"This book considers cultural identity and power relations in early fourth-century BCE Greece through a reading of Xenophon's historical narratives, the Hellenica, Anabasis and Cyropaedia. These texts depict conflicts between Greek states, conflicts between Greeks and non-Greeks, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in visual terms. We witness spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, the reader is encouraged imaginatively to place themselves in the position of the historical protagonists. In viewing events from different perspectives, and therefore occupying multiple, often conflicting political positions, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The reader is prompted to take pleasure in the sight of Panhellenic achievement, but also to witness the divisions and conflicts between Greeks on class and ethnic lines. Similarly the reader is invited to identify with spectacular Greek and non-Greek figures of power as emblems of Greek imperial potential, but also to see through the eyes of those communities subjugated at their hands. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism"--

"This book considers problems of cultural identity and power in the context of the competing imperialisms of the early 4th century BC through a reading of Xenophon's works of narrative history, the Hellenica , Anabasis and Cyropaedia . These texts deal with highly contentious subject matter: the representation of conflicts between Greek states, conflicts between Greeks and non-Greeks, especially Persia, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in highly visual terms. We are shown spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, which is also used, with slightly different emphasis, by Xenophon's historiographical predecessors Herodotus and Thucydides, the reader is encouraged imaginatively to place themself in the position of the historical protagonists. Through being allowed to view events from different perspectives, and therefore to occupy multiple, often conflicting political positions in close sequence or even simultaneously, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism. Through offering an often contradictory and conflictual reading experience, Xenophon's Hellenica , Anabasis and Cyropaedia both reveal and enact conflicts within elite Greek political self-consciousness in the late Classical period"--

This book considers cultural identity and power relations in early fourth-century BCE Greece through a reading of Xenophon's historical narratives, the Hellenica, Anabasis and Cyropaedia. These texts depict conflicts between Greek states, conflicts between Greeks and non-Greeks, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in visual terms. We witness spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, the reader is encouraged imaginatively to place themselves in the position of the historical protagonists. In viewing events from different perspectives, and therefore occupying multiple, often conflicting political positions, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The reader is prompted to take pleasure in the sight of Panhellenic achievement, but also to witness the divisions and conflicts between Greeks on class and ethnic lines. Similarly the reader is invited to identify with spectacular Greek and non-Greek figures of power as emblems of Greek imperial potential, but also to see through the eyes of those communities subjugated at their hands. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism.

The great helmsman, the watchdog of the people, the medicine the state needs: all these images originated in ancient Greece, yet retain the capacity to influence an audience today. This is the first systematic study of political imagery in ancient Greek literature, history and thought, tracing it from its appearance, influenced by Near Eastern precursors, in Homer and Hesiod, to the end of the classical period and Plato's deployment of images like the helmsman and the doctor in the service of his political philosophy. The historical narrative is complemented by thematic studies of influential complexes of images such as the ship of state, the shepherd of the people, and the state as a household, and enhanced by parallels from later literature and history which illustrate the persistence of Greek concepts in later eras.

Introduces Xenophon's writings and their importance for Western culture, while explaining the main scholarly controversies.

"If you inquire into the origins of the novel long enough," writes James Tatum in the preface to this work, ". . . you will come to the fourth century before our era and Xenophon's Education of Cyrus, or the Cyropaedia." The Cyrus in question is Cyrus the Great, the founder of the Persian empire celebrated in the Book of Ezra as the liberator of Israel, and the Cyropaedia, written to instruct future rulers by his example, became not only an inspiration to poets and novelists but a profoundly influential political work. With Alexander as its earliest student, and Elizabeth I of England one of its later pupils, it was the founding text for the tradition of "mirrors for princes" in the West, including Machiavelli's Prince. Xenophon's masterpiece has been overlooked in recent years: Tatum's goal is to make it fully meaningful for the twentieth-century reader. To accomplish this aim, he uses reception study, philological and historical criticism, and an intertextual and structural analysis of the narrative. Engaging the fictional and the political in a single reading, he explains how the form of the work allowed Xenophon to transcend the limitations of historical writing, although in the end the historian's passion for truth forced him to subvert the work in a controversial epilogue. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book offers a concise introduction to Xenophon, the Athenian historian, political thinker, moral philosopher and literary innovator who was also a pupil of Socrates, a military general on campaign in Persia, and an exile in residence in the Peloponnese during the late fifth and fourth centuries BC. Alive during one of the most turbulent periods in Greek history, Xenophon wrote extensively about the past and present. In doing so he not only invented several new genres, but also developed pointed political analyses and probing moral critiques. It is the purpose of this book to explore Xenophon's life, writing and ideas, and reception through thematic studies that draw upon the full range of his work. Starting with his approach to the past and to Socrates, it demonstrates how the depiction of events and people from previous times and places are inflected with contemporary concerns about political instability and the challenges of leadership, as well as by a 'Socratic' perspective on politics and morality. The following in-depth examination of Xenophon's theories concerning political organization and the bases for a good life highlight the interconnectivity of his ideas about how to live together and how to live well. Although Xenophon addresses conceptual issues, his writings provide a practical response to real-life problems. Finally, an evaluation of his significance as an inspiration to later writers in their creative interrogations of human affairs brings the investigations to a close. This book thus illuminates Xenophon's importance within the vibrant intellectual culture of ancient Greece as an active participant in and evaluator of his world, as well as his impact over time.