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), which, among other things, includes the popular "Table Talk" (in  9 volumes) .

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Biography

Plutarch came from a wealthy family who lived in the small town of Chaeronea in Boeotia. In his youth in Athens, Plutarch studied philosophy (mainly with the Platonist Ammonius), mathematics, and rhetoric. In the future, the Peripatetics and Stoics had a significant influence on the philosophical views of Plutarch. He himself considered himself a Platonist, but in fact he was more of an eclecticist, and in philosophy he was mainly interested in its practical application. Even in his youth, Plutarch, together with his brother Lamprey and teacher Ammonius, visited Delphi, where the cult of Apollo, which had fallen into decay, was still preserved. This journey had a serious impact on the life and literary work of Plutarch.

Shortly after returning from Athens to Chaeronea, Plutarch received an assignment from the city community to the Roman proconsul of the province of Achaia and successfully carried it out. In the future, he faithfully served his city, holding public positions. Teaching his own sons, Plutarch gathered young people in his house and created a kind of private academy, in which he played the role of mentor and lecturer.

Plutarch was well known to his contemporaries both as a public figure and as a philosopher. He repeatedly visited Rome and other places in Italy, had students, with whom he taught classes in Greek (he began to study Latin only “in his declining years”). In Rome, Plutarch met the Neo-Pythagoreans, and also struck up friendships with many prominent people. Among them were Arulen Rusticus, Lucius Mestrius Florus (an associate of Emperor Vespasian), Quintus Sosius Senetion (personal friend of Emperor Trajan). Roman friends rendered the most valuable services to Plutarch. Having become purely formally a member of the Mestrian family (in accordance with Roman legal practice), Plutarch received Roman citizenship and a new name - Mestrius Plutarch. Thanks to Senekion, he became the most influential person in his province: Emperor Trajan forbade the governor of Achaia to hold any events without prior approval from Plutarch. This position allowed Plutarch to freely engage in social and educational activities in his homeland in Chaeronea, where he held not only the honorary position of an eponymous archon, but also more modest magistracies.

In the fiftieth year of his life, Plutarch became a priest of the Temple of Apollo at Delphi. In trying to restore the sanctuary and the oracle to their former importance, he earned the deep respect of the Amphictyons, who erected a statue of him.

Creation

According to Lampria's catalogue, Plutarch left behind about 210 writings. A significant part of them has come down to our time. According to the tradition coming from the publishers of the Renaissance, the literary heritage of Plutarch is divided into two main groups: philosophical and journalistic works, known under the general name "Moralia" (ancient Greek. Ἠθικά , lat. Moralia), and biographies (biography).

Moralia traditionally includes about 80 compositions. The earliest of them are rhetorical in nature, such as praises of Athens, discourses about Fortuna (ancient Greek. Τύχη ), its role in the life of Alexander the Great and in the history of Rome (“On the luck and valor of Alexander the Great”, “On the glory of Alexander”, “On the luck of the Romans”).

Plutarch outlined his philosophical positions in works devoted to the interpretation of the works of Plato (“On the Origin of the Soul in Plato’s Timaeus”, “Platonic Questions”, etc.), and criticism of the views of the Epicureans and Stoics (“Is the saying good: “Live inconspicuously?” ”, “Against Kolot”, “On the fact that even a pleasant life is impossible if you follow Epicurus”, “On the contradictions among the Stoics”). Without going deep into theoretical reasoning, Plutarch cites in them a lot of valuable information on the history of philosophy.

For educational purposes, other essays have been conceived containing advice on how to act in order to be happy and overcome shortcomings (for example, “On excessive curiosity”, “On talkativeness”, “On excessive timidity”). The compositions on the topics of family life include "Consolation to the wife", written in connection with the death of his daughter. Plutarch's pedagogical interests are reflected in a number of works ("How a young man should listen to poets", "How to use lectures", etc.). Thematically approaching them are the political writings of Plutarch, in which a large place is occupied by instructions for rulers and statesmen (“On Monarchy, Democracy and Oligarchy”, “Instructions on State Affairs”, etc.)

Along with popular works in dialogic form, Moralia also includes others stylistically similar to scientific treatises. So, the treatise "On the face on the lunar disk" presents various astronomical ideas popular for that time; at the end of the treatise, Plutarch refers to the theory adopted in Plato's Academy (Xenocrates of Chalcedon), seeing the homeland of demons in the Moon.

Plutarch was also interested in the psychology of animals ("On the Intelligence of Animals").

Plutarch was a deeply pious man and recognized the importance of traditional pagan religion for the preservation of morality. He devoted numerous works to this topic, including “Pythian” dialogues concerning the oracle of Apollo in Delphi (“On “E” in Delphi”, “On the fact that the Pythia no longer prophesies in verse”, “On the decline of oracles”), dialogue “Why the deity delays in retribution”, etc. In the treatise “On Isis and Osiris”, Plutarch outlined various syncretic and allegorical interpretations of the mysteries of Osiris and ancient Egyptian mythology.

Plutarch's interest in antiquities is evidenced by the writings "Greek Questions" (ancient Greek. Αἴτια Ἑλληνικά , lat. Quaestiones Graecae) ​​and "Roman Questions" (other Greek. Αἴτια Ῥωμαϊκά , lat. Quaestiones Romanae ), which reveal the meaning and origin of the various customs of the Greco-Roman world (much space is devoted to cult issues). Plutarch's predilection for anecdotes, which also manifested itself in his biographies, is reflected in the collection of Lacedaemon winged sayings. One of the most popular works today is “Table Talks” (in 9 books), where the traditional Greek literature form of symposia (feast) allows the writer to raise and discuss (using a large number of quotations from authorities) a variety of life and scientific topics.

Plutarch's Moralia traditionally includes works by unknown authors attributed to Plutarch in antiquity and widely known under his name. The most important of them are the treatises “On Music” (one of the main sources of our knowledge about ancient music in general) and “On the Education of Children” (a work translated into many languages ​​back in the Renaissance and considered authentic until the beginning of the 19th century). In relation to non-authentic writings, modern scholars use the (conditional) name Pseudo-Plutarch. Among those - who lived presumably in the II century AD. e. unknown author of the works “Small comparative biographies” (another name is “Collection of parallel Greek and Roman stories”) and “On rivers”, containing a lot of information on ancient mythology and history, which, as is generally recognized in science, are completely invented by him. The collection of winged sayings "Apothegms of kings and generals" is not authentic either. In addition to those mentioned, under the name of Plutarch, many other works that do not belong to him (mostly anonymous) have been preserved.

Comparative biographies

Plutarch owes his literary fame not to eclectic philosophical reasoning, and not to writings on ethics, but to biographies (which, however, are most directly related to ethics). Plutarch outlines his goals in the introduction to the biography of Aemilius Paulus (Aemilius Paulus): communication with the great people of antiquity has educational functions, and if not all the heroes of biographies are attractive, then a negative example is also valuable, it can have an intimidating effect and turn to the path of the righteous life. In his biographies, Plutarch follows the teachings of the Peripatetics, who in the field of ethics attributed decisive importance to human actions, arguing that every action gives rise to virtue. Plutarch follows the scheme of peripatetic biographies, describing in turn the birth, youth, character, activity, death of the hero. Nowhere is Plutarch a historian critical of the facts. The huge historical material available to him is used very freely (“we write a biography, not a history”). First of all, Plutarch needs a psychological portrait of a person; in order to visually represent him, he willingly draws on information from the private life of the persons depicted, anecdotes and witty sayings. The text includes numerous moral arguments, various quotations from poets. This is how colorful, emotional narratives were born, the success of which was ensured by the author's talent for storytelling, his craving for everything human and moral optimism that elevates the soul. Biographies of Plutarch have for us a purely historical value, because he had many valuable sources, which were subsequently lost.

Plutarch began to write biographies in his youth. At first, he turned his attention to the famous people of Boeotia: Hesiod, Pindar, Epaminondas. Subsequently, he began to write about representatives of other regions of Greece: the Spartan king Leonid, Aristomene, Arata Sicyon. There is even a biography of the Persian king Artaxerxes II. During his stay in Rome, Plutarch wrote biographies of Roman emperors intended for the Greeks. And only in the later period did he write his most important work “Comparative Biographies” (ancient Greek. Βίοι Παράλληλοι ; lat. Vitae parallelae). These were biographies of prominent historical figures of Greece and Rome, compared in pairs. Currently, 22 pairs and four single biographies of an earlier period are known (Arat Sicyon, Artaxerxes II, Galba and Otho). Among the couples, some are well composed: the mythical founders of Athens and Rome - Theseus and Romulus; the first legislators - Lycurgus Spartan and Numa Pompilius; the greatest generals

Human nature is surprisingly contradictory. So, in our country, people who adhere to the Christian religion, which condemns all kinds of superstitions, are actually not deprived of them. This is the belief in all sorts of signs, and going to fortune-tellers, and the fear of love spells and the evil eye. And this phenomenon is explained by the fact that superstitions are rooted in the distant past. In particular, this applies to the evil eye.

Evil eye

As follows from the word "evil eye" itself, it is a type of curse that is imposed with the help of a person's visual organ, which is called the evil eye. That is, the object is subjected to an evil malevolent look, and certain troubles follow.

