While the relationship between fathers and sons, real or metaphorical, is still a dominant paradigm among classicists, this paper considers the rival contribution of Roman sons-in-law to the processes of collaboration and succession. It discusses the tensions, constraints, and obligations that soceri – generi relationships involved, then claims a significant role for sons-in-law in literary production. A new category is proposed here: “son-in-law literature,” with texts offered as recompense for a wife or her dowry, or as substitute funeral orations. Cicero (...) and Tacitus are two authors for whom the relationship played a key role in shaping realities and fantasies of advancement. The idealized in-law bonds of De Amicitia, Brutus, and De Oratore are set against Cicero's intellectual aspirations and real-life dealings with a challenging son-in-law, while Tacitus' relationship to Agricola can be seen to affect both his historiographical discussions of father–son-in-law relationships and the lessons he drew from them about imperial succession. (shrink)

Alcibiades is one of the most explicitly sexualized figures in fifth-century Athens, a "lover of the people" whom the demos "love and hate and long to possess" (Ar. Frogs 1425). But his eros fits ill with the normative sexuality of the democratic citizen as we usually imagine it. Simultaneously lover and beloved, effeminate and womanizer, Alcibiades is essentially paranomos, lawless or perverse. This paper explores the relation between Alcibiades' paranomia and the norms of Athenian sexuality, and argues that his eros (...) reveals an intrinsic instability within the sexual economy of the democracy: the desire he embodied blurred the categories that defined Athenian masculinity; the desire he inspired rendered the demos passive and "soft." This same instability can be seen in Thucydides' juxtaposition of the mutilation of the Herms and the legend of Harmodius and Aristogeiton. These two episodes (obscurely linked by Thucydides) together tell of an idealized citizen body under threat. The tyrannicide story figures the democratic citizen as an elite lover, whose sexual dominance is vital to his political autonomy. The Herms, with their prominent phalloi, symbolized this citizen-lover, and thus their mutilation was an assault on the masculinity, as well as political power, of the demos. The tyrannicide legend seems to promise a defense against this threat of civic castration; but instead of shoring up the sexually-dominant citizen, Thucydides' version of the legend merely reveals his frailty and fictionality: even in Athens' heroic past there is no inviolable democratic eros to cure the impotence of mutilation and tyranny. Reading these two episodes against the backdrop of Alcibiades' paranomia (as described by Plutarch and Plato), this paper examines the nature of democratic masculinity, the (eroticized) relation between demagogue and demos, and the place of perverse desire within the protocols of sex. (shrink)

Abstract The aim of this article is to make use of recent research on `political eros ' in order to clarify the connection that Plato establishes between eros and tyranny in Republic IX, specifically by elucidating the intertextuality between Plato's work and the various historical accounts of Alcibiades. An examination of the lexicon used in these accounts will allow us to resolve certain interpretive difficulties that, to my knowledge, no other commentator has elucidated: why does Socrates blame eros for the (...) decline from democracy into tyranny? What does he mean by ` eros ' here, and what link existed between eros and tyranny in the minds of his contemporaries? And finally, who are the mysterious `tyrant-makers' ( turannopoioí , 572e5-6) who, according to Socrates, introduce a destructive eros in the soul of the future tyrant? After a careful examination of the passage from book IX on the genesis of the tyrannical man (focused on the last stage of the metamorphosis, which is concerned with éros túrannos , 572d-573b), I will offer answers to these questions by turning to the writings of Thucydides, Aristophanes and Plutarch while examining the portrait of Alcibiades that Plato paints in the Alcibiades I and Symposium. (shrink)