While perhaps best known for his Lives, Plutarch also wrote philosophical dialogues that constitute a major intellectual legacy from the first century A.D. This collection presents two important short works from his writings in moral philosophy. They reveal Plutarch at his best--informative, sympathetic, rich in narrative--and are accompanied by an extensive commentary that situates Plutarch and his views on marriage in their historical context.

Plutarch's essay de fortuna Romanorum has attracted divergent judgements. Ziegler dismissed it as ‘eine nicht weiter ernst zu nehmende rhetorische Stilübung’. By Flacelière it was hailed as ‘une ébauche de méditation sur le prodigieux destin de Rome’. It is time to consider the work afresh and to discover whether there is common ground between these two views. Rather than offering a general appreciation, my treatment will take the work chapter by chapter, considering points of interest as they arise. This method (...) will enable us to compare what Plutarch says on particular subjects and themes in de fort. Rom. with what he says or does not say about them elsewhere. We shall thus be able to see clearly that for the most part the ideas he presents in the essay correspond with his thoughts about the rôle of fortune expressed in more serious writing, and that, where there is no correspondence, this is attributable to the rhetorical background. I do not intend to address directly the frequently discussed but insoluble question of whether we have in de fort. Rom. only one of two original works, that is whether there was once a de virtute Romanorum which Plutarch composed or answered. De fort. Rom. itself in fact gives almost as much prominence to άρετή as to τúχη, and their competing roles will be carefully evaluated. Nor do I look at the dating of the work. (shrink)

The locus classicus for Plutarch's own views on his methods is in the Alexander He has begun by asking for the indulgence of his readers if they do not find all the exploits of Alexander and Caesar recounted by the biographer or if they discover him not reporting some famous incident in detail (); and he goes on to compare his own search for evidence which will indicate the kind of soul, with the activity of the painter, who, in order (...) to create a likeness, concentrates on the eyes and pays little attention to the other parts. Commentators and critics have been right to take this as a key text for the purpose of understanding Plutarch's attitude towards his biographical work; nevertheless there are other passages in the Lives where we can at least glimpse his attitude to his subject, and we can only see the Alexander-remarks in correct perspective if we take these other passages into account. I propose therefore, starting with the Alexander, to see how far these critical remarks apply to Plutarch's theory and practice elsewhere in the Lives. (shrink)

Journal Name: Apeiron Issue: Ahead of print.

This article focuses on the relationships between Themistocles and the lyric poets Simonides of Ceos and Timocreon of Rhodes in Plutarch's Life of Themistocles. It is argued that Plutarch expects the reader to connect explicit references to the poets and their works with stories located outside the narrative in the anecdotal biographic tradition. Through an implicit synkrisis with the protagonist, the poets' anecdotal personae create a narrative counterbalance that suggests a faultline in Themistocles' characterization that, in turn, reflects the model (...) of the "timocratic" man in Plato's Republic. (shrink)

Recasts Plutarch's Lives as a work of political philosophy emerging from the imperial encounter of Greece and Rome.

Marcus Cato, Sulla, Aemilius Paullus, Pompey, The Gracchi, Marius, Julius Caesar, Anthony 'I treat the narrative of the Lives as a kind of mirror...The experience is like nothing so much as spending time in their company and living with them: I receive and welcome each of them in turn as my guest.' In the eight lives of this collection Plutarch introduces the reader to the major figures and periods of classical Rome. He portrays virtues to be emulated and vices to (...) be avoided, but his purpose is also implicitly to educate and warn those in his own day who wielded power. In prose that is rich, elegant and sprinkled with learned references, he explores with an extraordinary degree of insight the interplay of character and political action. While drawing chiefly on historical sources, he brings to biography a natural story-teller's ear for a good anecdote. Throughout the ages Plutarch's Lives have been valued for their historical value and their charm. This new translation will introduce new generations to his urbane erudition. The most comprehensive selection available, it is accompanied by a lucid introduction, explanatory notes, bibliographies, maps and indexes. (shrink)

