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Flavius Arrian
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Flavius Arrian


Arrian of Nicomedia (/ˈæriən/; Latin: Lucius Flavius Arrianus Xenophon; Greek: Ἀρριανός c. AD c. 86 – c. 160) was a Greek[3] historian, public servant, military commander and philosopher of the 2nd-century Roman period. As with other authors of the Second Sophistic, Arrian wrote primarily in Attic (Indica is in Herodotus' Ionic dialect, his philosophical works in Koine Greek).

The Anabasis of Alexander is perhaps his best-known work, and is generally considered one of the best sources on the campaigns of Alexander the Great. (It is not to be confused with Anabasis, the best-known work of the Athenian military leader and author Xenophon from the 5th-4th century BC.) Arrian is also considered as one of the founders of a primarily military-based focus on history. His other works include Discourses of Epictetus and Indica.



Arrian was born of Greek ethnicity[4][5][6] in the coastal town of Nicomedia (present-day Izmit), the capital of the Roman province of Bithynia,[7] in what is now north-western Turkey, about 70 km from Byzantium (later Constantinople, now Istanbul). He studied philosophy in Nicopolis in Epirus, under the Stoic philosopher Epictetus, and wrote two books about the philosopher's teachings. At the same time he entered the Imperial service, and served as a junior adviser on the consilium of Gaius Avidius Nigrinus, governor of Achaea and a close friend of the future Emperor Hadrian, around 111-114. Very little is known about his subsequent career - though it is probable that he served in Gaul and on the Danube frontier, and possible that he was in Baetica and Parthia - until he held the office of Consul in 129 or 130. In 131 he was appointed governor of the Black Sea province of Cappadocia and commander of the Roman legions on the frontier with Armenia. It was unusual at this time for a Greek to hold such high military command.

In 135, Cappadocia was threatened by an Alan invasion. Arrian later wrote a military treatise called Ektaxis kata Alanōn, which detailed the battle against the Alans, and the Technē Taktikē in which he described how he would organise the legions and auxiliary troops at his disposal, among which legions XII Fulminata and XV Apollinaris. He deployed the legionaries in depth supported by javelin throwers, archers, and horse archers in the rear ranks to defeat the assault of the Alan cavalry using these combined arms tactics. However, Arrian's work may have been entirely hypothetical, because there is no historical record of a battle between Romans and Alans that year. During this period Arrian wrote several works on military tactics, including Ektaxis kata Alanōn. He also wrote a short account of a tour of inspection of the Black Sea coast in the traditional 'periplus' form (in Greek) addressed to the Emperor Hadrian, the Periplus Ponti Euxini or "Circumnavigation of the Black Sea".

Arrian left Cappadocia shortly before the death of his patron Hadrian, in 138, and there is no evidence for any further public appointments until 145/6 when he was elected Archon at Athens, once the city's leading political post but by this time an honorary one. It was here that he devoted himself to history, writing his most important work, the Anabasis Alexandri or "The Campaigns of Alexander". He also wrote the Indica, an account of the voyage by Alexander's fleet from India to the Persian Gulf under Nearchus. He also wrote a political history of the Greek world after Alexander, most of which is lost. It is not known when Arrian died.

Arrian is an important historian because his work on Alexander is the widest read, and arguably the most complete, account of the Macedonian conqueror. Arrian was able to use sources which are now mostly lost, such as the contemporary works by Callisthenes (the nephew of Alexander's tutor Aristotle), Onesicritus, Nearchus and Aristobulus. Most important of all, Arrian had the biography of Alexander by Ptolemy, one of Alexander's leading generals and friend from childhood until Alexander's death.

Criticism

Arrian says that Alexander's greatness is worthy of praise and glory, and should be known by future generations. It seems that he wanted to make Alexander's life a legend—which it is today—through his book. Not all historians agree with this goal. A. B. Bosworth, an expert on Greek history,[8][9] criticized what he viewed as Arrian's hagiography in 'Errors in Arrian' (1976)

Bosworth, in line with the epigraphic tradition of modern classical studies, points out that Arrian is a secondary source of Alexander's biographical data: "Arrian is prone to misread and misinterpret his primary sources, and the smooth flow of his narrative can obscure treacherous quicksands of error". One of his principal sources, Ptolemy, was an interested party. Bosworth writes that "not only has it been virtually disproved that Ptolemy constructed his history from archival material, but it appears that he inserted his own propaganda to exaggerate his personal achievements under Alexander and to discredit those of his rivals". Bosworth alleges that "Arrian was prone to the errors of misunderstanding and faulty source conflation that one would expect in a secondary historian of antiquity".

