Like several experiments in language of the writers of the Elizabethan age, they were afterwards lost; and though occasionally found in Plutarch and imitators of Plato, they have not been accepted by Aristotle or passed into the common dialect of Greece.
Plutarch is the classical writer I return to when I want to know how the Atlantis story travelled after Plato.
On Timaeus & Critias - Plato's Island of Atlantis I keep two passages from Plutarch's Life of Solon.
In the first, Plutarch writes that Solon studied with Psenophis of Heliopolis and Sonchis of Sais, very learned priests, from whom, as Plato says, he heard the story of the lost Atlantis and tried to bring it to the Greeks in poetic form.
On Ancient sources on Atlantis I point out that it is Plutarch, not Plato, who gives the name Sonchis to the Egyptian priest Solon spoke with, that he seems to have believed the story to be true, and that in The Face of the Moon he says people once sailed to the continent on the other side of the Atlantic.
Plutarch is one of my three favourite witnesses there, with Strabo and Aelianus.
Where Was Atlantis lists him among the classical authors who referred to Atlantis, and on Atlantis, Fallen Angels, and Archaic DNA Robert Sepehr cites Plutarch for Plato's ambitious plans for the story that he could not finish before his death.
On Oracle of Delphi known for its prophetic insights and deep spiritual authority I note that Plutarch served as one of the two priests at Delphi.
On Couvade Plutarch reports, after Paeon of Amathus, a custom in Cyprus in which a young man imitated the cries and gestures of a woman in labour to honour Ariadne, who died while pregnant.
For every page I tagged with Plutarch, see the Plutarch tag archive.
(5) - Plutarch recounts Solon's journey to Egypt, IT IS HE who gives the name "Sonkis" (Sonchis) to the Egyptian priest with whom Solon spoke, not Plato.
My favorites are definitely Strabo, Plutarch and Aelianus.
Greek historian Plutarch described the Arcadians as a pre-lunar people.
Apparently, they failed to notice that many authors of classical literature, such as Proclus, Diodorus, Plutarch, Posidonius, Strabo, and Pliny, all made references to Atlantis.
Plutarch speaks of optical instruments used by Archimedes "to manifest to the eye the largeness of the sun." "There are actual astronomical calculations in existence, with calendars formed upon them, which eminent astronomers of England and France admit to be genuine and true, and which carry back the antiquity of the science of astronomy, together with the constellations, to within a few years of the Deluge, even on the longer chronology of the Septuagint." ("The Miracle in Stone," p.
The five intercalated days to make up the three hundred and sixty-five days were called by the Mexicans Nemontemi, or useless, and on them they transacted no business; while the Egyptians, during that epoch, celebrated the festival of the birth of their gods, as attested by Plutarch and others.
According to Plutarch, who served as a priest at Delphi, the Pythia could be from a variety of backgrounds—rich or poor, educated or illiterate.
Prophecies could be deferred if omens were unfavorable, as seen in instances noted by Plutarch, where the Pythia's state after a session was likened to exhaustion from an intense physical ordeal.
After 200 BCE, Delphi was overseen by two priests, one of whom was Plutarch.
According to Plutarch, Plato had ambitious plans for the Atlantis narrative but could not finish them before his death.
Psenophis and Sonkhis (Sonchis): Egyptian priests from Heliopolis and Sais, who told Solon about Atlantis (per Plutarch).
Solon’s Role: Solon learned of Atlantis from Egyptian priests Psenophis and Sonkhis in Sais and Heliopolis, intending to share it poetically with Greeks (per Plutarch).
Plato’s Unfinished Work: Plato began elaborating Atlantis in Timaeus and Critias but died before completing it, leaving it unfinished like the Olympieion temple (per Plutarch).
The Ancient Greek writer Plutarch mentioned a custom in Cyprus, reported by Paeon of Amathus, in which a young man would imitate the crying and gestures of women in labor to honor the myth of Ariadne, who died while pregnant.