The object of this article is to set forth certain evidence that emerges from a study of three of Plutarch's Lives, the Titus, the Paullus, and the Cato Maior, evidence which indicates that these Lives are based upon a definite type of biographical composition, and to suggest its possible origin and date. Since E. Meyer's article on the Cimon of Nepos and Plutarch, biographical sources have generally been assumed for the Greek Lives, and there has been a tendency to make (...) the same assumption for the Roman Lives also, without, however, setting forth the evidence that might justify it. Uxkull Gyllenband maintained that biographies of Greeks and Romans, the sources of Plutarch, were written in the second century b.c., but he gives no evidence for his contention, which is indeed refuted by the observations of Jacoby. Mühl argued with some force that Plutarch's source for the Marcellus was a biography. There is good reason to doubt his conclusion that Plutarch has used a biography of Poseidonius; but the arguments advanced by Klotz for the thesis that the source was the annalist Valerius Antias are still less convincing. Liedmeier postulates a biographical source for the Paullus, but without doing more than asserting the general improbability that Plutarch here used a multiplicity of sources. It seems therefore desirable to collect such evidence as there is of a biographical source in these three Roman Lives of the second century b.c., and it is with such an attempt rather than with a priori considerations that I am here concerned. (shrink)

This book, which transcends the boundaries between literature, social history, and philosophy, studies Plutarch's practical ethics, a group of twenty-odd texts ...