Scientists say that almost every ancient culture has superstitions associated with evil eyes and the curses they send. At the same time, these ideas have changed little over the centuries. People are still afraid that someone with an "evil eye" can, at will, influence their fate, changing it for the worse.

To combat this alleged phenomenon, people have invented special amulets that are supposedly able to ward off negative vibrations. In addition, these amulets are also decorations that people put on themselves.

Even the Egyptians believed in this curse.

The belief that one person can harm another simply by looking at him with bad intentions has been present in the ideas of people since ancient times. Such superstition existed, for example, in such cultures as Egyptian, ancient Greek, ancient Roman, place-Potamian and Celtic. It was believed that the purpose of the evil eye was a curse imposed out of envy on a person who was richer and more fortunate or had some other advantage.

Representations of Plutarch and Heliodorus

The ancient Greek public figure, philosopher and writer Mestrius Plutarch, who lived in the 1st-2nd centuries, paid great attention to the evil eye in his writings and speeches. He explained that the human eye is a powerful organ that has the ability to emit invisible energy rays. The philosopher believed that the power of these rays is so great that they can kill even a small child or a small animal.

The evil eye and Heliodor of Emesa, an ancient Greek writer of the 3rd-4th centuries, did not bypass his attention. In his canonical novel "Ethiopica" there are words that when someone looks at something beautiful with an envious look, he thereby fills the surrounding atmosphere with harmful content, transferring the evil emanating from him to the closest of the objects.

Blue-eyed are especially dangerous

According to Plutarch, there were groups of people who had the greatest ability to the evil eye. In particular, as such, he called the tribes living south of the Black Sea. He also pointed to people with blue eyes. The fact is that for the inhabitants of the Mediterranean in those days, such a color of the iris was a curiosity. Therefore, it seemed unnatural, as a result of which blue-eyed and witchcraft abilities were attributed.

Blue is the antidote

It was believed that, in accordance with the principle of treating like with like, blue-colored amulets should be opposed to the evil effects of blue eyes. So, in the oriental bazaars, in Cairo and Istanbul, many images of eyes that had a dark blue color were offered.

Beads were also sold with eyes of the same shade painted on them. They can be found in many ancient cultures, from the Assyrians to the Phoenicians to the Greeks, Romans and Ottomans.

One of the varieties of amulets that prevent the evil eye is Nazar. It is shaped like an eye with concentric circles. Another common variety is Hamsa. It is an image of a palm with an eye in the center.

The Egyptians used the Eye of Horus - a drawing of the organ of vision with a curl at the bottom.

The ability to use the evil eye itself began to be perceived as a curse.

Perhaps someone will come up with the idea that the ability to harm your enemies through the evil eye was a gift of fate, as it helped to solve problems. However, from the ancient legends that have come down to us, it is known that this property, attributed to some people, eventually began to be regarded as a kind of curse.

As an example, a story is given about a Pole who was able, looking at someone, to curse him. He suffered so much from this property and was unhappy that he plucked out his eyes so that he would never harm anyone else.

“I don’t need a friend who, agreeing with me in everything, changes his views with me, nodding his head, because the shadow does the same better.”
These words belong to the famous ancient Greek biographer, philosopher, historian Plutarch. They allow us to understand why the name and works of this truly unique and interesting person are known to this day. Although the facts of the biography of Plutarch are largely lost, some information is still available thanks to Plutarch himself. In his own writings, he mentioned certain events that took place on his life path.

Childhood of Plutarch

Plutarch was born in 46 in the Greek city of Chaeronea in Boeotia. Thanks to his parents, the future philosopher received an excellent education, which formed the basis of his future activities. Family upbringing had a great influence on his worldview, helped Plutarch to comprehend many knowledge, and later become the author of numerous works.

His father Autobulus and grandfather Lamprius were well-educated and intelligent people. They told him interesting historical facts, about famous personalities, they could keep up the conversation on any topic. The education of his father and grandfather allowed Plutarch to receive his primary education at home.

He had two more brothers - also enlightened people. It is known that despite the education of all family members, they were not aristocrats, although they were wealthy citizens. All this made their family very respected among those around them.

Youth of Plutarch

From the earliest years, Plutarch was constantly studying and, by the way, did this all his life. To receive a special education, he went to Athens, where he studied such sciences as rhetoric, mathematics, philosophy and others. His main teacher in those years was Ammonius, who played a significant role in shaping Plutarch's philosophical views.

Plutarch's activities

After receiving his education, Plutarch returns to his hometown and devotes the rest of his life to the service of Chaeronea. Thanks to his versatile knowledge, he has been working in managerial positions since his youth. By the nature of his activities, he often had to visit the Roman emperor Trajan himself in order to resolve certain political issues.

During business visits to Rome, he still managed to attend philosophical and historical lectures, and actively spoke at them himself. During such conversations, he became friends with the consul Quintus Sosius Senekion, Trajan's best friend. This friendship with Senekion, coupled with Plutarch's growing fame, served to advance him in his career. Until 117, he served as consul, and after the death of Trajan, under the new Roman emperor Adrian, Plutarch served as procurator of the province of Achaia.

These positions were very responsible and important. To understand their full significance, it should be noted that not a single decision in the province of Achaia could be valid without the participation of Plutarch. This means that any event had to be coordinated with it. This or that decision was carried out only if it was approved by Plutarch.

In addition to politics, he paid great attention to religion and social activities. So, around the year 95, Plutarch was elected priest in the temple of Apollo at Delphi. The priests at that time were chosen by society, and this fact testifies to the deep respect and veneration of Plutarch among the people. People even erected a statue in honor of him.

Works of Plutarch

Plutarch left behind many significant works. He wrote more than two hundred essays on a variety of topics. Mostly, they were historical and instructive in nature. Unfortunately, only a small part of his works have survived to our century. Among them is his main work - "Comparative Biographies", where he described the biographies of famous people: Romans and Greeks.

The essence of "Comparative Lives" is that the author took the biographies of two personalities and made comparisons. So, in this work one can find descriptions of the life of Alexander the Great, Gaius Julius Caesar, Theseus, Romulus, Cicero and others. This work is of great importance for us, as it contains reliable and most complete information about ancient personalities. The biographies of twenty-two couples have survived to this day, the rest have been lost.

Among the other works of Plutarch: "Political Instructions", "On the Ingenuity of Animals", "On the Love of Children", "On Talkativeness", "On the Malice of Herodotus", "On Excessive Curiosity" and many others on a wide variety of topics. Of great interest are the Pythian dialogues, where he discusses various religious and philosophical issues of his time.

Plutarch's Disciples

Despite the fact that he was a very influential politician and was active in public life, Plutarch was also a good family man and father to his children. It is not known for certain how many children he had. Some sources mention five sons.

Like Plutarch's father, he taught his children himself. His house was never empty. Young people have always been welcome here. In this regard, Plutarch opened his own Academy, where he was a leader and lecturer. Thus, he had many students, but history, unfortunately, does not mention their names. It is only known that one of the followers of Plutarch is his nephew Sextus of Chaeronea, who raised Marcus Aurelius himself, the famous future emperor.

Plutarch died in 127. He lived for eighty-one years. For that time it was a very respectable age, few managed to live up to such years. He always adhered to a healthy lifestyle and constantly warned his loved ones and all people in general with the words: "No body can be so strong that wine could not damage it." Indeed, the "golden" words, which through many centuries have not lost their relevance.

Definition

Biography

Compositions

Comparative biographies

Other works

Literature

Plutarch in Russian translations

Quotes and aphorisms

Definition

Plutarch of Chaeronea (ancient Greek Πλούταρχος) (c. 45 - c. 127) - ancient Greek philosopher, biographer, moralist.

Plutarch This(c. 46 - c. 120) - ancient Greek writer, author of moral-philosophical and historical-biographical works. From a huge literary heritage Plutarch, amounting to about 250 compositions, no more than a third of the works have survived, most of which are united under the general name "Moral". Another group - "Comparative Lives" - includes 23 pairs of biographies of prominent political figures of Ancient Greece and Rome, selected according to the similarity of their historical mission and the similarity of characters.

Biography

He came from a wealthy family living in a small town in Boeotia.

In Athens, he studied mathematics, rhetoric and philosophy, the latter mainly under the Platonist Ammonius, but he was also significantly influenced by Peripatus and Stoia. According to his philosophical views he was an eclecticist, in philosophy he was interested in its practical application.

Traveled a lot in his youth. He visited Greece, Asia Minor, Egypt, was in Rome, where he met with the Neo-Pythagoreans, and also made friends with many prominent people, including Lucius Mestrius Florus, a close associate of Emperor Vespasian, who helped Plutarch get Roman.

However, soon Plutarch returned to Chaeronea. He faithfully served his city by performing public offices. He gathered young people in his house, and, teaching his own sons, he created a kind of "private academy", in which he played the role of mentor and lecturer.

At the fiftieth year of his life, he became a priest of Apollo in Delphi, tried to return the sanctuary and the oracle to its former significance.

Plutarch was not an original writer. Basically, he collected and processed what other, more original writers and thinkers had written before him. But in the treatment of Plutarch, a whole tradition, marked by the sign of his personality, acquired a new look, and it was in this form that it determined European thought and literature for many centuries. The richness of Plutarch's interests (mostly revolving around family life, the life of the Greek city-states, religious problems and questions of friendship) corresponded to a significant number of his writings, of which less than half have survived. It is extremely difficult to establish their chronology. Thematically, we can divide them into 2 groups: the first, very heterogeneous, covers works created in different periods, mainly philosophical and didactic, uniting them under the general name Ethics (Moralia); the second is biographies. (All titles are usually quoted in Latin.) In the Ethics we find about 80 writings. The earliest of these are those of a rhetorical nature, such as praises of Athens, discussions of Fortuna (Greek Tyche) and her role in the life of Alexander the Great or in the history of Rome.