Bosworth further points out that "Arrian makes it quite plain that his work is designed as a literary showpiece. Alexander's achievements, he says, have never been adequately commemorated in prose or verse. The field is therefore open for him to do for the Macedonian king what Pindar had done for the Deinomenid tyrants and Xenophon for the march of the Ten Thousand". Bosworth states that "Arrian has in mind Thucydides' famous strictures of histories of the pentekontaetia, on which the passage is patently modelled". The charge is that Arrian has written a panegyric rather than a work of serious history.

Response

Alexander was a controversial figure in antiquity, as he is today. A favorable biography of him was thus bound to be controversial from the start. In response to criticism, Arrian had this to say about his work:

"No matter who I am that make this claim. I need not declare my name- though it is by no mean unheard of in the world; I need not specify my country and family, or any official position I may have held. Rather let me say this: that this book of mine is, and has been from my youth, more precious than country and kin and public advancement- indeed, for me it is these things."

Language and style

At the time of Arrian's daily life, the koine, or "common Greek" of the Hellenistic and Roman periods was in universal spoken use. As a writer, Arrian was obliged by the prevailing literary mores of his time to compose his works in "good Greek," which meant imitating as closely as possible the grammar and literary style of the Athenian writers of the 5th century BC. In Arrian's case this meant following the Attic style of Xenophon and Thucydides. His account of India, the Indica, was written in an equally wooden imitation of the language of Herodotus.

The result is a work which was inevitably stilted and artificial, although Arrian handled the strain of writing 500-year-old Greek better than some of his contemporaries. Xenophon was a good model of clear and unpretentious prose, which Arrian was wise to follow. He considered his Cynegeticon, ("On Hunting"), as an addition to the work of the same name by Xenophon. Modern historians may regret that so many of the earlier works on Alexander have been lost, but many of them are grateful to Arrian for preserving so much.

Conclusion

The scholarly consensus is that Arrian's work is to a considerable extent a reworking of Ptolemy; albeit with material from other writers, particularly Aristobulus, brought in where Arrian thought them useful. Ptolemy was a general, and Arrian relied on him as a professional of military science and hence for details of Alexander's battles, on which Ptolemy was certainly well informed. Details of geography and natural history were taken from Aristobulus, although Arrian himself had a wide knowledge of Anatolia and other eastern regions.

Today more interest focuses on Alexander as a man and as a political leader, and here Arrian's sources are less clear and his reliability more questionable. Probably it was not possible for Arrian to recover an accurate picture of Alexander's personality 400 years after his death, when most of his sources were partisan in one way or another. Aristobulus, for example, was known as kolax (κόλαξ), the flatterer, while other sources were hostile or had political agendas.

Arrian was in any case primarily a military historian, and here he followed his great model (from whom he earned his nickname), the terse and narrowly-focused soldier-historian Xenophon. He has little to say about Alexander's personal life, his role in Greek politics or the reasons why the campaign against Persia was launched in the first place. More than 1800 years later, Mary Renault, an admirer of both Alexander and Arrian, wrote an acclaimed biography of Alexander, "The Nature of Alexander," drawing heavily on Arrian's work, as well as the few other sources which are still extant. Renault's work focuses on Alexander's character, motivations, strengths and weaknesses. With its similar title and prominent mention of Arrian in the preface, it may have been intended as a sequel to Arrian's "The Campaigns of Alexander," or simply to fill in the gaps in his account.

Nevertheless, Arrian's work gives a reasonably full account of Alexander's life during the campaign, and in his personal assessment of Alexander he steers a judicious course between flattery and condemnation. He concedes Alexander's emotionality, vanity, and weakness for drink, but acquits him of the grosser crimes some writers accused him of. But he does not discuss Alexander's wider political views or other aspects of his life that the modern reader would like to know more about.

