Tiresias: The Ancient Mediterranean Religions Source Database

9612

Plutarch, Romulus, 29.1-29.3
τὴν δὲ γενομένην ἐπωνυμίαν τῷ Ῥωμύλῳ τὸν Κυρῖνον οἱ μὲν Ἐνυάλιον προσαγορεύουσιν, οἱ δὲ πολίτην, οἱ δὲ πολίτην, ὅτι Coraës and Bekker, with two Bodleian MSS. (B ab ): οἱ δὲ ὅτι . ὅτι καὶ τοὺς πολίτας Κυρίτας ὠνόμαζον, οἱ δὲ τὴν αἰχμὴν ἢ τὸ δόρυ τοὺς παλαιοὺς κύριν ὀνομάζειν, καὶ Κυρίτιδος Ἥρας ἄγαλμα καλεῖν ἐπʼ αἰχμῆς ἱδρυμένον, ἐν δὲ τῇ Ῥηγίᾳ δόρυ καθιδρυμένον Ἄρεα προσαγορεύειν καὶ δόρατι τοὺς ἐν πολέμοις ἀριστεύοντας γεραίρειν· ὡς οὖν ἀρήιόν τινα τὸν Ῥωμύλον ἢ αἰχμητὴν θεὸν ὀνομασθῆναι Κυρῖνον. To the surname of Quirinus bestowed on Romulus, some give the meaning of Mars, others that of Citizen because the citizens were called Quirites; but others say that the ancients called the spear-head (or the whole spear) quiris, and gave the epithet Quiritis to the Juno whose statue leans upon a spear, and the name Mars to a spear consecrated in the Regia, and a spear as a prize to those who performed great exploits in war; and that Romulus was therefore called Quirinus as a martial, or spear-wielding, god.
ἱερὸν μὲν οὖν αὐτοῦ κατεσκευασμένον ἐστὶν ἐν τῷ λόφῳ τῷ Κυρίνᾳ προσαγορευομένῳ διʼ ἐκεῖνον· ᾗ δʼ ἡμέρᾳ μετήλλαξεν, ὄχλου φυγὴ καλεῖται καὶ νῶναι Καπρατῖναι διὰ τὸ θύειν εἰς τὸ τῆς αἰγὸς ἕλος ἐκ πόλεως κατιόντας· τὴν γὰρ αἶγα κάπραν ὀνομάζουσιν. ἐξιόντες δὲ πρὸς τὴν θυσίαν πολλὰ τῶν ἐπιχωρίων ὀνομάτων φθέγγονται μετὰ βοῆς, οἷον Μάρκου, Λουκίου, Γαΐου, μιμούμενοι τὴν τότε τροπὴν καὶ ἀνάκλησιν ἀλλήλων μετὰ δέους καὶ ταραχῆς. However that may be, a temple in his honour is built on the hill called Quirinalis after him, and the day on which he vanished is called People’s Flight, and Capratine Nones, because they go out of the city and sacrifice at the Goat’s Marsh; and capra is their word for she-goat. And as they go forth to the sacrifice, they shout out many local names, like Marcus, Lucius, and Caius, in imitation of the way in which, on the day when Romulus disappeared, they called upon one another in fear and confusion.
ἔνιοι μέντοι τὸ μίμημα τοῦτό φασι μὴ φυγῆς, ἀλλʼ ἐπείξεως εἶναι καὶ σπουδῆς, εἰς αἰτίαν τοιαύτην ἀναφέροντες τὸν λόγον. ἐπεὶ Κελτοὶ τὴν Ῥώμην καταλαβόντες ἐξεκρούσθησαν ὑπὸ Καμίλλου, καὶ διʼ ἀσθένειαν ἡ πόλις οὐκέτι ῥᾳδίως ἑαυτὴν ἀνελάμβανεν, ἐστράτευσαν ἐπʼ αὐτὴν πολλοὶ τῶν Λατίνων, ἄρχοντα Λίβιον Ποστούμιον ἔχοντες. οὗτος δὲ καθίσας τὸν στρατὸν οὐ πρόσω τῆς Ῥώμης ἔπεμπε κήρυκα, βούλεσθαι λέγων τοὺς Λατίνους ἐκλιποῦσαν ἤδη τὴν παλαιὰν οἰκειότητα καὶ συγγένειαν ἐκζωπυρῆσαι, καιναῖς αὖθις ἀνακραθέντων ἐπιγαμίαις τῶν γενῶν. Some, however, say that this imitation is not one of flight, but of haste and eagerness, and explain it as referring to the following occasion. After the Gauls had captured Rome and been driven out by Camillus, and when the city was still too weak to recover itself readily, an expedition was made against it by many of the Latins, under the command of Livius Postumius. This general stationed his army not far from Rome, and sent a herald with the message that the Latins wished to renew their ancient relationship and affinity with the Romans, by fresh intermarriages between the two peoples.