A large group is also made up of popular philosophical treatises; of these, perhaps the most characteristic of Plutarch is a short essay On the State of the Spirit. For educational purposes, other essays have been conceived containing advice on how to act in order to be happy and overcome shortcomings (for example, On excessive curiosity, On talkativeness, On excessive shyness). For the same reasons, Plutarch dealt with issues of love and marriage.

In all these writings, Plutarch's pedagogical interests are reflected, it is not surprising that he also raised similar questions in the works How a Young Man Should Listen to Poets. How to use lectures, etc. Plutarch's political writings approach them thematically, especially those that contain recommendations for rulers and politicians. The compositions on the topics of family life also include a consolation (that is, a consolatory essay after a grievous loss), addressed to Plutarch's wife Timoxene, who lost her only daughter.

Along with the most popular works in a dialogical form, Ethics also included others - close in nature to a scientific report, in which Plutarch, without going deep into theoretical reasoning, nevertheless provides a lot of valuable information on the history of philosophy. These should include writings on the teachings of Plato, such as the Platonic Questions. or On the Creation of the Soul in the Timaeus, as well as polemical works directed against the Epicureans and Stoics.

Plutarch also wrote about the human soul, was interested in psychology, perhaps even in the psychology of animals, if writings on the intelligence and intelligence of animals really came from his pen.

Plutarch devoted numerous works to questions of religion, among them the so-called "Pythian" dialogues concerning the oracle of Apollo at Delphi. The most interesting in this group is the work On Isis and Osiris, in which Plutarch, himself initiated into the mysteries of Dionysus, outlined the most diverse syncretic and allegorical interpretations of the mysteries of Osiris. Plutarch's interest in antiquities is evidenced by two works: Greek questions (Aitia Hellenika; lat. Quaestiones Graesae) and Roman questions (Aitia Romaika; lat. Quaestiones Romanae), which reveal the meaning and origin of various customs of the Greco-Roman world (much space is devoted to questions cult).

Plutarch's essay On the face on the lunar disk presents various theories regarding this celestial body, at the end Plutarch turns to the theory adopted at the Plato Academy (Xenocrates), seeing the homeland of demons in the Moon. The passions of Plutarch, so clearly manifested in his biographies, are also reflected in the collection of Lacedaemon proverbs (another collection of well-known sayings of Apophtegmata, probably, for the most part is not authentic). A variety of topics are revealed in the form of a dialogue by such works as the Feast of the Seven Wise Men or Conversations at the Feast (in 9 books).

The Ethics of Plutarch also includes non-authentic works by unknown authors. The most important of them are: On Music, which is one of the main sources of our knowledge of ancient music (Aristoxenus, Heraclides of Pontus), and On the Education of Children, a work extremely famous and translated into many languages ​​during the Renaissance. However, Plutarch owes his fame not to Ethics, but to biographies.

In the introduction to the biography of Aemilius Paulus, Plutarch himself outlines his goals: communication with the great people of antiquity has educational functions, and if not all biographies are attractive, then after all, a negative example can also have an intimidating effect and turn on the path of a righteous life.

In biographies, Plutarch follows the teachings of the Peripatetics, who in the field of ethics attributed decisive importance to human actions, arguing that every action gives rise to virtue. Plutarch builds them according to the scheme of peripatetic biographies, describing in turn the birth, youth, character, activity, death of the hero and its circumstances. Wanting to describe the deeds of his heroes, Plutarch used the historical material available to him, which he dealt with quite freely, since he believed that he was writing a biography, not a history. He was primarily interested in the portrait of a person, and in order to visually represent him, Plutarch willingly attracted anecdotes.

This is how colorful, emotional narratives were born, the success of which was ensured by the author's talent for storytelling, his craving for everything human and moral optimism that elevates the soul. However, the biographies of Plutarch are also of great historical value, for he repeatedly turned to sources that are inaccessible to us today. Plutarch began to write biographies in his youth. At first, he turned his attention to the famous people of Boeotia: Hesiod, Pindar, Epaminondas - later he began to write about representatives of other areas Greece: about Leonidas, Aristomenes, Arat of Sicyon and even about the Persian king Artaxerxes II.

During his stay in Rome, Plutarch created biographies of Roman emperors intended for the Greeks. And only late period he wrote his most important work Comparative Biographies (Bioi paralleloi; lat. Vitae parallelae). These were biographies of prominent historical figures Greece and Rome, compared in pairs. Some of these pairs are well-composed, such as the mythical founders of Athens and Rome - Theseus and Romulus, the first legislators - Lycurgus and Numa Pompilius, the greatest leaders - Alexander and Caesar. Others are compared more arbitrarily: "children of happiness" - Timoleon and Aemilius Paul, or a couple illustrating the vicissitudes of human destinies - Alcibiades and Coriolanus. After biographies, Plutarch gave a general description, a comparison of two images (synkrisis). Only a few couples lack this comparison, in particular Alexander and Caesar. There were 23 couples in total, presented in chronological order. 22 pairs have survived (the biographies of Epaminondas and Scipio have been lost) and four single biographies of an earlier period: Arata of Sicyon, Artaxerxes II, Galba and Otho. Plutarch devoted his entire life to social and political activities, and above all to pedagogy. He tried his best to show the cultural role of Greece. Until the end of antiquity and in Byzantium, Plutarch enjoyed the resounding fame of the greatest educator and philosopher. In the Renaissance (XV century), the found works of Plutarch, translated into Latin, again became the basis of European pedagogy. Most often read a treatise on the upbringing of children, until the beginning of the nineteenth century. considered authentic.

The biography of Plutarch is very scarce and can be studied mainly on the basis of the writings of Plutarch himself, in which he often shares with the reader memories from his life.

First of all, the exact years of his life are completely unknown, and an idea of ​​them can only be obtained from indirect data. According to these indirect data it can be stated with full confidence that Plutarch was born at the end of the 40s of the 1st century AD and died between 125-130 years, that is, he lived for about 75 years. His father was undoubtedly a wealthy man, but he was not an aristocrat. This gave Plutarch the opportunity to start school early and become a highly educated person at a young age. Plutarch's hometown is Heronen, in the Greek region of Boeotia.

All members of his family are necessarily educated and cultured, necessarily high in spirit and distinguished by impeccable behavior. Plutarch often speaks of his wife Timoxene in his writings, and always speaks in the highest tone. She was not only a loving wife, but she was sickened by various feminine weaknesses like outfits. She was loved for her simplicity of disposition, for her natural behavior, for her moderation and attentiveness.

Plutarch had four sons and one daughter, who, like one of the sons, died in infancy. Plutarch loved his family so much that he dedicated even his own compositions to its members, and on the occasion of the death of his daughter, a tender and sublime consolatory message to his own wife.

Many of Plutarch's travels are known. He visited Alexandria, the center of the then education, was educated in Athens, visited Sparta, Plataea, Corinth at Thermopius, Rome and other historical places in Italy, as well as Sardis (Asia Minor).

Available intelligence about the philosophical and moral school founded by him in Chaeronea.

Even if we exclude the false and dubious writings of Plutarch, the list of quite reliable and, moreover, writings that have come down to us is, in comparison with other writers, huge. Firstly, works of a historical and philosophical nature have come down to us: 2 works on Plato, 6 - against the Stoics and Epicureans. In addition, there are works devoted to the problems of cosmology and astronomy, psychology, ethics, politics, family life, pedagogy, antiquarian history.

Plutarch wrote several treatises of religious and religious-mythical content. It is especially necessary to single out his writings of a moralistic content, where he analyzes such, for example, human passions as avarice, anger, curiosity. Table and banquet conversations, one might say, a special literary genre, as well as collections of sayings, can be attributed to very complex topics in their subject matter. All these works form one common section, usually bearing the obscure name of Moralia. In this section, moral writings, however, are presented very broadly, and almost no treatise in Plutarch can do without this morality.

A special section of Plutarch's writings, and also huge, also very popular in all ages, and perhaps even more popular than Moralia, is the Comparative Lives. Here you can find strictly historical data, and moralistics, and passion for the art of portraiture, and philosophy, and fiction.

The ancient worldview and ancient artistic practice are based on the intuitions of a living, animated and intelligent cosmos, always visible and audible, always sensually perceived, completely material cosmos with a motionless earth in the middle and with the sky as an area of ​​\u200b\u200bthe eternal and correct movement of the heavenly vault. All this, of course, is predetermined by the very nature of the socio-historical development of the ancient world. While subsequent cultures first proceeded from the individual, absolute or relative, as well as from society, and only then came to nature and the cosmos, ancient thought, on the contrary, proceeded from the visual reality of the sensual-material cosmos and only then drew conclusions from this for the theory of personality. and society. This forever determined the emphatically material, that is, the architectural and sculptural imagery of ancient artistic constructions, which we certainly find in Plutarch. So, sensory-material cosmology is the starting point of Plutarch's worldview and creativity.