Other works

Arrian's other works preserve the philosophy of Epictetus in Discourses of Epictetus (c. 108 AD), and include the Indica a description of Nearchus' voyage from India following Alexander's conquest, the Ars Tactica, and other short works.


Yaad Kuch Aata Nahin, Yeh Hua Kab Se...Ho Gaya Mushkil Chhupaana Raaz Yeh Sab Se...Tum Kaho To Maang Loon Main Aaj Kuch Rab Se Rabba mere rabba rabba, rabba mere rabba,Is pyaar ko main kya naam doon Roshni se bhare bhare..Bhare bhare naina tere..Chhooke bole na chhoona mujhe Suraj hua maddham, chaand jalne laga..Aasmaan yeh haai kyoon pighalne laga..Main thehra raha, zameen chalne lagi.. Bheeghi Bheeghi Raaton Mein, Phir Tum Aao Na...Asi Barsaton Mein Aao Na.. Humko Humise Chura Lo, Dil Mein Kahin Tum Chhupa Lo,Hum Akele Kho Naa Jaaye, Door Tumse Ho Naa Jaaye,Paas Aao Gale Se Lagaa Lo Toota Toota ek parinda...Jo bhi kaal hua kal bhi phir aayaga Hai...Tumse milke dil ka hai jo haal kya kahe..Ho gaya hai kaisa yeh kamaal kya kahe Ruka Ja, Oh Jaana Wali Ruka Ja...Nazara Mein To Tera Bhura Sa Sahi..Adami Mein Bhura Nahi Dil Ka Aja Re, Aja Re Oh Mere Dilbar Aja..Dil Ki Pyaas Buja Ja Re...Oh Noorie kabhie kabhie mere dil mein khayaal aata hai...ke jaise tujh ko banaya gaya hai mere liye..ke jaise tujh ko banaya gaya haiKitna bechain hoke tumse mila...Tumko kya tha khabar tha main kitna akela ..Ke kitna mohabbat hai tumse...Hai...Tumse milke dil ka hai jo haal kya kahe..Ho gaya hai kaisa yeh kamaal kya kaheTujhe dekha to yeh jaana sanam..Pyaar hota hai deewana sanam..Tujhe dekha to yeh jaana sanam.Tujhe dekha to yeh jaana sanam..Pyaar hota hai deewana sanam.Ab ahan se kahan jaaye hum..Teri bahon mein mar jaaye hum Aksar is duniya mein anjaane milte hain,Anjaani raahon mein milke kho jaate hain,Lekin hamesha voh yaad aate hain Na kajre ki dhaar, na motiyon ke haar,Na koi kiya singaar phir bhi kitni sundar ho,Tum kitni sundar ho Na jaane mere dil ko kya ho gaya..Abhi to yahin tha, abhi kho gaya..Ho gaya hai tujhko to pyaar sajna..Lakh kar le tu inkaar sajna..Dildaar sajna, hai yeh pyaar sajna



