Pericles

Plutarch

Plutarch. Plutarch's Lives, Vol. III. Perrin, Bernadotte, translator. Cambridge, MA: Harvard University Press; London: William Heinemann Ltd., 1916.

Wherefore Cratinus, in his Thracian Women, rails at him again:—

  1. The squill-head Zeus! lo! here he comes,
  2. The Odeum like a cap upon his cranium,
  3. Now that for good and all the ostracism is o’er.
[*](Kock, Com. Att. Frag. i. p. 35.) Then first did Pericles, so fond of honor was he, get a decree passed that a musical contest be held as part of the Panathenaic festival. He himself was elected manager, and prescribed how the contestants must blow the flute, or sing, or pluck the zither. These musical contests were witnessed, both then and thereafter, in the Odeum.

The Propylaea of the acropolis were brought to completion in the space of five years, Mnesicles being their architect. A wonderful thing happened in the course of their building, which indicated that the goddess was not holding herself aloof, but was a helper both in the inception and in the completion of the work.

One of its artificers, the most active and zealous of them all, lost his footing and fell from a great height, and lay in a sorry plight, despaired of by the physicians. Pericles was much cast down at this, but the goddess appeared to him in a dream and prescribed a course of treatment for him to use, so that he speedily and easily healed the man. It was in commemoration of this that he set up the bronze statue of Athena Hygieia on the acropolis near the altar of that goddess, which was there before, as they say.

But it was Pheidias who produced the great golden image of the goddess, and he is duly inscribed on the tablet as the workman who made it. Everything, almost, was under his charge, and all the artists and artisans, as I have said, were under his superintendence, owing to his friendship with Pericles. This brought envy upon the one, and contumely on the other, to the effect that Pheidias made assignations for Pericles with free-born women who would come ostensibly to see the works of art.

The comic poets took up this story and bespattered Pericles with charges of abounding wantonness, connecting their slanders with the wife of Menippus, a man who was his friend, and a colleague in the generalship, and with the bird-culture of Pyrilampes, who, since he was the comrade of Pericles, was accused of using his peacocks to bribe the women with whom Pericles consorted.

And why should any one be astonished that men of wanton life lose no occasion for offering up sacrifices, as it were, of contumelious abuse of their superiors, to the evil deity of popular envy, when even Stesimbrotus of Thasos has ventured to make public charge against Pericles of a dreadful and fabulous impiety with his son’s wife?

To such degree, it seems, is truth hedged about with difficulty and hard to capture by research, since those who come after the events in question find that lapse of time is an obstacle to their proper perception of them; while the research of their contemporaries into men’s deeds and lives, partly through envious hatred and partly through fawning flattery, defiles and distorts the truth.