Since ancient literature existed for more than a millennium, it went through many different periods of its development. The cosmology of the classical period, namely the high classics, is the doctrine of the universe in Plato's Timaeus. Here is given a clear and distinct picture of the living and material-sensual cosmos with all the details of the material sphere of the cosmos. Therefore, Plutarch is primarily a Platonist.

Plutarch found in classical Platonism, first of all, the doctrine of the deity, but not in the form of a naive dogma, but in the form of a thoughtful demand for being, and, moreover, a single being, which is the limit and possibility for any partial being and for any multiplicity. Plutarch is deeply convinced that if there is being partial, changeable and incomplete, then this means that there is being one and whole, unchanging and all-perfect. "After all, the divine is not a plurality, like each of us, representing a diverse collection of thousands of different particles that are in change and artificially mixed. But it is necessary that the essence be one, since only the one exists. Diversity, due to difference from the existing, turns into non-existence "("About "E" in Delphi", 20). "It is inherent in the eternally unchanging and pure to be one and unmixed" (ibid.). “As far as it is possible to find a correspondence between a changeable sensation and an intelligible and unchanging idea, this reflection gives in one way or another some kind of illusory idea of ​​​​divine mercy and happiness” (ibid., 21). Such a reflection of divine perfection is primarily the cosmos. This is already mentioned in the treatise cited here (21): "Everything that is inherent in one way or another in the cosmos, the deity unites in its essence and keeps the weak bodily substance from destruction."

On the cosmological problem, Plutarch devotes two whole treatises in connection with his writings with his comments on Plato's Timaeus. In the treatise "On the Origin of the Soul in Plato's Timaeus", Plutarch develops in a purely Platonic spirit the doctrine of the idea and matter, of the eternal, but disorderly existence of matter, of the transformation of this matter by the divine Demiurge into the beauty, structure and order of the now existing cosmos, of the creation the eternal and unchanging movement of the firmament with the help of the ordering activity of the world soul and the eternal beauty of the living, animated and intelligent cosmos. Indeed, Plato himself, in his construction of an ideally beautiful cosmos, as we find in his dialogue Timaeus, was at the height of precisely the classical idea of ​​the cosmos. And the same classical idea is the dream of Plutarch, who praises in every way the beauties of the perfect, albeit quite sensual-material cosmos.

But even here, at the height of his theoretical worldview, Plutarch begins to show some kind of instability and even duality of his general philosophical position. When Plato built his cosmos, it never occurred to him to oppose good and evil. It was enough for him that the eternal divine Mind with its eternal ideas once and for all formalized formless and disordered matter, from where the eternal and also forever beautiful cosmos appeared. Plutarch brings a whole new twist to this classic optimism. In the said treatise on the origin of the soul according to Timaeus, he suddenly begins to argue that by no means all disordered matter was put in order by the Demiurge, that significant areas of it remain disordered to this day, and that this disordered matter (being, obviously, also eternal) and now and always will be the beginning of any disorder, all catastrophes both in nature and in society, that is, simply speaking, the evil soul of the world. In this sense, Plutarch interprets all the main old philosophers - Heraclitus, Parmenides, Democritus, even Plato and even Aristotle.

Behind the classics of the VI-IV centuries. BC was followed by that reworking of the classics, which is usually called not the period of Hellenism, but the period of Hellenism. The essence of Hellenism lies in the subjective reconstruction of the classical ideal, in its logical construction and emotional and intimate experience and grasp. Since Plutarch acted in the era of Hellenism, his worldview and artistic practice are not built on pure Platonism, but on its subjectivist and immanent-subjective interpretation. Plutarch is a subjectivist-minded interpreter of Platonism while maintaining cosmological objectivism in general.

Plutarch did not live in the age of initial Hellenism (III-I centuries BC), but immediately after it. And yet the imprint of this early Hellenism proved decisively characteristic of the whole of Plutarch. This initial Hellenism did not influence Plutarch with its three philosophical schools - Stoicism, Epicureanism and Skepticism. These schools arose as a defensive measure against the then emerging individualism and subjectivism. It was necessary to educate a strict and stern subject and protect his inner peace in the face of the then growing mass of the Hellenistic-Roman empires. Plutarch turned out to be alien to the stern rigorism of the Stoics, and the carefree enjoyment of the Epicureans, and the complete rejection of any logical construction by the skeptics.

Of all the aspects of the then growing subjectivism, Plutarch was closest to the small, modest and simple human personality with its everyday attachments, with its love for the family and native places, and with its soft, cordial patriotism.

The initial period of Hellenism, with its three philosophical schools - Stoicism, Epicureanism and Skepticism - turned out to be too harsh a philosophical position for Plutarch. As a Hellenistic philosopher, Plutarch, of course, also brought the human personality to the forefront and also wanted to give a personally thoughtful and intimately experienced picture of objective cosmology. But these three main schools of primary Hellenism were clearly too harsh and demanding for him, too abstract and uncompromising. It has already been said above that the intimate human subject that emerged in those days was not as severe as among the Stoics, not as principled as among the Epicureans, and not as hopelessly anarchic as among the skeptics. The human subject showed himself here in a very peculiar way, starting from his everyday attitudes and ending with various forms of sentimentalism, romanticism and any psychological whims. There were two such tendencies of early Hellenism, which not only had a positive influence on Plutarch, but often even exceeded other forms of human subjective orientation in Plutarch.

The first such trend in Plutarch is everydayism and a completely philistine personal orientation. This everydayism filled Plutarch with absolutely all his moods and reached the point of complete ease, to everyday narrow-mindedness, to meaningless verbosity and, one might say frankly, to chatter. But after all, several centuries passed from Menander to Plutarch, and purely everyday analyzes at the time of Plutarch were already outdated. What, then, was the point of devoting dozens and hundreds of pages to idle chatter on everyday topics and random anecdotes? And for Plutarch, there was a very big meaning here. On the basis of such continuous everyday life, the psychology of a small person acted, there was a tendency to protect oneself from grandiose and too severe problems. Or, to be more precise, the harsh problems were not removed here, but a psychological opportunity was created to experience them not very painfully and not very tragically. Menander is not a Platonist, but a painter of everyday life. But Plutarch is a Platonist, and along with Platonism loomed large for him a long series of deep, often tragic and often unbearable problems. He managed to endure and endure these big problems, often significant and even solemn for him, but always demanding and responsible. The everyday life of a small person just helped Plutarch to maintain peace of mind and not fall on his face before the insoluble and impossible. That is why even in his "Comparative Lives" Plutarch, depicting great people, not only does not avoid any everyday details, but often even attaches a deep meaning to them.

Bytovizm of the initial period of Hellenism was of great importance both for the worldview and for the writing style of Plutarch. But in this initial Hellenism there was another, also new and remarkable, and also huge in its strength, a tendency that was deeply perceived by Plutarch, once and for all. This tendency, or rather this spiritual element, was what we must now call moralism.

This was unconditional news for Greek philosophy and literature, because everything classical, and even more so everything pre-classical, never knew any special moralism. The fact is that all the classics live on heroism, and heroism could not be learned, heroism was given only by nature itself, that is, only by the gods. All ancient heroes were either direct or indirect descendants of only the gods themselves. It was possible, of course, to perform heroic deeds only after undergoing preliminary heroic training. But it was impossible to become a hero. One could be born a hero and improve in heroism. But ancient Greek classical heroism is not a pedagogical, educational area, and therefore not moralistic. Heroism in those days was a natural human phenomenon or, what is the same, divine. But then the classics ended, and then in the period of Hellenism, the most ordinary person appeared, not a descendant of the gods, not a hero by nature, but simply a man. For his daily affairs, such a person had to be specially educated, specially trained and trained, always consulting with the elders and most experienced. And it was here that that moralism was born, which was unknown to the classical hero. To become a decent and worthy person, one had to know thousands of personal, social and, generally speaking, moral rules.

Plutarch is a moralist. And not just a moralist. Moralism is his true element, the selfless tendency of all his work, never fading love and some kind of pedagogical enjoyment. If only to teach, if only to instruct, if only to clarify difficult questions, if only to put your reader on the path of eternal introspection, eternal self-correction and relentless self-improvement.

In short, everydayism and good-natured moralism passed to Plutarch from this initial period of Hellenism. In other words, Plutarch was a complacent Platonist, for whom everyday writing and moralistic forms turned out to be much closer instead of the grandiose and majestic forms of classical Platonism and with its interpretation in the spirit of a soft-hearted and sincerely minded writer and moralist.

Finally, in addition to direct criticism of the three philosophical schools of primary Hellenism and in addition to the everyday moralistics of a small person, Plutarch inherited from early Hellenism that boldness of progressive subjectivism, which demanded that evil be seriously taken into account in nature, personality and society in spite of undivided cosmological optimism. It was the modest and philistine-minded Plutarch who demanded the recognition of not only the good, but also the evil soul of the world. In this sense, he dared to criticize even Plato himself. So, the subjectivist interpreter of Plato, Plutarch, used this interpretation to protect a small and modest person, for constant everydayism and moralism, and for recognizing evil (and not just good alone) as colossal cosmic power.

Plutarch, who lived at the turn of the 1st-2nd centuries. AD involuntarily found himself not only under the influence of early Hellenism, but also under the influence of that later Hellenism, which in ancient science was called the century of the Hellenic revival. It is necessary to be rigorously aware of what this Hellenic revival is, in what Plutarch resembles it and in what sharply differs.