Current scholarship all but unanimously depicts Plutarch as a straightforward Platonist. The Lives of Lycurgus and Numa in particular are regularly cited as evidence of Plutarch's adherence to Platonic political doctrines, because in both Lives Plutarch makes explicit reference to the 'best regime' of Plato's Republic. In this article, I question the consensus opinion through an examination of Plutarch's Lycurgus and Numa. I argue that far from unreflectively applying a Platonic paradigm, Plutarch develops a subtle critique of Plato's best regime. (...) Plutarch shows himself to be more sensitive to the political utility of honour and more wary of the benefits of 'philosopher-kings' than the Socrates of the Republic. I conclude by suggesting how the recognition of Plutarch's departure from Plato might influence one's general approach to the Parallel Lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Plutarch's Ariadne in Chariton's Chaereas and CallirhoeEdmund P. CuevaChaereas and Callirhoe is the earliest extant Greek novel, and the only one of its genre to make extensive use of historiographical features.1 Later novelists include such features, but do not rely on them for background and structure as much as Chariton does. Accordingly, the reader of Chaereas and Callirhoe finds verifiable historical detail in the correctly assigned dates, accurately related (...) events, and realistically depicted places and figures of the novel.2The story, for example, takes place in the past, famous historical figures are included, and history has a tremendous effect on the behavior of the characters. In this way Chariton imitates the classical historians in technique, not for the purpose of masquerading as a professional historian, but rather, as Hägg suggests, to create the "effect of openly mixing fictitious characters and events with historical ones."3 This effect is partially created by the use of a historical source which deals with myth.4 [End Page 473]The introduction of the two youths in the beginning of the novel exemplifies the primary function of myth in Chariton: throughout the text the novelist assigns his leading characters analogues in the form of mythical or legendary beings.5 For example, Chaereas at different times becomes Achilles, Nireus, Hippolytus, and Alcibiades. Chariton assimilates Callirhoe to Aphrodite and Ariadne, and to a much lesser extent to Artemis, Helen, Medea, and the nymphs. Most often Chariton compares Callirhoe's loveliness to that of Aphrodite, as at the beginning of the novel: (1.1.2).Most importantly, Chariton likens Callirhoe to a sleeping Ariadne: (1.6.2). Homer (Od. 11.321–25) writes that Theseus took Ariadne from Crete to Athens but that he abandoned her on the Isle of Dia (Naxos), where she was killed by Artemis at the bidding of Dionysus. Hesiod (Theog. 947–49) relates that Dionysus took Ariadne as his wife and that Kronos made her immortal. Chariton's version in 1.6.2, therefore, loosely follows the narratives of Homer and Hesiod. The novelist introduces this myth after the heroine has been kicked into a coma by her husband, a fitting moment for the myth of Ariadne: she, like Callirhoe, suffered an injustice at the hands of someone she loved.6In the third book of the novel Chaereas attributes the disappearance of his wife to some divinity, and likens this to Dionysus' theft of Ariadne from Theseus (3.3.5). Unlike the version of the Ariadne myth found in 1.6.2, this one is slightly different. It becomes obvious that there is a specific source Chariton is using to draw upon for these various versions.I shall show that Chariton must have used Plutarch, or perhaps, though unlikely, Paeon, one of the imperial historian's sources. A narratological and verbal comparison of Plutarch's account of the adventures of Theseus and Ariadne, as found in his Theseus, and the Ariadne–like adventures of Callirhoe makes it clear that the novelist drew upon him. [End Page 474] This use of Plutarch, moreover, elucidates Chariton's attempt at historical veracity in dates, events, places, and figures.7Plutarch in Theseus associates Aphrodite with Ariadne (just as Chariton does), and supplies various accounts of the adventures of Ariadne and Theseus. These accounts are found in the works of other authors whom Plutarch names,8 and it is mainly on these stories that Chariton models his version of the Ariadne myth, especially at 3.3.5.The historian writes that Ariadne fell in love with Theseus when he arrived on the island of Crete. She gave him the clue which enabled Theseus, after killing the Minotaur, to exit the Labyrinth. The historian uses the accounts of Pherecydes ( fl. c. 550 B.C.), Demon (fl. c. 300 B.C.), Philochorus (b. 340 B.C.), and Cleidemus ( fl. c. 350 B.C.), all of whom give differing versions of the escape of Theseus, the death of the Minotaur, and of the love of Ariadne for Theseus. Cleidemus' account is of particular interest because he describes the escape of Daedalus from Crete and draws attention to the ship sent by Minos... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plutarch's Lives: Exploring Virtue and ViceFrances B. TitchenerTim Duff. Plutarch's Lives: Exploring Virtue and Vice. Oxford: Clarendon Press, 1999. xx + 423 pp. Cloth, $95.This excellent book by an able scholar will set a new standard in Plutarch studies, particularly for scholars interested in historiography and moral philosophy. Here is Duff's aim in his own words: "This book is an attempt to explore two related aspects of the (...) ParallelLives: their moralizing purpose and the comparative [End Page 586] structure through which Plutarch's moralism is so often mediated. It will look at the ways in which the ParallelLives explore issues of right and wrong, good and evil; the ways in which they cause us to question or to understand our world" (1). Duff describes his book as "an attempt to read Plutarch's Lives not as mines for history but as an area of study in their own right, and one which throws light on the intellectual climate of Plutarch's own day. It is less concerned with the 'truth-status' of Plutarch's narrative, more with how that narrative is constructed and how it would have been read in its original context" (9). Duff succeeds brilliantly in both areas, Plutarch's moralism and his place in historiography.The book is divided into three parts. Part 1, entitled "The Moralizing Programme," presents a detailed reading of Plutarch's surviving programmatic statements (such as the question of "great natures"), examines how well he succeeds in his aim of improving the reader, and discusses his assumptions about human psychology. Part 2 uses case studies of specific pairs of biographies, a tried-and-true method for students of Plutarch, to examine the moral and literary program in practice. The pairs Duff selects are Pyrrhos-Marius,Phokion-CatoMinor,Lysander-Sulla, and Coriolanus-Alkibiades (Duff adheres to literal transliteration, not on a whim, but rather from a strong belief that "to Latinize the Greek would be a reversal of Plutarch's cultural programme, which functioned to Hellenize the Roman" [xii, Duff's emphasis]). There is a substantial discussion about the parallelism of the biographies and a plea for them to be read in pairs, as their author intended. Part 3 examines "two special circumstances," the comparisons or synkriseis and the cultural and political implications of Plutarch's program of writing in parallel.In his preface, Duff notes, "It is a pleasing coincidence, and one which Plutarch would have enjoyed (see Sertorius 1.1-8), that the last monograph to be written in English on Plutarch's Lives was by one of my predecessors at Reading (Wardman 1974)" (ix). Duff bases his comparison of his work with Wardman's on their common academic institution, but the comparison is actually much more apt. For years, Wardman's book Plutarch'sLives set an important standard in Plutarch studies. Scholars in the earlier part of the twentieth century studied Plutarch almost exclusively in terms of Quellenforschung. Most serious scholarship on the biographies began by rehearsing the argument about whether or not Plutarch had read Thucydides or was using a kind of handbook, and by necessity focused on rehabilitation of the biographer. Wardman's book took a big step forward in studying Plutarch for his own sake; Duff's is another such step forward. Duff is simultaneously thorough and methodical in his analysis of not only the daunting corpus of Plutarch's own work but also of the tremendous bibliography amassed during the past century, and yet his emphasis on synkrisis and its significance to studies of historiography (biography in particular) and of Plutarch's work moves these areas of study forward. With his careful attention and clear prose, Duff has relieved an entire generation of scholars from the tedium of rehearsing basic issues, such as whether or not Plutarch knew Latin (he did). [End Page 587] Duff's calm, organized, and clear-sighted work gracefully retires these nonproblems, and we can now hope that discussion will continue to move forward unencumbered. For scholars of Plutarch this relief is hard to exaggerate. Plutarch is a compelling and provocative author, something justly recognized by Duff in his concluding paragraph: "This book has emphasized throughout... (shrink)

