Abstract

The ambiguity of Xenophon’s Cyropaedia, a fictionalised portrait of Cyrus the Great and his rise to rule an empire, has led present-day interpretations to diverge widely. Should Cyrus be seen as an ideal king, whose capabilities exceed those of other rulers, or a despot whose ascent to power depends on deception and manipulation? This paper uses the modern conceptualisation of transgression to look at Xenophon’s careful depiction of political and personal boundaries throughout the work. It suggests that the key final episode of the work, Cyrus’ return to his home in Persia (Cyropaedia 8.5), shows that Cyrus retains a respect for both political and personal boundaries; this offers a further challenge to ‘republic to empire’ readings of the work.