If we take the Hellenic revival as a principle, then this could not be a literal restoration of an obsolete classic several centuries ago. This was the transformation of the classics not into literal, that is, not literally life-like, but only into aesthetic objectivity, into a self-sufficient and completely isolated contemplation of beauty long gone. Plutarch was never such a pure aesthetician, and such an isolated self-contained aesthetic objectivity was always deeply alien to him. He was not capable of the subtle-sensual impressionism of the Philostrates, of the Athenaeus' choking on interesting philological trifles, the dry and methodical description of mythographers, or the shameless humor of Lucian's mythological sketches.

Perhaps, some distant result of the Hellenic revival, characteristically also referred to as the second sophistry, was Plutarch's very frequent verbosity, which sometimes reached some kind of idle chatter. It was with him not just talkativeness, but again a protective measure to protect the rights of an ordinary person to his existence, to his own, albeit petty, but purely human needs and moods.

This true significance must be noted in the method used by Plutarch in his inclination towards revivalist methodology. Precisely the visually given, contemplatively self-sufficient and aesthetically isolated objectivity was never used literally by Plutarch, was never "pure" art for him, was never art for art's sake. In this aesthetically isolated self-satisfaction, seemingly completely disinterested and not interested in anything vital, Plutarch always drew strength precisely for life. Such aesthetic self-satisfaction always revived him, strengthened him, freed him from fuss and trifles, always had a transforming effect on the psyche, on society, facilitating the struggle, enlightening the vanity and comprehending everyday hardships and tragic hopelessness. That is why everydayism and moralism in Plutarch are always interspersed with mythological and literary examples, legends, fables and arbitrarily invented situations, anecdotes and sharp words, at first glance, as if violating an evenly flowing presentation and, as it were, pointlessly leading to the side. All this mythology and literature, all these anecdotes and witty situations never and nowhere had independent significance for Plutarch, and in this sense they were not involved at all for the purposes of isolated narcissism. All this was introduced into the life practice of a really acting person, all this exposed the low and mediocre nature of vicious human passions, and all this lightened, refreshed, uplifted and wised the most ordinary little person. Thus, the Renaissance-Hellenic theory of art for the sake of art, without depriving a person of his rights to everyday life, immediately and simultaneously turned out to be aesthetically self-pressing and uplifting morally, strengthening spiritually. Platonism in this sense underwent a new transformation in Plutarch, and classical cosmology, without losing its sublime beauty, became a justification for everyday man.

As a result of our examination of the extensive literary heritage of Plutarch, it must be said that at the present time it is a real sin for a philologist to reduce Plutarch's work to any one abstract principle. True, its socio-historical basis, chronologically very accurate, imperatively requires us to consider it as a transition from the initial Hellenism, namely, to the Hellenic revival of the 2nd century. ad. But this is too general a principle. A closer examination of his ideological and creative results indicates that Plutarch is an extremely complicated Platonist who could not rise to Platonic monism, but instead used its many ideological shades, often contradictory, and made this Platonism unrecognizable. In an approximate enumeration, in this form, one could present all these contradictory and in the full sense of the word antinomic features of Plutarch with his synthetism, if not always philosophical, then always clear and simple, good-natured and good-natured, naive and wise. Namely, Plutarch combined universalism and individualism, cosmologism and everyday life, monumentality and everyday life, necessity and freedom, heroism and moralism, solemnity and everyday prose, ideological unity and incredible diversity of images, self-sufficient contemplation and practical factography, monism and dualism, the desire of matter to perfection. The whole art of the historian of ancient literature and philosophy in relation to Plutarch consists in revealing and socio-historically substantiating precisely this antinomic-synthetic nature of his worldview and creativity. Such art requires the use of enormous materials, and at present one can only remotely approach this.

Plutarch was strongly influenced by the Hellenic revival, although he used it to justify the rights of everyday man. But what Plutarch was certainly far from was the grandiose completion of all Hellenism in the last four centuries of antiquity, when the philosophical school of the Neoplatonists was born, flourished and declined. These Neoplatonists also could not accept as final the theory of self-sufficing contemplation. They carried this purely poetic self-pressure to the end, thinking it through to that logical end, when the poetic and purely mental image, instead of a metaphor, became a living reality, a living thing and an independently acting substance. But the poetic image, given as an independent material substance, is already a myth; and Neoplatonism III-IV centuries. AD just became precisely the dialectic of myth. Plutarch had a positive attitude towards myths, but not in the sense of recognizing in them the primary substances of being itself. Myths for him, in the end, also remained at the stage of metaphorical moralism, although, of course, still going into cosmological depths.

Compositions

Most of his numerous works have survived to our time. As can be seen from the catalog of a certain Lampria, the alleged student of Plutarch, there were about 210 of them.

The surviving works of Plutarch fall into two main groups:

Biographies, or historical works, and

Philosophical and journalistic writings, collectively known as "Ἠθικά" or "Moralia".

46 parallel biographies have come down to us, to which 4 more separate biographies adjoin (Artaxerxes, Aratus, Galba and Otho). Several biographies have been lost.

Comparative biographies

The combination of two parallel biographies - a Greek and a Roman - corresponded to the old custom of biographers, noticeable even in Cornelius Nepos, and, moreover, very much in line with the views of Plutarch, who was wholeheartedly devoted to the past of his people, but willingly recognized the amazing power of Roman statehood and had among his closest friends like Greeks as well as Romans.

In most pairs, the reason for the connections is clear in itself (for example, the greatest orators - Cicero and Demosthenes, the most ancient legislators - Lycurgus and Numa, the most famous generals - Alexander the Great and Caesar are connected). In 19 couples, Plutarch concludes his biographies with a brief indication of the common features and major differences between the compared husbands. The author is nowhere a historian critically examining facts. Its purpose is to give philosophical characteristics, to present this person as comprehensively as possible in order to paint an instructive picture, to encourage readers to virtue and to educate them in practical activities.

This goal explains a large number of facts from the private lives of the persons depicted, anecdotes and witty sayings, an abundance of moral reasoning, various quotations from poets. The lack of historical criticism and the depth of political thought did not and still do not prevent Plutarch's biographies from finding numerous readers interested in their diverse and instructive content and highly appreciating the warm humane feeling of the author. As if an addition to the biographies are the "Apothegms of Kings and Generals", which are joined in manuscripts by Plutarch's forged letter to Trajan and equally false small collections of various other "apophegms".

The main work of Plutarch, which became one of the most famous works of ancient literature, was his biographical writings.

"Comparative Lives" absorbed a huge historical material, including information from the works of ancient historians that have not survived to this day, the author's personal impressions of ancient monuments, quotations from Homer, epigrams and epitaphs. It is customary to reproach Plutarch for an uncritical attitude to the sources used, but it must be borne in mind that the main thing for him was not the historical event itself, but the trace it left in history.

This can be confirmed by the treatise "On the Malice of Herodotus", in which Plutarch reproaches Herodotus for partiality and distortion of the history of the Greco-Persian wars. Plutarch, who lived 400 years later, in an era when, in his words, a Roman boot was raised over the head of every Greek, wanted to see great generals and statesmen not as they really were, but the perfect embodiment of valor and courage. He did not seek to recreate history in all its real fullness, but found in it outstanding examples of wisdom, heroism, self-sacrifice for the sake of the motherland, designed to strike the imagination of his contemporaries.

In the introduction to the biography of Alexander the Great, Plutarch formulates the principle that he put as the basis for the selection of facts: “We do not write history, but biographies, and virtue or depravity is not always visible in the most glorious deeds, but often some insignificant deed, word or joke better reveal the character of a person than battles in which tens of thousands die, the leadership of huge armies and the siege of cities.

The artistic skill of Plutarch made "Comparative Lives" a favorite reading for young people who learned from his writings about the events of the history of Greece and Rome. The heroes of Plutarch became the personification of historical eras: ancient times were associated with the activities of the wise legislators Solon, Lycurgus and Numa, and the end of the Roman Republic seemed to be a majestic drama driven by the clashes of the characters of Caesar, Pompey, Crassus, Antony, Brutus.

It can be said without exaggeration that thanks to Plutarch, European culture developed an idea of ​​ancient history as a semi-legendary era of freedom and civic prowess. That is why his works were highly valued by the thinkers of the Enlightenment, the figures of the Great French Revolution and the generation of the Decembrists.

The very name of the Greek writer became a household name, since "Plutarchs" in the 19th century called numerous publications of biographies of great people.

Other works

The standard edition includes 78 treatises, of which several are considered not to be Plutarch's.

Literature

For the comparative merits of Plutarch's manuscripts, see the critical apparatuses for the editions of Reiske (Lpts., 1774-82), Sintenis ("Vitae", 2nd ed., Lpts., 1858-64); Wyttenbach ("Moralia", Lpts., 1796-1834), Bernardakes ("Moralia", Lpts. 1888-95), also Treu, "Zur Gesch. d. Berlieferung von Plut. Moralia" (Bresl., 1877-84). Dictionary of the Plutarchian language - under the name. Wyttenbach's edition. About the life of Plutarch, Svyda gives meager information. From new Op. cf. Wesiermann, "De Plut. vita et scriptis” (Lpts., 1855); Volkmann "Leben, Schriften und Philosophie des plutarch" (B., 1869); Muhl, "Plutarchische Studien" (Augsburg, 1885) and others. Among the translators of Plutarch into new European languages, Amyot enjoyed special fame.

