Maybe it’s because Herodotus is so aptly referred to as “history’s screenwriter,” but I was less impressed by Iggulden’s interpretation of the events in The Gates of Athens than I was with his interpretation of Xenophon’s adventures. Where the story he told of Xenophon’s exploits was very faithful to the history, The Gates of Athens seemed to include a lot more supposition on Iggulden’s part, mostly to add interpersonal drama. Yet he is telling a story about some of the most dramatic moments in recorded history, and I wonder if added drama is really necessary.
While other works of Xenophon's have taken me a week or even longer to get through, I finished this one in just a night, and it wasn't even the only thing that I read that evening. Agesilaus is a biography of the titular Spartan king, and unlike Xenophon's "biography" of Cyrus the Great, is thought to be fairly accurate historically, if very brief, and somewhat biased. Where a modern biographer often goes out of his or her way to find "dirt" on their subject, highlighting their shortcomings and failures no matter how respected and revered a figure they might be, or how significant of feats they might have accomplished, it has been more common in history to write biographies that are meant to praise a figure and elucidate the person's admirable traits, that others might follow suit. Xenophon certainly falls into the latter category, and his effusive praise for Agesilaus renders him as a veritable paragon of virtue, representative of every admirable characteristic and quite devoid of any flaws of blemishes.
I've actually read this part before, but decided to re-read it in light of my recent reading of Herodotus's Histories, which covered the period about a hundred years or so before the events in The Ten Thousand, and provided a lot of valuable context for understanding what was happening in Xenophon's story. Unlike Herodotus, Xenophon is not writing about history in The Ten Thousand; he is writing a semi-autobiographical account of what happened to him and his companions during a campaign as mercenaries in a decidedly short-lived Persian civil war. Like Caesar in his Commentaries, Xenophon refers to himself in the third person, and the result is perhaps the most story-like and modern-seeming of all the ancient works that I've been reading recently. In fact, Conn Iggulden wrote a historical fiction novella primarily based upon the events in The Ten Thousand, and it was a very interesting experience to read that having already read its primary source.