Dil Dooba Dil Dooba...Neela Akho Mein Yeh Dil Dooba.. Neela Neela Amber Per Chand Jab Aye...Aisa Koi Saathi Ho ..Aisa Koi Premi Hoi Jaanam Dekh Lo Mit Gayeen Dooriyaan..Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan...Kaisi Sarhadein...Kaisi Majbooriyaan..Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan...Tum Chhupaa Na Sakogi Main Vo Raaz Hoon...Tum Bhulaa Na Sakogi Vo Andaaz Hoon...Goonjtaa Hoon Jo Dil Mein To Hairaan Ho Kyon...Main Tumhaare Hi Dil Ki To Aavaaz Hoon...Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan... Aisa muhje tu na dehka na...seeena se laga loonga, tum ko tumse chura loonga...dil mein chupa loonga Gila Gila Dil Gila.. Mila mila mila koi mila ...Teri Ha Adaar Laga sab se judaa hai dil tuje per fida hai... Dhoom Dhoom let ya body do the talking..Dhoom Dhoom be the fire thats buring..Dhoom machaalay dhoom machaalay dhoom Tere Liye Hum Hai Jiye..Hota ke siya...Dil mein Magar chalte reha chaahat ke Diya... Zara zara bahekta hai, mahekta hai,Aaj to mera tan badan, main pyaasi hoon,Mujhe bhar le apni baahon mein Dheera dheera se mera zindagi mein ana...tumsi pyar huma hai kitna jaana jaana Pyar ke isa khel mein..do dil aur mehl mein, tera peecha na chodunga soniya Mera mehboob sanam, tera ashiq hogaya hum...milaka nazaaro se nazaar tera pyaar mein kogaya hum... Wada Raha Pyar Se Pyar Ka, Hum Na Hoga Juda, Dil Ke Dhadkhan Sunrha Hai Mera Khudda Dheera Dheera Se Mera Zindagi Mein Ana...Tumsi Pyar Huma Hai Kitna Jaana JaanaSaamne hain raastein, hum guzar jaaye...Ya kisi ke vaaste hum thaher jaaye...Ab yahan tak aa gaye hain, ab kidhar jaaye...Jaaduuuuuuu teri nazar...Kushboo tera baadan..tu har kar, ya nah kar...Kali nagin ke jaise..Zulfe teri kali kali..Sagar ko moti aur..Suraj ko tu dati hai lali..Kali nagin ke jaise..Zulfe teri kali kaliYeh din yeh mahine saal guzar jaayenge mere yaar..Magar itna rakhna khayaal..Jeena sirf mere liye, jeena sirf mere liye..Kasam se jeena sirf mere liye, jeena sirf mere liye Banno ki saheli resham ki dori..Chhup chhupke sharmaaye dekhe chori chori..Yeh maane ya na maane main to ispe mar gaya..Yeh ladki haai allah, haai haai re allah Tum paas aaye, yun muskuraaye,Tumne na jaane kya sapne dikhaaye,Tum paas aaye, yun muskuraaye,Tumne na jaane kya sapne dikhaaye,Ab to mera dil jaage na sota hai,Kya karoon haaye, kuch kuch hota hai
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Flavius Arrian (2nd century) Greek historian of the campaigns of Alexander, wrote of the Hindus:

"They are remarkably brave, and superior in war to all Asiatics; they are remarkable for integrity; they are so reasonable as seldom to have recourse to law suits, and so honest as to require neither locks to their doors nor writings to bind their agreements. They are in the highest degree truthful."

(source: India in Bondage: Her Right to Freedom - By Rev. Jabez T. Sunderland p. 178).


Yaad Kuch Aata Nahin, Yeh Hua Kab Se...Ho Gaya Mushkil Chhupaana Raaz Yeh Sab Se...Tum Kaho To Maang Loon Main Aaj Kuch Rab Se Rabba mere rabba rabba, rabba mere rabba,Is pyaar ko main kya naam doon Roshni se bhare bhare..Bhare bhare naina tere..Chhooke bole na chhoona mujhe Suraj hua maddham, chaand jalne laga..Aasmaan yeh haai kyoon pighalne laga..Main thehra raha, zameen chalne lagi.. Bheeghi Bheeghi Raaton Mein, Phir Tum Aao Na...Asi Barsaton Mein Aao Na.. Humko Humise Chura Lo, Dil Mein Kahin Tum Chhupa Lo,Hum Akele Kho Naa Jaaye, Door Tumse Ho Naa Jaaye,Paas Aao Gale Se Lagaa Lo Toota Toota ek parinda...Jo bhi kaal hua kal bhi phir aayaga Hai...Tumse milke dil ka hai jo haal kya kahe..Ho gaya hai kaisa yeh kamaal kya kahe Ruka Ja, Oh Jaana Wali Ruka Ja...Nazara Mein To Tera Bhura Sa Sahi..Adami Mein Bhura Nahi Dil Ka Aja Re, Aja Re Oh Mere Dilbar Aja..Dil Ki Pyaas Buja Ja Re...Oh Noorie kabhie kabhie mere dil mein khayaal aata hai...ke jaise tujh ko banaya gaya hai mere liye..ke jaise tujh ko banaya gaya haiKitna bechain hoke tumse mila...Tumko kya tha khabar tha main kitna akela ..Ke kitna mohabbat hai tumse...Hai...Tumse milke dil ka hai jo haal kya kahe..Ho gaya hai kaisa yeh kamaal kya kaheTujhe dekha to yeh jaana sanam..Pyaar hota hai deewana sanam..Tujhe dekha to yeh jaana sanam.Tujhe dekha to yeh jaana sanam..Pyaar hota hai deewana sanam.Ab ahan se kahan jaaye hum..Teri bahon mein mar jaaye hum Aksar is duniya mein anjaane milte hain,Anjaani raahon mein milke kho jaate hain,Lekin hamesha voh yaad aate hain Na kajre ki dhaar, na motiyon ke haar,Na koi kiya singaar phir bhi kitni sundar ho,Tum kitni sundar ho Na jaane mere dil ko kya ho gaya..Abhi to yahin tha, abhi kho gaya..Ho gaya hai tujhko to pyaar sajna..Lakh kar le tu inkaar sajna..Dildaar sajna, hai yeh pyaar sajna