Plutarch’s Gryllus is a parodic take on contemporary intellectual culture, offering a humorous portrait of elite perspectives regarding language and sophistic learning. The parodic effect stems from the figure of the talking pig, the dialogue’s protagonist, whose name, Gryllus (“Grunter”), signifies ineptness in speech and characterizes him as a mocking figure through puns with the names of an Egyptian dance form and a parodic painting style—connections not observed in definitive interpretations of the dialogue. Ultimately, in its engagement with rhetorical performance (...) and popular philosophical themes, the dialogue parodies reliance upon paideia as a form of empowerment. (shrink)

Plutarch's Timoleon has received little attention from scholars who in recent years have studied the sources of his Lives and sought to determine the methods which he followed in their composition. The reasons for this neglect are obvious: the Timoleon is a simple Life, contains few citations, and is universally and justifiably believed to be founded, together with the Timoleon of Cornelius Nepos, upon the tradition established by Timaeus. Scholars of the nineteenth century agreed in further concluding that both authors (...) derived their material directly and almost exclusively from Timaeus. This conclusion does not appear to have been challenged in spite of the well-known contention of Eduard Meyer, which has won considerable approval, that neither biographer was accustomed to use primary historical authorities, each relying mainly upon biographies of the Hellenistic period which have not survived. The validity of Meyer's theory as a general principle of source-criticism will not be expressly discussed in this paper. My purpose is rather to examine the Timoleon only, especially in relation to the Timoleon of Nepos, and to suggest a method of composition here adopted by Plutarch, who, I believe, based his Life upon a secondary biography and supplemented this from a primary historical authority. (shrink)

A Platonist philosopher and priest of Apollo at Delphi, Plutarch (ca. 45-120 CE) covers in his vast oeuvre of miscellaneous writings and biographies of great men virtually every aspect of ancient religion, Greek, Roman, Jewish, Egyptian, Persian. This collection of essays takes the reader on a hike through Plutarch's Religious Landscapes offering as a compass the philosopher's considerations on issues of philosophical theology, cult, ethics, politics, natural sciences, hermeneutics, atheism, and life after death. Plutarch provides a unique vantage point to (...) reconstruct and understand many of the interesting developments that were taking in the philosophical and religious world of the first centuries CE. (shrink)

Plutarch’s Parallel Lives was once considered a preeminent source of ethical and leadership instruction. But despite generations turning to the Lives for leadership education, we lack clarity concerning how the Lives cultivate leadership. In fact, Plutarch offers the key to this puzzle in a tripartite theory of leadership education evident throughout his corpus. Leaders should be educated through: 1) philosophical instruction, 2) experience in public life, or 3) literary synthesis – and, ideally, some combination of all three. Plutarch’s Lives, this (...) article contends, exemplifies the third form of education, literary synthesis, which exhibits the influence of philosophical principle and moral character on political conduct. Understanding the Lives as a model of literary leadership education reveals the conditions for written works to cultivate virtuous leaders – the closing consideration of this article. (shrink)

