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Tiresias: The Ancient Mediterranean Religions Source Database



9595
Plutarch, Pericles, 5.3


ὡς δʼ ἔμελλεν εἰσιέναι σκότους ὄντος ἤδη, προσέταξέ τινι τῶν οἰκετῶν φῶς λαβόντι παραπέμψαι καὶ καταστῆσαι πρὸς τὴν οἰκίαν τὸν ἄνθρωπον. ὁ δὲ ποιητὴς Ἴων μοθωνικήν φησι τὴν ὁμιλίαν καὶ ὑπότυφον εἶναι τοῦ Περικλέους, καὶ ταῖς μεγαλαυχίαις αὐτοῦ πολλὴν ὑπεροψίαν ἀναμεμῖχθαι καὶ περιφρόνησιν τῶν ἄλλων· ἐπαινεῖ δὲ τὸ Κίμωνος ἐμμελὲς καὶ ὑγρὸν καὶ μεμουσωμένον ἐν ταῖς περιφοραῖς.When he was about to go in doors, it being now dark, he ordered a servant to take a torch and escort the fellow in safety back to his own home. The poet Ion, however, says that Pericles had a presumptuous and somewhat arrogant manner of address, and that into his haughtiness there entered a good deal of disdain and contempt for others; he praises, on the other hand, the tact, complaisance, and elegant address which Cimon showed in his social intercourse. Cf. Plut. Cim. 9 .


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

10 results
1. Aristophanes, Peace, 836-837, 835 (5th cent. BCE - 4th cent. BCE)

835. ̓́Ιων ὁ Χῖος, ὅσπερ ἐποίησεν πάλαι
2. Euripides, Hippolytus, 57 (5th cent. BCE - 5th cent. BCE)

3. Sophocles, Oedipus At Colonus, 15, 14 (5th cent. BCE - 5th cent. BCE)

4. Sophocles, Oedipus The King, 179 (5th cent. BCE - 5th cent. BCE)

5. Polybius, Histories, 36.9 (2nd cent. BCE - 2nd cent. BCE)

36.9. 1.  Both about the Carthaginians when they were crushed by the Romans and about the affair of the pseudo-Philip many divergent accounts were current in Greece, at first on the subject of the conduct of Rome to Carthage and next concerning their treatment of the pseudo-Philip.,2.  As regards the former the judgements formed and the opinions held in Greece were far from uimous.,3.  There were some who approved the action of the Romans, saying that they had taken wise and statesmanlike measures in defence of their empire.,4.  For to destroy this source of perpetual menace, this city which had constantly disputed the supremacy with them and was still able to dispute it if it had the opportunity and thus to secure the dominion of their own country, was the act of intelligent and far-seeing men.,5.  Others took the opposite view, saying that far from maintaining the principles by which they had won their supremacy, they were little by little deserting it for a lust of domination like that of Athens and Sparta, starting indeed later than those states, but sure, as everything indicated, to arrive at the same end.,6.  For at first they had made war with every nation until they were victorious and until their adversaries had confessed that they must obey them and execute their orders.,7.  But now they had struck the first note of their new policy by their conduct to Perseus, in utterly exterminating the kingdom of Macedonia, and they had now completely revealed it by their decision concerning Carthage.,8.  For the Carthaginians had been guilty of no immediate offence to Rome, but the Romans had treated them with irremediable severity, although they had accepted all their conditions and consented to obey all their orders.,9.  Others said that the Romans were, generally speaking, a civilized people, and that their peculiar merit on which they prided themselves was that they conducted their wars in a simple and noble manner, employing neither night attacks nor ambushes, disapproving of every kind of deceit and fraud, and considering that nothing but direct and open attacks were legitimate for them.,10.  But in the present case, throughout the whole of their proceedings in regard to Carthage, they had used deceit and fraud, offering certain things one at a time and keeping others secret, until they cut off every hope the city had of help from her allies.,11.  This, they said, savoured more of a despot's intrigue than of the principles of a civilized state such as Rome, and could only be justly described as something very like impiety and treachery.,12.  And there were others who differed likewise from these latter critics. For, they said, if before the Carthaginians had committed themselves to the faith of Rome the Romans had proceeded in this manner, offering certain things one at a time and gradually disclosing others, they would of course have appeared to be guilty of the charge brought against them.,13.  But if, in fact, after the Carthaginians had of their own accord committed themselves to the faith of the Romans and given them liberty to treat them in any way they chose, the Romans, being thus authorized to act as it seemed good to them, gave the orders and imposed the terms on which they had decided, what took place did not bear any resemblance to an act of impiety and scarcely any to an act of treachery; in fact some said it was not even of the nature of an injustice.,14.  For every crime must naturally fall under one of these three classes, and what the Romans did belongs to neither of the three.,15.  For impiety is sin against the gods, against parents, or against the dead; treachery is the violation of sworn or written agreements; and injustice is what is done contrary to law and custom.,16.  of none of these three were the Romans guilty on the present occasion. Neither did they sin against the gods, against their parents, or against the dead, nor did they violate any sworn agreement or treaty; on the contrary they accused the Carthaginians of doing this.,17.  Nor, again, did they break any laws or customs or their personal faith. For having received from a people who consented willingly full authority to act as they wished, when this people refused to obey their orders they finally resorted to force.
6. Plutarch, Alcibiades, 3.2 (1st cent. CE - 2nd cent. CE)

