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Plutarch’s Troy
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Chapter 12 argues that Plutarch shows no interest in contemporary debates on Troy’s location and its relation to the city of Ilium but constructs his own, imaginary Troy, on the basis of his sources, above all Homer, in order to illustrate his subjects’ aspirations, characters, and emotions, while highlighting Homer’s tremendous and lasting significance. Plutarch’s take on Troy is explored on the basis of two examples, Plutarch’s descriptions of Alexander’s visit to Troy—which is contrasted with his silence concerning Caesar’s visit—and his masterly portrayal of Cato’s daughter Portia and her emotional response to a painting of Troy. Plutarch uses Alexander’s visit to Troy in order to invest the young Macedonian king with internal depth and to show Homer’s importance for the citizens of Ilium. The painting of Troy Portia sees in Elea is a catalyst of emotions and actions that are mediated by internal and external viewers/narrators and ultimately Plutarch’s readers.
Title: Plutarch’s Troy
Description:
Chapter 12 argues that Plutarch shows no interest in contemporary debates on Troy’s location and its relation to the city of Ilium but constructs his own, imaginary Troy, on the basis of his sources, above all Homer, in order to illustrate his subjects’ aspirations, characters, and emotions, while highlighting Homer’s tremendous and lasting significance.
Plutarch’s take on Troy is explored on the basis of two examples, Plutarch’s descriptions of Alexander’s visit to Troy—which is contrasted with his silence concerning Caesar’s visit—and his masterly portrayal of Cato’s daughter Portia and her emotional response to a painting of Troy.
Plutarch uses Alexander’s visit to Troy in order to invest the young Macedonian king with internal depth and to show Homer’s importance for the citizens of Ilium.
The painting of Troy Portia sees in Elea is a catalyst of emotions and actions that are mediated by internal and external viewers/narrators and ultimately Plutarch’s readers.
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