In his dialogue, 'Non posse suaviter vivi secundum Epicurum', Plutarch of Chaeronea criticizes Epicurus for not believing that the gods are provident over human affairs and for not believing that our souls survive death. However, Plutarch’s arguments are striking in that they do not offer any theoretical justification for believing either of these religious claims to be true; rather, they aim to establish that we are practically justified in adopting them if we follow Epicurus’s rule that the goal of belief (...) is not truth in its own right, but mental tranquility. I argue that this form of argument assumes a novel justificatory theory of religious belief, based in Epicurean thought, that I call ‘strong doxastic hedonism.’. (shrink)

Given Plutarch’s fragmentary piece on Aristophanes and Menander, a piece of Table Talk on almost the same topic and various attacks on comic poets scattered through the Lives, one might believe that Plutarch is a staid, conservative and humourless author. But several other instances in his writings reveal a playful, facetious, witty and humorous Plutarch. This paper will focus on the Quaestiones Convivales, which bear ample witness to this aspect of Plutarch’s personality and authorial technique. It will examine the ways (...) in which he introduces and describes the various interlocutors, discuss certain comments with which he tries to ridicule his philosophical opponents, notably the Stoics and the Epicureans, try to distinguish the various manifestations of Plutarch’s humour and finally suggest that Plutarch’s stance and attitude towards playfulness, comic situations and laughter may ultimately be affected, at least in part, by his allegiance to Plato. (shrink)

Plutarch, in his work,_ Peri __Deisidaimon_ia_ __,_ presents a striking portrayal of superstition in the First Century. The Philosopher who also served for decades as a priest of Apollo portrays the pernicious effects of some supposed religious practices as worse than the outcome of atheism. His position constitutes a forceful explanation to ostensibly controversial socio-religious behaviours. This article discusses some of the priest’s concerns as well as his rebuff of religious attitudes that are borne out of what he describes as (...) misrepresentation of the gods or superstition. Plutarch’s essay is seen as illustrating a reason for a socio-religious situation in Africa, a continent that shares a similar religious background with the world of the writer. Specifically, with the example of the hard fight against street begging in some parts of Nigeria, the article shows how social reform programmes could fail when effects of traditional African beliefs and cultural practices remain potent. __. (shrink)

This is illustrated, for instance, by one of Plutarchs short political works, in which he tries to demonstrate that the philosopher should especially associate ...

In a recent paper I attempted to show that Plutarch founded his Timoleon upon a Hellenistic biography and made direct use of Timaeus only for the major episodes, where the material contained in this biography was insufficient. The Pelopidas is similar in colouring to the Timoleon, both belonging to what might be described as the ‘chivalrous hero’ class of Plutarch's Lives. Yet this similarity does not originate from the use of similar authorities; for in writing the Pelopidas he was compelled (...) by the nature of the sources available to him to adopt an entirely different process of composition. The bulk of the Life is, as I hope to show, directly derived from the work of a fourth-century historian, and a considerable amount of supplementary material is added from miscellaneous sources. (shrink)

The article interprets Plutarch's dualism in the light of the Apollo-Dionysus opposition as presented in "De E" 388e-389c, arguing that Plutarch is no dualist in the strict sense of the word. A comparison of "De E" 393f-394a with "De Iside" 369b-d shows that it is only in the sublunary realm of Nature that Plutarch assumes a duality of two distinct Powers; at the higher levels of reality the divine is unified and harmonious. If Plutarch fails to emphasize this point clearly (...) enough, it is because his primary philosophical interests were ethical, not metaphysical. (shrink)