7. Plutarch, Aristides, 26 (1st cent. CE - 2nd cent. CE)

8. Plutarch, Cimon, 9.1, 15.3, 17.3 (1st cent. CE - 2nd cent. CE)

9. Plutarch, On The Malice of Herodotus, None (1st cent. CE - 2nd cent. CE)

10. Plutarch, Pericles, 2.5, 5.2, 9.2, 9.5, 10.5, 13.16, 28.2-28.3, 31.1 (1st cent. CE - 2nd cent. CE)

5.2. It is, at any rate, a fact that, once on a time when he had been abused and insulted all day long by a certain lewd fellow of the baser sort, he endured it all quietly, though it was in the marketplace, where he had urgent business to transact, and towards evening went away homewards unruffled, the fellow following along and heaping all manner of contumely upon him. 9.2. In the beginning, as has been said, pitted as he was against the reputation of Cimon, he tried to ingratiate himself with the people. And since he was the inferior in wealth and property, by means of which Cimon would win over the poor,—furnishing a dinner every day to any Athenian who wanted it, bestowing raiment on the elderly men, and removing the fences from his estates that whosoever wished might pluck the fruit,—Pericles, outdone in popular arts of this sort, had recourse to the distribution of the people’s own wealth. This was on the advice of Damonides, of the deme Oa, as Aristotle has stated. Aristot. Const. Ath. 27.4 . 10.5. And it was thought that before this, too, Elpinice had rendered Pericles more lenient towards Cimon, when he stood his trial on the capital charge of treason. 463. B.C. Cf. Plut. Cim. 14.2-4 . Pericles was at that time one of the committee of prosecution appointed by the people, and on Elpinice’s coming to him and supplicating him, said to her with a smile: Elpinice, thou art an old woman, thou art an old woman, to attempt such tasks. However, he made only one speech, by way of formally executing his commission, and in the end did the least harm to Cimon of all his accusers. 28.2. But he appears not to speak the truth when he says, forsooth, that Pericles had the Samian trierarchs and marines brought into the market-place of Miletus and crucified there, and that then, when they had already suffered grievously for ten days, he gave orders to break their heads in with clubs and make an end of them, and then cast their bodies forth without burial rites. 28.3. At all events, since it is not the wont of Duris, even in cases where he has no private and personal interest, to hold his narrative down to the fundamental truth, it is all the more likely that here, in this instance, he has given a dreadful portrayal of the calamities of his country, that he might calumniate the Athenians. When Pericles, after his subjection of Samos, had returned to Athens, he gave honorable burial to those who had fallen in the war, and for the oration which he made, according to the custom, over their tombs, he won the greatest admiration. 31.1. Well, then, whatever the original ground for enacting the decree,—and it is no easy matter to determine this,—the fact that it was not rescinded all men alike lay to the charge of Pericles. Only, some say that he persisted in his refusal in a lofty spirit and with a clear perception of the best interests of the city, regarding the injunction laid upon it as a test of its submissiveness, and its compliance as a confession of weakness; while others hold that it was rather with a sort of arrogance and love of strife, as well as for the display of his power, that he scornfully defied the Lacedaemonians.


