How should we read Xenophon’s Hiero?
Xenophon’s Hiero is a small work with a large Renaissance reputation. Translated at the beginning of the quattrocento by Leonardo Bruni, it was one of the first pagan Greek texts to receive a rendering into humanist Latin; it circulated widely across Europe, becoming the standard version until Erasmus’ re-translation. Bruni’s text now survives in nearly two hundred manuscripts, as the estimable David Marsh has shown [Catalogus Translationum, vii (1992)]. It also has a significant place within the humanist’s oeuvre: it is one of what I would call Bruni’s manifestoes – four remarkably assured works produced in a remarkably fruitful period of his early thirties, presenting his agenda for study and for action. The manifestoes include two original compositions: the Laudatio Florentinae urbis, a celebration of republican Florence; and the Dialogi ad Petrum Paulum Histrum, heralding a reform of literary scholarship, in which Bruni’s mentor, Coluccio Salutati, is presented as both the arbiter and the previous generation, while Niccolò Niccoli is given the role of radical firebrand. Alongside them are two translations, each dedicated to one of the figures in the Dialogi: to Salutati is sent a translation of St Basil on the use of reading the pagans – a highly appropriate tract considering the immediately contemporary attacks on Salutati for his ‘unchristian’ studies. To Niccoli Bruni thought it suitable to send Xenophon’s short dialogue on tyranny, the Hiero – but why? In what way is that apt? That is the question at issue.
In latter-day scholarship on Bruni’s ‘manifestoes’, interest has characteristically been concentrated on the original works. The significance of the translations produced alongside them has only recently begun to be explored. The Hiero is presently the subject of what we can be sure will be a stimulating doctoral thesis, and it is also central to a piece by Brian Jeffrey Maxson in the most recent issue of Renaissance Studies. It is an article which has left me waking up early in the morning pondering the question with which I opened. You see, Maxson describes the Hiero, without reservation, as ‘pro-monarchical’, while I have always taken the work to be subtly critical of one-man rule. My understanding perhaps owes something to Leo Strauss’s suspicious reading of the text; Strauss’s analysis, in turn, has been dismissed as being ‘as perverse as one can be’ by one classicist who would see the dialogue as an endorsement of rule over willing subjects, as is developed more fully in the Cyropaedia [V. J. Gray in Classical Quarterly, new series, xxxvi (1986)]. But, more recently, other classicists have wondered whether the Cyropaedia is as straightforwardly positive as has usually been thought [eg Y. L. Too in Pedagogy and Power (Cambridge, 1998)]; if that work can be read with suspicion, it leads us back to wondering about the Hiero. How can such a small text be subject to such diverse views?
The dialogue is deceptively simple. In a moment of leisure, the tyrant Hieron sits down with the poet Simonides, who asks his interlocutor to teach him from his experience who is happier, the tyrant or the private man. Hieron responds bemoaning his lot, enumerating how at every point his pleasure is thwarted by his status. This takes up the main part of the work. When he has finished, Simonides offers him advice on how to improve his situation and make his subjects be willing to be ruled by him – he should treat his country as his fatherland, and surpass all others in generosity and in kindness. If he does that, he will be happy and no one will be jealous of his happiness. The End. The dialogue stops there, with Hieron given no chance to respond or to thank the poet. It stops but does not conclude: this is a work which is artfully open-ended.
Xenophon’s refusal to close off the work, to declare a ‘victor’ in the debate (if it can be called that) allows and perhaps encourages the multiple meanings that have been given to the work. We could, then, simply finish here and get up from the table: the point of it is that its point is hard to define. But that still leaves two questions: why Xenophon should have wanted his work to be so open to interpretation? And if there are several ways of reading the work, what was Bruni’s? Let me focus on that second question.
The humanist dedication is itself a work of art which can often frame the text that follows and establish its relationship with the dedicatee. Leonardo Bruni does that in the preface to his translation of St Basil or in his later Plutarch dedications. In the contexts of those, the preface to the Hiero might seem odd: it has hardly anything to say about the work. Instead, it provides a brief biography of its author, praising Xenophon for his mastery of both arms and letters, describing how, after a successful military career, he was forced into exile by envious citizens and then turned his hand to philosophy. Niccoli could not but want, Bruni says, to embrace Xenophon. There is no mention in this preface of the subject-matter of the Hiero or of its characters. They are presented without introduction, as it were – except that the dialogue has been placed in a context in which what matters is the relationship between philosophy and political fortunes. In other words, Bruni does not hint at a particular political reading – either pro-monarchical or pro-republican – but does imply that reading is about politics.
It may be more usual to have a more forceful direction provided by a preface, rather than the gentle steering that Bruni masters here. But this is not unique in his literary career: take, for instance, his wonderful jeu d’ésprit, the Oratio Heliogabali, a speech placed into the mouth of a fictitious Roman emperor, exhorting the prostitutes of Rome to lasciviousness. That travelled without a preface – to the perplexity of some readers, it must said. On occasion, you will find copies with an added scribal note, explaining to the reader that this is to be read ironically and that Bruni was not, in fact, promoting vice. In contrast, it must be said, you would very rarely find such guidance notes in a copy of the Hiero – readers may not have had the same difficulty in understanding the purpose of that dialogue.
We have still not pinned down a particular meaning, a specific reading, to Bruni’s Xenophon – and that, I would suggest, is how Bruni would want it to be. He had, I suspect, no intention of closing down the open-ended nature of the dialogue. That said, he does re-weight the text somewhat by a simple act of translation. I am not thinking of his ‘straightening out’ of the text – at the point when Simonides teases Hieron about his catamite, in the Latin the young lover becomes a girl – but rather his emphasis on the word ‘tyrant’. Latin is notoriously a less supple language than Greek: the word ‘tyrannos’ could have connotations of rule that was either despotic or something less negative – the Latin ‘tyrannus’ has no such ambivalence. Perhaps a translator should consider using a different term to render ‘tyrannos’; Bruni did not. And what is more, he changes the title of the work so that it circulated not, primarily, as Hiero but more often as Tyrannus.
Bruni’s translation, then, comes in three parts: the short work itself, preceded by the shorter preface, itself preceded by the shortest, laconic (I nearly said Tacitean) part, the title. That title announces the dialogue to be about the tyrant, the evil monarch – an implicit contrast with the good citizen, Xenophon, who was its author. And yet this still does not tell us how to understand the dialogue; it does not reveal a straightforward message. But, then, how could it: if one were truly sitting in front of a tyrant, as Simonides was and as we might see ourselves as his successors, can we trust a word our interlocutor says? And can we, in turn, trust ourselves to be honest in his presence? Would we leave our conversation open-ended because we could not be open?