabius maximus, romans criticism of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
fabius maximus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
fortune, contrasted with virtue Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
fortune Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
friends/friendship Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
god(dess) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
groups (in-text) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 53
herodotus and the histories, ambiguity of Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118
historia Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
imitation Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 53, 55, 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, 53, 55
medical imagery/language Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
mimēsis (imitation) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53, 55
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
passions Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 56
pericles, as teacher of virtue Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53, 55, 56
pericles, building programme of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55, 56
pericles Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53, 55, 56
persia and persians, persian wars, reception of Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118, 119
philosophy/philosophers/philosophical Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55, 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) 118, 119
plutarch, history, ideas of Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118, 119
plutarch, on the malice of herodotus Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118
plutarch, prohairesis (deliberate choice) Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118, 119
plutarch Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118, 119
polarities Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
poverty Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55
prologue (to plutarchs book) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 53, 55, 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) 40
readers, real-life Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
reasonings Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
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
romans, and fabius maximus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
romans, and greeks Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
romans Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
rome Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 53
said, edward Kirkland, Herodotus and Imperial Greek Literature: Criticism, Imitation, Reception (2022) 118
sayings Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 40, 55
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) 53, 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) 53
teachers, the subjects as Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 55, 56