Subjects of this text:

subject book bibliographic info
(blurred), opposing Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
(law)court system Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
alcibiades Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165, 166; Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
alternatives Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165, 166
anger/fury/ire/orge/rage/wrath Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
anonymous interlocutors Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
antiphon Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165, 166
as if-constructions Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
assault Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
athenians, and cimon Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
athenians Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
athens, population of Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 633
athens Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160
audience, the subjects interaction with his Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
battery Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
blow Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
caesar, roman people and Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
caesar Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
cimon, athenians criticism of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160
cimon, in the pericles Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160
cimon Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160
cleaenetus Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
closure (endings of biographies) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
cognition Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
comedy, comic poets, plutarchs criticism of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 165, 166
comedy, comic poets Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 165, 166
community, the subject and his Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
contrasts, between plutarch and other authors Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160, 165, 166
craterus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165, 166
criticism, and counter-suggestibility Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
criticism, contemporary to the story narrated, exercised by onlookers Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
criticism, plutarchs Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160, 166
criticism, plutarchs stance towards others Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
criticism Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160, 166
death, and posthumous conversion of people Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
death, of the subjects Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
death Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
decisions, concerning moral judgement Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
decisions, of the subjects Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
demagoguery, demagogues Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160
demosthenes Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
diffidence (of plutarch), in the prologues Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
diffidence (of plutarch), in the synkriseis Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
diffidence (of plutarch) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
dionysus, dionysiac (rites, farce etc.) Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
duris of samos Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
epicharmus Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
eratosthenes, the adulterer Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
euphiletus Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
examples (i.e. paradigm), plutarch himself as Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
examples (i.e. paradigm) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
execution Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
explanations Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
fabius maximus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
first-person plurals, inclusive Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
first-person plurals, invitational Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
first-person plurals Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
flattery, flatterers Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160
friends/friendship Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
fury, cf. anger gall, cf. bile gender Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
gorgias Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
homicide/murder, cf. killer, murderer Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
honor Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
idomeneus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165, 166
impersonal constructions Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
judgements, multiple Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
killing, self-help Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
killing Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
lucullus, plutarchs evaluation of the retirement of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
lucullus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
lysias Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
meidias Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
moderation Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160
monopoly, on violence Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
monopoly Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
moral turnaround Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
motivation, motives Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160, 165
narrator, authority of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
narrator, circumspection of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
nicias Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
nothos, cf. bastard child oikos Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
offense, cf. insult Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
pericles, and the hostile public mind Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160, 165, 166
pericles Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160, 165, 166; Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
perspectives, of the readers Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
perspectives, presentation of different Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
philosophy/philosophers/philosophical Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
poetry, poets (plutarchs attitude towards) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 165, 166
politics, the subjects preoccupation with Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
politics Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160
polybius Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
posthumous, honour or dishonour Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
prologue (to plutarchs book) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
questions (narrative technique), rhetorical Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
questions (narrative technique) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
readers, critical/resistant Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
rhetoric(al), of plutarch Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
romans, and lucullus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
romans Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
rules/rituals of (violent) interaction Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
seduction, cf. adultery, moicheia Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
self-aggrandizement, control Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
self-aggrandizement, defense Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
self-aggrandizement, help Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
self-praise Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 166
shame Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
slave Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365
social/society, dialogue of individual with Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
social/society, plutarchs interest in Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
social/society, plutarchs reconstruction of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
sophistic Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
sources, plutarchs use or criticism of Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
sources Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
sparta(ns) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 160, 165
stesimbrotus of thasus Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 160, 165
strike Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
surprise Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95, 166
taureas Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
theater of dionysus Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 150
understand(ing) (as part of the process of moral evaluation)' Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 165
understand(ing) (as part of the process of moral evaluation) Chrysanthou, Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement (2018) 95
utopia Riess, Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens (2012) 365