Plutarch in Russian translations

Plutarch began to be translated into Russian since the 18th century: See Pisarev’s translations, “Plutarch’s Instructions on childcare” (St. Petersburg, 1771) and “The Word of Unceasing Curiosity” (St. Ivan Alekseev, "The Moral and Philosophical Writings of Plutarch" (St. Petersburg, 1789); E. Sferina, "On Superstition" (St. Petersburg, 1807); S. Distunis and others. Plutarch's Comparative Biographies (St. Petersburg, 1810, 1814-16, 1817-21); "Biography of Plutarch" ed. V. Guerrier (M., 1862); biographies of Plutarch in a cheap edition by A. Suvorin (translated by V. Alekseev, vols. I-VII) and under the title "Life and deeds of famous people of antiquity" (M., 1889, I-II); “A conversation about the face visible on the disk of the moon” (“Phil. Review”, vol. VI, book 2). Wed Y. Elpidinsky's study "The Religious and Moral Worldview of Plutarch of Chaeroneus" (St. Petersburg, 1893).

The best Russian edition of Comparative Biographies, where most of the translation was done by S.P. Markish:

Quotes and aphorisms

Conversation should be as common to those who feast as wine.

Chatterbox wants to force himself to be loved and provokes hatred, wants to render a service - and becomes obsessive, wants to arouse surprise - and becomes ridiculous; he offends his friends, serves his enemies.

Any business with reasonable spouses is decided by mutual consent, but in such a way that the primacy of the husband is obvious and the last word remains with him.

The highest wisdom is by philosophizing, not seeming philosophizing, and jokingly achieve a serious goal.

The two main assets of human nature are the mind and reasoning.

Movement is the pantry of life.

If it is commendable to do good to friends, then there is no shame in accepting help from friends.

There are three ways to answer questions: say what is necessary, answer with friendliness, and say too much.

A wife is so unbearable that she frowns when her husband is not averse to playing with her and being nice to her, and when he is busy with serious business, she frolics and laughs: the first means that her husband is disgusting to her, the second - that she is indifferent to him.

Marrying should not be done with the eyes and fingers, as some do, counting how much a dowry is for the bride, instead of finding out what she will be like in life together.

A wife should not make friends of her own; Enough with her and her husband's friends.

Anger and irascibility have no place in married life. Strictness suits a married woman, but let this harshness be useful and sweet, like wine, and not bitter, like aloe, and unpleasant, like medicine.

A blasphemous tongue betrays the reckless.

Drinking poison from a golden cup and accepting advice from an insidious friend are one and the same.

The wildest foals make the best horses. Just to educate them properly and leave.

Husband and wife and wife and husband should be avoided everywhere and always, but most of all in the marital bed. Quarrels, squabbles, and mutual insults, once started in the lodge, are not easily put to rest in another time and place.

Or as short as possible, or as pleasant as possible.

Just as ravens swoop in to peck out the eyes of the dead, so flatterers, having sifted, plunder the wealth of the foolish.

Slander and slander must be avoided, like a poisonous worm on a rose - they are hidden by thin and polished turns.

When the sun leaves the world, everything is darkened, so also a conversation devoid of impudence is not all good.

When you scold others, see that you yourself are far from what you reprimand others for.

Whoever treats his wife too harshly, not deigning jokes and laughter, he forces her to look for pleasures on the side.

He who expects to secure his health by being lazy acts just as foolishly as a man who thinks in silence to improve his voice.

Flattery is like a thin shield, painted with paint: it is pleasant to look at it, but there is no need for it.

Fishing with poison allows you to easily and quickly get fish, but spoils it, making it inedible; so also the wives who try to keep their husbands with them by divination or love potions, captivate them with sensual pleasures, but then live with the insane and insane.

Love is always diverse, both in many respects, and also in the fact that the jokes that affect it are burdensome and indignant for some, while others are pleasant. Here it is necessary to conform to the circumstances of the moment. Just as a breath can extinguish a fire that arises due to its weakness, and when it flares up, gives it nourishment and strength, so love, while it is still secretly growing, is indignant and indignant against disclosure, and flaring up with a bright flame, finds food in joking and responds to them with a smile.

I do not need a friend who, agreeing with me in everything, changes his views with me, nodding his head, because the shadow does the same better.

Courage and fortitude are necessary for people not only against the weapons of enemies, but also against any blows.

We often ask a question, not in need of an answer, but in an effort to hear the voice and ingratiate ourselves with the other person, wanting to draw him into the conversation. To get ahead of others with answers, trying to capture someone else's hearing and occupy someone else's thoughts, is the same as climbing to kiss a person who longs for the kiss of another, or trying to attract the gaze of another to himself.

Learn to listen and you can benefit even from those who speak badly.

A wife should not rely on dowry, not on nobility, not on her beauty, but on what can truly bind her husband to herself: on courtesy, good-naturedness and compliance, and these qualities should be manifested every day not through force, as if reluctantly, but willingly, joyfully and willingly.

Herodotus was wrong when he said that along with clothes a woman carries shame with her; on the contrary, a chaste woman, taking off her clothes, is clothed in shame, and the more modesty between spouses, the more love this means.

A few vices are enough to cloud many virtues.

Constantly learning, I come to old age.

Not a single word spoken was as useful as so many unspoken ones.

No body can be so strong that wine cannot damage it.

The victorious sleep sweeter than the vanquished.

Like a fire that flares up easily in reeds, straw, or hare hair, but quickly dies out if it does not find other food for itself, love ignites brightly with blooming youth and bodily attractiveness, but will soon die out if it is not nourished by spiritual virtues and good disposition of young spouses. .

Sometimes it is not without benefit to shut up an offender with a witty rebuke; such a rebuke should be brief and not reveal either irritation or rage, but let her know how to bite a little with a calm smile, returning the blow; how arrows fly from a solid object back to the one who sent them. so it is as if an insult flies back from an intelligent and self-controlled speaker and hits the offender.

At first, newlyweds should especially beware of disagreements and skirmishes, looking at how recently glued pots easily crumble from the slightest push; but over time, when the places of fastening become strong, neither fire nor they are taken.

A decent woman should not even show off her conversations, and she should be just as ashamed to speak in front of strangers as to undress in front of them, because the voice reveals the character of the speaker, and the properties of her soul, and mood.

Honors change morals, but rarely for the better.

A true deed, if it is rightly stated, is indestructible.

Traitors betray themselves first of all.

A wife should talk only with her husband, and with other people - through her husband, and let her not be upset by this.

The speech of a statesman should not be either youthfully ardent or theatrical, like the speeches of ceremonial speakers, weaving garlands of graceful and weighty words. The basis of his speeches should be honest frankness, true dignity, patriotic sincerity, foresight, reasonable attention and care. It is true that political eloquence, much more than judicial eloquence, admits of maxims, historical parallels, inventions, and figurative expressions, the moderate and appropriate use of which has a particularly good effect on listeners.

The power of speech lies in the ability to express a lot in a few words.

A voluptuous husband makes his wife wanton and lustful; the wife of a decent and virtuous person becomes modest and chaste.

Courage is the beginning of victory.

To do bad deeds is low, to do good when it is not associated with danger is a common thing. A good man is one who does great and noble deeds, even if he risks everything in doing so.

A just husband commands his wife, not as a master of property, but as a soul over a body; reckoning with her feelings, and invariably benevolently.

The marital union, if it is based on mutual love, forms a single fused whole; if it is concluded for the sake of dowry or procreation, then it consists of conjugated parts; if - only in order to sleep together, then it consists of separate parts, and it is correct to consider such a marriage not as a life together, but as living under the same roof.

Harshness makes a wife's chastity repulsive, as does untidiness her simplicity.

Those who are greedy for praise are poor in merit.

The punished person has no reason to resist correction if he realizes that he was punished not in a fit of anger, but on the basis of impartial exposure.

What adorns a woman is what makes her more beautiful, but it is not emeralds and purple that makes her so, but modesty, decency and modesty.

A smart wife, while an angry husband screams and scolds, remains silent, and only when he stops talking, starts a conversation with him to soften him and calm him down.

Character is nothing but a long-term habit.

A chaste wife should appear in public only with her husband, and when he is away, remain invisible, sitting at home.

A sane person should beware of enmity and bitterness.

Sources

Plutarch. Comparative biographies. In 2 volumes / Ed. preparation S. S. Averintsev, M. L. Gasparov, S. P. Markish. Rep. ed. S. S. Averintsev. (Series "Literary monuments"). 1st ed. In 3 volumes. M.-L., Publishing House of the Academy of Sciences of the USSR. 1961-1964. 2nd ed., rev. and additional M., Science. 1994. Vol.1. 704 pp. T.2. 672 pages

For editions of ethical writings, see Moralia (Plutarch)

Losev, Plutarch. Essay on life and creativity.”;

Plutarch. Works.

Kuvshinskaya I.V. Plutarch // Great Encyclopedia of Cyril and Methodius-2004

Botvinnik M.N., Rabinovich M.B., Stratanovsky G.A. Lives of famous Greeks and Romans: Book. for students. - M .: Education, 1987. - 207 p.