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

13 results
1. Plutarch, Cicero, 49.2, 49.5-49.6 (1st cent. CE - 2nd cent. CE)
2. Plutarch, Cimon, 19.3-19.5 (1st cent. CE - 2nd cent. CE)
3. Plutarch, Crassus, 33 (1st cent. CE - 2nd cent. CE)
4. Plutarch, Demetrius, 31.4-31.6 (1st cent. CE - 2nd cent. CE)
5. Plutarch, Demosthenes, 31.4-31.6 (1st cent. CE - 2nd cent. CE)
6. Plutarch, Fabius, 27.4 (1st cent. CE - 2nd cent. CE)
7. Plutarch, Lysander, 30.3-30.5 (1st cent. CE - 2nd cent. CE)
8. Plutarch, Numa Pompilius, 20.8-20.12, 22.2 (1st cent. CE - 2nd cent. CE) 20.8. For possibly there is no need of any compulsion or menace in dealing with the multitude, but when they see with their own eyes a conspicuous and shining example of virtue in the life of their ruler, they will of their own accord walk in wisdom’s ways, and unite with him in conforming themselves to a blameless and blessed life of friendship and mutual concord, attended by righteousness and temperance. Such a life is the noblest end of all government, and he is most a king who can inculcate such a life and such a disposition in his subjects. This, then, as it appears, Numa was preeminent in discerning. 22.2. They did not burn his body, because, as it is said, he forbade it; but they made two stone coffins and buried them under the Janiculum. One of these held his body, and the other the sacred books which he had written out with his own hand, as the Greek lawgivers their tablets. But since, while he was still living, he had taught the priests the written contents of the books, and had inculcated in their hearts the scope and meaning of them all, he commanded that they should be buried with his body, convinced that such mysteries ought not to be entrusted to the care of lifeless documents.
9. Plutarch, Pelopidas, 35 (1st cent. CE - 2nd cent. CE)
10. Plutarch, Pericles, 39.3-39.4 (1st cent. CE - 2nd cent. CE) 39.4. The progress of events wrought in the Athenians a swift appreciation of Pericles and a keen sense of his loss. For those who, while he lived, were oppressed by a sense of his power and felt that it kept them in obscurity, straightway on his removal made trial of other orators and popular leaders, only to be led to the confession that a character more moderate than his in its solemn dignity, and more august in its gentleness, had not been created.
11. Plutarch, Phocion, 38.2 (1st cent. CE - 2nd cent. CE)
12. Plutarch, Romulus, 2.5, 14.2, 17.3, 28.5-28.10, 29.2-29.11 (1st cent. CE - 2nd cent. CE) 2.5. When Tarchetius learned of this, he was wroth, and seized both the maidens, purposing to put them to death. But the goddess Hestia appeared to him in his sleep and forbade him the murder. He therefore imposed upon the maidens the weaving of a certain web in their imprisonment, assuring them that when they had finished the weaving of it, they should then be given in marriage. By day, then, these maidens wove, but by night other maidens, at the command of Tarchetius, unravelled their web. And when the handmaid became the mother of twin children by the phantom, Tarchetius gave them to a certain Teratius with orders to destroy them. 17.3. Tatius agreed to this, whereupon she opened one of the gates by night and let the Sabines in. Antigonus was not alone, then, in saying that he loved men who offered to betray, but hated those who had betrayed; nor yet Caesar, in saying of the Thracian Rhoemetalces, that he loved treachery but hated a traitor; but this is a very general feeling towards the base on the part of those who need their services, just as they need certain wild creatures for their venom and gall; for while they feel the need of them, they put up with them, but abhor their vileness when they have obtained from them what they want. 28.5. The boys were killed, and Cleomedes, being pursued, took refuge in a great chest, closed the lid down, and held it so fast that many men with their united strength could not pull it up; but when they broke the chest to pieces, the man was not to be found, alive or dead. In their dismay, then, they sent messengers to consult the oracle at Delphi, and the Pythian priestess gave them this answer:— Last of the heroes he, Cleomedes, Astypalaean 28.6. It is said also that the body of Alcmene disappeared, as they were carrying her forth for burial, and a stone was seen lying on the bier instead. In short, many such fables are told by writers who improbably ascribe divinity to the mortal features in human nature, as well as to the divine. At any rate, to reject entirely the divinity of human virtue, were impious and base; but to mix heaven with earth is foolish. Let us therefore take the safe course and grant, with Pindar, Fragment 131, Bergk, Poet. Lyr. Gr. i.4 p. 427. that Our bodies all must follow death’s supreme behest, But something living still survives, an image of life, for this alone Comes from the gods. 28.7. Yes, it comes from them, and to them it returns, not with its body, but only when it is most completely separated and set free from the body, and becomes altogether pure, fleshless, and undefiled. For a dry soul is best, according to Heracleitus, Fragment 74 (Bywater, Heracliti Ephesii reliquiae, p. 30). and it flies from the body as lightning flashes from a cloud. But the soul which is contaminated with body, and surfeited with body, like a damp and heavy exhalation, is slow to release itself and slow to rise towards its source. 28.8. We must not, therefore, violate nature by sending the bodies of good men with their souls to heaven, but implicitly believe that their virtues and their souls, in accordance with nature and divine justice, ascend from men to heroes, from heroes to demi-gods, and from demi-gods, after they have been made pure and holy, as in the final rites of initiation, and have freed themselves from mortality and sense, to gods, not by civic law, but in very truth and according to right reason, thus achieving the fairest and most blessed consummation.
13. Plutarch, Theseus, 1.5, 2.2, 23.2-23.3, 29.1-29.2, 36.2-36.3 (1st cent. CE - 2nd cent. CE)