Dil Dooba Dil Dooba...Neela Akho Mein Yeh Dil Dooba.. Neela Neela Amber Per Chand Jab Aye...Aisa Koi Saathi Ho ..Aisa Koi Premi Hoi Jaanam Dekh Lo Mit Gayeen Dooriyaan..Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan...Kaisi Sarhadein...Kaisi Majbooriyaan..Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan...Tum Chhupaa Na Sakogi Main Vo Raaz Hoon...Tum Bhulaa Na Sakogi Vo Andaaz Hoon...Goonjtaa Hoon Jo Dil Mein To Hairaan Ho Kyon...Main Tumhaare Hi Dil Ki To Aavaaz Hoon...Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan... Aisa muhje tu na dehka na...seeena se laga loonga, tum ko tumse chura loonga...dil mein chupa loonga Gila Gila Dil Gila.. Mila mila mila koi mila ...Teri Ha Adaar Laga sab se judaa hai dil tuje per fida hai... Dhoom Dhoom let ya body do the talking..Dhoom Dhoom be the fire thats buring..Dhoom machaalay dhoom machaalay dhoom Tere Liye Hum Hai Jiye..Hota ke siya...Dil mein Magar chalte reha chaahat ke Diya... Zara zara bahekta hai, mahekta hai,Aaj to mera tan badan, main pyaasi hoon,Mujhe bhar le apni baahon mein Dheera dheera se mera zindagi mein ana...tumsi pyar huma hai kitna jaana jaana Pyar ke isa khel mein..do dil aur mehl mein, tera peecha na chodunga soniya Mera mehboob sanam, tera ashiq hogaya hum...milaka nazaaro se nazaar tera pyaar mein kogaya hum... Wada Raha Pyar Se Pyar Ka, Hum Na Hoga Juda, Dil Ke Dhadkhan Sunrha Hai Mera Khudda Dheera Dheera Se Mera Zindagi Mein Ana...Tumsi Pyar Huma Hai Kitna Jaana JaanaSaamne hain raastein, hum guzar jaaye...Ya kisi ke vaaste hum thaher jaaye...Ab yahan tak aa gaye hain, ab kidhar jaaye...Jaaduuuuuuu teri nazar...Kushboo tera baadan..tu har kar, ya nah kar...Kali nagin ke jaise..Zulfe teri kali kali..Sagar ko moti aur..Suraj ko tu dati hai lali..Kali nagin ke jaise..Zulfe teri kali kaliYeh din yeh mahine saal guzar jaayenge mere yaar..Magar itna rakhna khayaal..Jeena sirf mere liye, jeena sirf mere liye..Kasam se jeena sirf mere liye, jeena sirf mere liye Banno ki saheli resham ki dori..Chhup chhupke sharmaaye dekhe chori chori..Yeh maane ya na maane main to ispe mar gaya..Yeh ladki haai allah, haai haai re allah Tum paas aaye, yun muskuraaye,Tumne na jaane kya sapne dikhaaye,Tum paas aaye, yun muskuraaye,Tumne na jaane kya sapne dikhaaye,Ab to mera dil jaage na sota hai,Kya karoon haaye, kuch kuch hota hai




 
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