Famous Greeks and Romans / 35 biographies of prominent figures of Greece and Rome, compiled according to Plutarch and other ancient authors M.N. Botvinnik and M.B. Rabinovich. - St. Petersburg: Epoch, 1993. - 448 p.

Glory of distant ages: From Plutarch / From ancient Greek. retold S. Markish. — M.: Det. lit., 1964. - 270 p.: ill. - (School library).

Plutarch

Biography.
The biography of Plutarch is very scarce and can be studied mainly on
based on the writings of Plutarch himself, in which he often shares with
reader memories from his life.
First of all, the years of his life are completely unknown, and
an idea about them can only be obtained from indirect data. According to these
indirect data, it can be asserted with full confidence that Plutarch
born in the late 40s of the 1st century AD and died between 120-125, then
Yes, lived for about 75 years. His father was undoubtedly a wealthy man, but he
was not an aristocrat. This gave Plutarch the opportunity to start early.
schoolwork and become highly educated at a young age
man. Plutarch's hometown is Heronen, in the Greek region of Boeotia.
All members of his family are necessarily educated and cultured, necessarily
high spirit and impeccable behavior. About his wife Timoksen
Plutarch often speaks in his writings, and always speaks in the highest
tone. She was not only a loving wife, but various female weaknesses disgusted her.
like outfits. She was loved for her simplicity of disposition, for her natural behavior, for her
moderation and care.
Plutarch had four sons and one daughter, who, like one of the sons, died
in infancy. Plutarch loved his family so much that he dedicated
to its members even their own compositions, and on the occasion of the death of her daughter, tender and
a sublime message of comfort to his own wife.
Many of Plutarch's travels are known. He visited Alexandria, the center
then education, was educated in Athens, visited Sparta,
Plataea, in Corinth at Thermopius, in Rome and other historical places in Italy, and
also in Sardis (Asia Minor).
There is information about the philosophical and moral philosophy founded by him in Chaeronea.
schools.
Creative activity.
Even if we exclude the false and dubious writings of Plutarch, nevertheless
the list of quite reliable and, moreover, works that have come down to us is, according to
compared to other writers, huge. We have reached, firstly, the works
historical and philosophical nature: 2 essays on Plato, 6 - against the Stoics and
epicureans. In addition, there are essays devoted to the problems
cosmology and astronomy, psychology, ethics, politics, family life,
pedagogy, antiquarian history. Plutarch wrote several treatises
religious and religious-mythical content. It is especially important to highlight
his works of moralistic content, where he analyzes such
for example, human passions, like the love of money, anger, curiosity. TO
very complex in their subject matter can be attributed table and banquet
conversations that constitute, one might say, a special literary genre, as well as
collections of sayings. All these writings are one common section,
usually bearing the obscure name Moralia. In this section, moral
writings, however, are presented very widely, and without this morality, Plutarch does not
almost no treatise costs.
A special section of the writings of Plutarch, and also huge, also very popular in
all ages, and perhaps even more popular than Moralia, is
"Comparative Biographies". Here you can find strictly historical
data, and moralistics, and passion for the art of portraiture, and philosophy, and
fiction.
Plutarch and ancient literature.
The ancient worldview and ancient artistic practice are based on
intuition of a living, animated and intelligent cosmos, always visible and
audible, always sensually perceived, completely material cosmos
with the immovable earth in the middle and with the sky as the region of the eternal and right
movements of the sky. It's all predetermined, of course.
the nature of the socio-historical development of the ancient world. While
subsequent cultures first proceeded from personality, absolute or
relative, as well as from society, and only then came to nature and space,
ancient thought, on the contrary, proceeded from the visual givenness of sensual
material cosmos and only then draw conclusions from this for the theory
individual and society. This has forever determined
material, that is, the architectural and sculptural imagery of ancient
artistic constructions, which we certainly find in Plutarch. So,
sensory-material cosmology - this is the starting point of the worldview and
creativity of Plutarch.
Plutarch and the classical period of ancient
literature.
Since ancient literature existed for more than a millennium, it
went through many different periods of its development. Cosmology of the classical period, and
precisely the high classics - this is the doctrine of the universe in Plato's Timaeus.
Here is given a clear and distinct picture of the living and material-sensible
cosmos with all the details of the material sphere of the cosmos. That's why
Plutarch is primarily a Platonist.
Plutarch found in classical Platonism primarily the doctrine of
deity, but not in the form of a naive creed, but in the form of a thoughtful demand
being, and, moreover, a single being, which is the limit and the possibility for
for every partial being and for every multiplicity. Plutarch deep
convinced that if there is being partial, changeable and incomplete,
then this means that there is being one and whole, unchanging and
all-perfect. “After all, the divine is not a plurality, as each of
us, representing a diverse collection of thousands of different particles,
in change and artificially mixed. But it is necessary that
the essence was one, since only the one exists. Diversity in
the reason for the difference from the existing turns into non-existence” (“On “E” in Delphi”, 20) .
“It is inherent in the eternally unchanging and pure to be one and unmixed” (ibid.).
“As far as it is possible to find a correspondence between changeable sensation and
intelligible and immutable idea, so far this reflection gives one way or another
otherwise, some illusory idea of ​​divine mercy and happiness”
(ibid., 21). Such a reflection of divine perfection is before
the whole space. This is already mentioned in the treatise cited here (21): “Everything,
what is inherent in one way or another in the cosmos, the deity unites in its essence and
keeps the weak bodily substance from being destroyed.”
On the cosmological problem, Plutarch devotes two whole treatises in connection with
writings with his own commentaries on Plato's Timaeus. In the treatise "On
the origin of the soul in Plato's Timaeus" Plutarch develops in a purely
Platonic spirit, the doctrine of the idea and matter, of the eternal, but disorderly
the existence of matter, about the transformation by the divine Demiurge of this matter into
beauty, structure and order of the now existing cosmos, about the creation of the eternal and
unchanging movement of the firmament with the help of ordering
activity of the world soul and the eternal beauty of the living, animated and
intelligent space. Indeed, Plato himself in his construction is ideal
beautiful cosmos, as we find it in his dialogue "Timaeus", was on top
precisely the classical concept of space. And just as classic.
the performance is a dream and Plutarch, in every way praising beauty
perfect, albeit quite sensual-material cosmos.
But already here, at the height of his theoretical worldview, Plutarch begins
to show some kind of instability and even duality of their
general philosophical position. When Plato was building his cosmos, he couldn't even imagine
came to oppose good and evil. That was enough for him
one that the eternal divine Mind with its eternal ideas has shaped once
forever formless and disordered matter, from where it also appeared
eternal and also forever beautiful cosmos. Brings a whole new hue
Plutarch's is a classic optimism. In the said treatise on the origin
soul according to Timaeus, he suddenly begins to argue that not all
disordered matter was put in order by the Demiurge, which significant
its areas remain disordered to the present day and that this
disorderly matter (obviously being also eternal) and now and always will be
the beginning of any disorder, any catastrophes both in nature and in society, that is,
simply put, the evil soul of the world. In this sense, Plutarch interprets all
the most important old philosophers - Heraclitus, Parmenides, Democritus, even
Plato and even Aristotle.
Plutarch and Hellenism.
Behind the classics of the VI-IV centuries. BC was followed by that reworking of the classics,
which is usually referred to not as the Hellenistic period, but as the Hellenistic period.
The essence of Hellenism lies in the subjective reconstruction of the classical
ideal, in its logical construction and emotionally intimate
experience and engagement. Since Plutarch acted in the Hellenistic era,
his worldview and artistic practice are not built on a pure
Platonism, but on its subjectivist and immanent-subjective
interpretation. Plutarch is a subjectivist interpreter
Platonism while maintaining cosmological objectivism in general.
Plutarch and the early period of Hellenism.
Plutarch did not live in the age of initial Hellenism (III-I centuries BC), but
immediately after it. And yet the stamp of this initial Hellenism
decisively turned out to be characteristic of the whole of Plutarch. This
the initial period of Hellenism did not affect Plutarch with its three
philosophical schools - stoicism, epicureanism and skepticism. These schools
arose as a protective measure for the individualism that appeared then and
subjectivism. It was necessary to bring up a strict and severe subject and protect
his inner peace in front of the then growing mass of Hellenistic
Roman empires. Plutarch turned out to be alien to the harsh rigorism of the Stoics, and
carefree enjoyment of the Epicureans, and the complete rejection of all
logical construction among skeptics.
Of all the aspects of the then growing subjectivism, Plutarch was closer
just a small, modest and simple human personality with its everyday
affections, with her love for her family and her native places, and with her soft,
heartfelt patriotism.
The initial period of Hellenism with its three philosophical schools - Stoicism,
epicureanism and skepticism - turned out to be too harsh for Plutarch
philosophical position. As a philosopher of Hellenism, Plutarch, of course, also
brought to the fore the human personality and also wanted to give personally
thoughtful and intimately experienced picture of objective cosmology. But
these three main schools of primary Hellenism were clearly for him
too harsh and demanding, too abstract and uncompromising. Higher
It has already been said that the intimate human subject who spoke at that time
was not as severe as among the Stoics, not as principled as among the Epicureans, and not so
hopelessly anarchic, like the skeptics. The human subject has shown himself
here is very peculiar, starting from their daily household attitudes and
ending with various forms of sentimentalism, romanticism and any
psychological whims. There were two such tendencies in early Hellenism,
which not only had a positive influence on Plutarch, but often even