Subjects of this text:

subject	book bibliographic info
aftermath of cities	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
anecdotes	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
athens	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
audience,extra-textual experience of	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
audience,plutarchs interaction with his	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
camillus	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
character (plutarchs and readers concern with)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104, 110
closure (endings of biographies)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104, 110
continuance-motif (i.e. references to plutarchs present)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104, 110
cross-references	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
death,as closural theme	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
descendants	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
divine retribution	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
explanations	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
festivals and rites,nonae caprotinae	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
festivals and rites,poplifugium	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
festivals and rites	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
friends/friendship	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
future (allusions to/evocation of)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
gauls	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
general statements (moral)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
god(dess)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
history	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104, 110
judgements,concluding	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
lycurgus	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
motivation,motives	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
myth(ic)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
past,connected with present	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
philotis	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
plato,platonic	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
plutarch	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
politics,the subjects preoccupation with	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
posthumous,honour or dishonour	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
posthumous	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
prolepsis	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
rape	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
retribution of opponents	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
romans,and romulus	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
romans	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
rome	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
romulus	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
romulus and camillus,death	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
romulus and camillus	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
sabines as austere,enfranchisement and belonging'	Welch (2015), Tarpeia: Workings of a Roman Myth. 268
series of lives	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
sources,plutarchs use or criticism of	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
sources	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
sparta(ns)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
surprise	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 104
synkrisis,formal	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
theseus	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110
violence	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 110