This contribution argues that the principal object of interest in Plutarch’s “Greek Questions” is language and its uses, including rare words, curious phrases, local names, dialectal idiosyncrasies, proverbs, etc. The abundance of uncommon terms, frequently unattested elsewhere, and overlap in their use between Plutarch’s work and Hesychios’ “Synagoge”, suggests there is an affinity between “Greek Questions” and the ancient glossographic and lexicographic traditions.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 121.3 (2000) 453-478 [Access article in PDF] Plutarch's Lysander and Sulla: Integrated Characters in Roman Historical Perspective José María Candau Morón The term ritratto paradossale has been used to describe a formula of character portrayal seen in Latin literature of the first centuries B.C. and A.D. whose basic process consists in combining in one character apparently contradictory traits (La Penna 1976). To be precise, the (...) formula produced a type of man who in his moments of action shows energy, diligence, and constancy but exhibits licentious feelings, allows himself to be taken in by indolence, and succumbs to pleasures when his negotia are finished. This model may already have been present in Greek historical literature of the fourth century B.C., as the portrait of Philip II that the historian Theopompus delineates seems to bear this stamp. The public image of Maecenas and the Petronius of Tacitus are two clear examples of ritratto paradossale. The figure of Sulla also falls under this influence; in fact, according to La Penna (1976, 284), Plutarch's biography of Sulla often exhibits these same characteristics.The terms "paradox" and "paradoxical" also occur frequently in works devoted to Plutarch's Life of Lysander. Its paradoxical features are the central point of Pelling's comments (1988a, 268-74) on that biography. Pelling explores aspects of "integration" in the Parallel Lives, a technique of portrayal which he defines as follows: "a man's qualities are brought into some sort of relation with one another, and every trait goes closely with the next." 1 An almost universal literary habit in the [End Page 453] ancient world, integration appears even in a figure as complex and full of contrasts as Plutarch's Lysander. Arrogance and cruelty, incorruptibility and a capacity for adulation, duplicity, ingenuity, ambition, treachery: all the contradictions that coexist in him are seen to be unified through philotimia, a central trait that dominates Lysander's other characteristics and gives his portrayal a unified appearance.But Plutarch's interests in his Life of Lysander do not impel him to explain or reconstruct the traits of its protagonist. It is the contrasts and the paradoxes in Lysander that have drawn the author's attention and lend the biography its particular flavor. Plutarch shows how these diverse character traits work against the individual and end up destroying him. In this way, the biography of Lysander is similar to tragic works in which a character's potentialities unleash forces that ultimately defeat him, and Plutarch explicitly plans on parallelisms with the tragic genre. From this standpoint, Pelling concludes, Lysander offers a moral that is similar to that of tragedy and different from that of other biographies: human nature can produce a figure such as Lysander, and such figures tend to bring about their own destruction through appropriate tragic processes.Stadter (1992) has recently analyzed from start to finish the paradoxical character that Plutarch assigns to Lysander and also to Sulla, the protagonist of the Roman Life presented as his parallel. In Stadter's view the contradictions in each character--that is, the combination of admirable and repulsive traits--form the basis of the portrayal of both subjects. The biographer also contrives to cross the two Lives so as to convey that they form an ensemble. Among other things, we see a type of progression whose upper limit is delineated by the harshest components of the portrayal of Sulla: his destructive nature, bloodthirsty and implacable, his tyrannical and frequently arbitrary conduct, his arrogance and lack of humanity. These traits are only sketched in the parallel Greek Life; yet their presence there evokes sinister dimensions which horrify when they appear, full-blown, in the Roman counterpart. From this interplay of traits and personalities our understanding of the human type treated in the biographies becomes increasingly deep. The final result in the present instance is that we are enabled to recognize the true traits of Lysander's character, and so escape the difficulty that Plutarch alludes to in his prologue through a cryptic... (shrink)

The collection presented here looks at two important short works from Plutarch's writings in moral philosophy; The Advice to the Bride and Groom and A Consolation to His Wife, in which he offers solace to his wife on the death of their infant son. The works reveal Plutarch at his best - informative, sympathetic, rich in narrative description - and are followed by commentaries by a number of experts, which situate Plutarch and his views on marriage in their historical context. (...) The Greek text is included. (shrink)

Lieve Van Hoof's welcome addition to the study of Plutarch's moral works focuses on a group of writings that discuss practical issues, ranging from coping with exile and curbing one's curiosity to proper nutrition and table manners. Van Hoof collectively refers to these treatises as "Plutarch's practical ethics," setting them apart from Plutarch's theoretical works, which discuss key philosophical concepts.Van Hoof begins by noting with regret the scholarly neglect of Plutarch's practical ethics. Historians of philosophy, who usually read Plutarch's moral (...) works as sourcebooks on academic philosophical theories, are frustrated when confronted with Plutarch's practical treatises, where references to academic .. (shrink)