exceeded other forms of subjective orientation of a person in Plutarch.
The first such trend in Plutarch is everydayism and quite philistine
personal orientation. This everydayism filled Plutarch with absolutely all of his
mood and reached complete ease, to everyday
narrow-mindedness, to meaningless verbosity and, frankly, to
chatter. But several centuries passed from Menander to Plutarch, and
purely everyday analyzes in the time of Plutarch were already outdated. What was it like, in such
case, the meaning of tens and hundreds of pages is to allocate idle chatter on topics
everyday life and random anecdotes? And for Plutarch here he was very
great meaning. On the basis of such continuous everydayism, psychology acted
little man, there was a tendency to protect oneself from grandiose and
too severe problems. Or rather, the hard problems here are not
were filmed, but a psychological opportunity was created to experience them not very
painful and not very tragic. Menander is not a Platonist, but a painter of everyday life.
But Plutarch is a Platonist, and along with Platonism a long
a series of deep, often tragic and often unbearable problems. He managed
endure and endure these big problems, often for him significant and
even solemn, but always demanding and responsible. Bytovizm
small man just helped Plutarch to maintain peace of mind and not
prostrate before the insoluble and impossible. That is why even in their
"Comparative Lives" Plutarch, depicting great people, not only
does not avoid any everyday details, but often even gives them a deep
meaning.
Bytovism of the initial period of Hellenism was of great importance for
worldview, and for the writing style of Plutarch. But in this initial
Hellenism, there was another one, also new and wonderful, and also huge in its
strength, a trend that Plutarch took deeply, once and for all. This trend
or, better to say, this spiritual element, was what we should now call
moralism.
This was unconditional news for Greek philosophy and literature because
that all classical and even more so all pre-classical never knew
no special morality. The fact is that all the classics live
heroism, and heroism could not be learned, heroism was given only by the most
nature, that is, only the gods. All ancient heroes were either direct or
indirect descendants of the gods themselves. Perform heroic deeds
it was possible, of course, only after passing the preliminary heroic
preparation. But it was impossible to become a hero. You could be born a hero and
improve in heroism. But ancient Greek classical heroism is
the field is not pedagogical, not educational, and therefore not moralistic.
Heroism in those days was a natural human phenomenon or, something else,
divine. But the classics ended, and then, during the Hellenistic period,
already the most ordinary person, not a descendant of the gods, not a hero by nature, but simply
Human. For his daily affairs, such a person had to specially
educated, specially trained and trained, always consulting
older and more experienced. And it was here that the moralism was born, which
was unknown to the classical hero. To become decent and worthy
person, it was necessary to know thousands of personal, public and, generally speaking,
moral rules.
Plutarch is a moralist. And not just a moralist. Morality is his real
element, the selfless tendency of all his work, never fading
love and some kind of pedagogical enjoyment. Just to teach, just to
instruct, if only to clarify difficult questions, if only to put his
reader on the path of eternal introspection, eternal self-correction and relentless
self-improvement.
In short, from this initial period of Hellenism to Plutarch passed
everyday life and good-natured moralism. In other words, Plutarch was complacent
Platonist, for whom the everyday writings turned out to be much closer.
moralistic forms instead of grandiose and majestic forms
classical Platonism and with its interpretation in the spirit of kindly and
sincerely minded everyday writer and moralist.
Finally, in addition to direct criticism of the three philosophical schools of primary Hellenism and
in addition to the everyday moralistics of a small person, Plutarch inherited from
early Hellenism also that boldness of progressive subjectivism,
which demanded to seriously consider evil in nature, personality and society
contrary to undivided cosmological optimism. It is modest and
philistine-minded Plutarch demanded recognition of not only good, but also
evil soul of the world. In this sense, he dared to criticize even the
Plato. So, the subjectivist interpreter of Plato, Plutarch
used this interpretation to protect a small and modest person, to
constant everydayism and moralism and for recognition of evil (and not just
one good) colossal cosmic power.
Plutarch and the Hellenic Renaissance ad.
Plutarch, who lived at the turn of the 1st-2nd centuries. AD involuntarily found himself not only under
influenced by early Hellenism, but also influenced by that later Hellenism,
which in ancient science was called the age of the Hellenic renaissance.
It is necessary to give yourself a strict account of what this Hellenic
revival, in which Plutarch resembles him and in which he sharply differs.
If you take the Hellenic revival as a principle, then this could not be a literal
restoration of an obsolete classic several centuries ago. It was
the transformation of the classics not into the literal, that is, not literally into life, but
only into aesthetic objectivity, into a self-contained and completely isolated
contemplation of a long-gone beauty. Such a pure aesthetic Plutarch never
was not, and such an isolated self-contained aesthetic objectivity
has always been deeply alien to him. He was not capable of subtle-sensual
impressionism of the Philostrates, to choke on interesting philological
the trifles of the Athenaeus, the dry and methodical description of the mythographers or
the shameless humor of Lucian's mythological sketches.
Perhaps some distant result of the Hellenic renaissance,
characteristically referred to as the second sophistry, it was very common in
Plutarch's verbosity, which sometimes reached with him to some kind of idle
chatter. It was not just talkativeness, but again a protective measure.
to protect the rights of an ordinary person to his existence, to his own
petty, but purely human needs and moods.
The true significance of the Hellenic revival for Plutarch.
This true significance must be ascertained in the way in which
used by Plutarch in his penchant for revivalist methodology. Exactly
visually given, contemplatively self-contained and aesthetically isolated
objectivity was never used literally by Plutarch, never
for him "pure" art, was never art for art's sake. In that
aesthetically isolated self-satisfaction, seemingly completely disinterested and in no way
something vitally uninterested, Plutarch always drew strength precisely for
life. Such aesthetic self-satisfaction always enlivened him, strengthened him,
freed from fuss and trifles, always had a transformative effect on the psyche,
on society, facilitating the struggle, enlightening the vanity and comprehending worldly
adversity and tragic hopelessness. That is why everydayism and moralism
Plutarch is always sprinkled with mythological and literary examples,
legends, fables and arbitrarily invented situations, anecdotes and
sharp words, at first glance, as if violating the smoothly flowing
presentation and, as it were, pointlessly leading away. All this mythology and
literature, all these anecdotes and witty situations have never and nowhere had
for Plutarch of independent significance, and in this sense they were involved
not for the purposes of isolated narcissism. All this was implemented in
life practice of a really acting person, all this exposed
the low and mediocre nature of vicious human passions, and all this made it easier,
refreshed, uplifted and wised the most ordinary little man.
Thus, the Renaissance-Hellenic theory of art for art's sake is not
depriving a person of his rights to everyday life, immediately and simultaneously
turned out to be both aesthetically self-pressing and morally uplifting,
spiritually strengthening. Platonism in this sense has undergone a new development in Plutarch.
transfiguration, and classical cosmology, without losing their sublime beauty,
became an excuse for everyday people.
Antinomic-synthetic character of Plutarch's worldview and creativity.
As a result of our survey of the vast literary heritage of Plutarch
it must be said that at the present time for a philologist is a genuine
by the fall to reduce the work of Plutarch to any one
abstract principle. True, its socio-historical basis,
chronologically very accurate, imperatively demands to consider it as
the transition from the initial Hellenism, namely, to the Hellenic revival of the 2nd century. our
era. But this is too general a principle. The closest review
worldview and creative results indicates that
Plutarch is an extremely complicated Platonist who could not rise to
Platonic monism, but using its numerous
ideological overtones, often contradictory, that made this Platonism
unrecognizable. In an approximate enumeration, in this form, one could
present all these contradictory and in the full sense of the word antinomic
features of Plutarch with his synthesis, if not always philosophical, then always
clear and simple, good-natured and good-natured, naive and wise. Exactly, at
Plutarch combined universalism and individualism, cosmology and everydayism,
monumentality and everyday life, necessity and freedom, heroism and
moralism, solemnity and everyday prose, ideological unity and
incredible diversity of images, self-sufficing contemplation and
practical factography, monism and dualism, the desire of matter to
perfection. All the art of the historian of ancient literature and philosophy in
Plutarch's attitude is precisely to reveal and socially
historically substantiate precisely this antinomic-synthetic character of his
outlook and creativity. Such art requires the involvement
huge materials, and now this can only be remotely approached.
Plutarch and the End of Hellenism.
Plutarch was heavily influenced by the Hellenic revival, although
he used it to justify the rights of everyday man. But from what
Plutarch was certainly far away - this is from the grandiose completion of everything
Hellenism in the last four centuries of antiquity, when it was born, flourished and
the philosophical school of the Neoplatonists fell into decay. These Neoplatonists too
could not accept as final the theory of self-sufficient
contemplation. They carried through this purely poetic self-pressure,
thinking it through to that logical end, when poetic and purely
the mental image instead of a metaphor became a living reality,
a living thing and a self-acting substance. But the poetic
given as an independent material substance, there is already a myth; And
Neoplatonism III-IV centuries. AD just became precisely the dialectic of myth. At
Plutarch's attitude to myths was positive, but not in the sense of recognition in
them the primary substances of being itself. Myths for him, after all, too
remained at the stage of metaphorical moralism, although, of course, still
receding into the cosmological depths.

Literature:
A. Losev, “Plutarch. Essay on life and creativity.” ;
2. Plutarch. Works.