De gloria Atheniensium

---These things he rightly spoke to the commanders that accompanied him, to whom he opened the way for future performances, while he expelled the barbarians and restored Greece to her ancient liberty. And the same thing may be said to those that magnify themselves for their writings. For if there were none to act, there would be none to write. Take away the political government of Pericles, and the naval trophies of Phormio at Rhium, and the brave achievements of Nicias at Cythera, Megara, and Corinth, Demosthenes’s Pylos, and the four hundred captives taken by Cleon, Tolmides sailing round the Peloponnesus, and Myronidas vanquishing the Boeotians at Oenophyta: and you murder Thucydides. Take away the daring braveries of Alcibiades in the Hellespont, and of Thrasyllus near Lesbos; the dissolution of the oligarchy by Theramenes; Thrasybulus, Archippus, and the seventy that from Phylae ventured to attack the Lacedaemonian tyranny; and Conon again enforcing Athens to take the sea: and then there is an end of Cratippus. For as for Xenophon, he was his own historian, relating the exploits of the army under his command, but saying that Themistogenes the Syracusan had written the history of them; dedicating the honor of his writing to another, that writing of himself as of another, he might gain the more credit. But all the other historians, as the Clinodemi,

But this city was the mother and charitable nurse of many other arts and sciences; some of which she first invented and illustrated, to others she gave both efficacy, honor, and increase. More especially to her is painting beholden for its first invention, and the perfection to which it has attained. For Apollodorus the painter, who first invented the mixing of colors and the softening of shadows, was an Athenian. Over whose works there is this inscription:

’Tis no hard thing to reprehend me;

But let the men that blame me mend me.

Race of Erechtheus bold and stout,

Whom Pallas bred.

[*](Il. II. 647.)

But at the same time, and by good fortune, the Athenians came down from the hills into the plains of Mantinea, not knowing any thing of the critical moment that required more speedy haste, but marching leisurely along. However, so soon as they were informed of the danger of their allies, by one that scouted out from the rest, though but few in respect of the number of their enemies, single of themselves, and tired with their march, yet they presently drew up into order of battle; and the cavalry charging up to

Though indeed Simonides calls painting silent poetry, and poetry speaking painting. For those actions which painters set forth as they were doing, those history relates when they were done. And what the one sets forth in colors and figures, the other relates in words and sentences; only they differ in the materials and manner of imitation. However, both aim at the same end, and he is accounted the best historian, who can make the most lively descriptions both of persons and passions. Therefore Thucydides always drives at this perspicuity, to make the hearer (as it were) a spectator, and to inculcate the same passions and perturbations of mind into his readers as they were in who beheld the causes of those effects. For Demosthenes embattling the Athenians near the rocky shore of Pylos; Brasidas hastening the pilot to run the ship aground, then going to the rowers’ seats, then wounded and fainting, sinking down in that part of the vessel where the oars could not trouble him; the land fight of the Spartans from the sea, and the sea engagement of the Athenians from the land; then again in the Sicilian war, both a land fight and sea engagement, so fought that neither had the better,[*](The text of several lines which follow here is hopelessly corrupt, but it is evident that Plutarch refers to the description in Thucyd. VII. 71. (G.)) ---So that if we may not compare painters with generals, neither must we equal historians to them.

Thersippus of Eroeadae brought the first news of the victory at Marathon, as Heraclides of Pontus relates. But most report that Eucles, running armed with his wounds reeking from the fight, and falling through the door into the first house he met, expired with only these words in his mouth, God save ye, we are well. Now this man brought the news himself of the success of a fight wherein he was present in person. But suppose that ally of the goat-keepers or herd-men had beheld the combat from some high hill at a distance, and seeing the success of that great achievement, greater than by words can be expressed, should have come to the city without any wound or blood about him, and should have claimed the honors done to Cynaegirus, Callimachus, and Polyzelus, for giving an account of their wounds, their bravery and deaths, wouldst thou not have thought him impudent above impudence itself; seeing that the Lacedaemonians gave the messenger that brought the news of the victory at Mantinea [*](Thuycd. V. 73.) no other reward than a quantity of victuals from the public mess? But historians are (as it were) well-voiced relators of the actions of great men, who add grace and beauty and dint of wit to their relations, and to whom they that first light upon them and read them are indebted for their pleasing tidings. And being read, they are applauded for transmitting to posterity the actions of those that do bravely. For words do not make actions, though we give them the hearing.

But there is a certain grace and glory of the poetic art, when it resembles the grandeur of the actions themselves; according to that of Homer,

And many falsities he did unfold,

That looked like truth, so smoothly were they told.

[*](Odyss. XIX. 203.)

Shall I Ismenus sing,

Or Melia, that from spindles all of gold

Her twisted yarn unwinds,

Or Cadmus, that most ancient king,

Or else the sacred race of Sparti bold,

Or Hercules, that far in strength transcends.

Athens therefore never bred up any true artist in epic or lyric verse. For Cinesias was a troublesome writer of dithyrambics, a person of mean parentage and of no repute; and being jeered and derided by the comedians, proved very unfortunate in the pursuit of fame.

Now for the dramatic poets, the Athenians looked upon comedy to be so ignoble and troublesome, that they published a law that no Areopagite should make any comedies. But tragedy flourished and was cried up, and with wonder and admiration heard and beheld by all people in those days, deceiving them with fables and the display of various passions; whereby, as Gorgias says, he that deceived was more just than he that deceived not, and he that was deceived was wiser than he who was not deceived. He that deceived was more just, because it was no more than what he pretended to do; and he that was deceived was wiser, for that he must be a man of no sense that is not taken with the sweetness of words. And yet what benefit did those fine tragedies procure the Athenians? But the shrewdness and cunning of Themistocles walled the city, the industry of Pericles adorned their citadel, and Cimon advanced them to command their neighbors. But as for the wisdom of Euripides, the eloquence of Sophocles, the lofty style of Aeschylus, what calamity did they avert from the city; or what renown or fame did they bring to the Athenians? Is it fitting then that dramatic poems should be compared with trophies, the stage with the generals’ office, or lists of dramas with noble achievements?

Would ye that we should introduce the men themselves carrying before them the marks and signals of their own actions, permitting them to enter in order, like the actors upon the stage? But then poets must go before them, with flutes and lyres, saying and singing:

Far from our choirs who in this lore’s unskilled,

Or does not cherish pure and holy thoughts,

Nor views nor joins the Muses’ generous rites,

Nor is perfected in the Bacchic tongue,

With which Cratinus bull-devourer sang.

[*](Aristophanes, Frogs, 354.)

Now then let us consider the great generals as they approach, to whom, as they pass by, all those must rise up and pay their salutations who have never been famous for

Hasten to death, when for your country vowed,

If you ask what benefit every one of the rest procured to the city; one will answer Lesbos, another Samos, another Cyprus, another the Pontus Euxinus, another five

But as for the writings of the poets, they are mere bubbles. But rhetoricians and orators indeed have some. thing in them that renders them in some measure fit to be compared with great captains. For which reason, Aeschines

Miltiades, the very next day after the battle of Marathon, returned a victor to the city with his army. And Pericles, having subdued the Samians in nine months, derided Agamemnon that was ten years taking of Troy. But Isocrates was nearly three Olympiads (or twelve years) in writing his Panegyric; in all which time he had neither been a general nor an ambassador, neither built a city nor been an admiral, notwithstanding the many wars that harassed Greece within that time. But while Timotheus freed Euboea from slavery, while Chabrias vanquished the enemy near Naxos, while Iphicrates defeated and cut to pieces a whole battalion of the Lacedaemonians near Lechaeum, while the Athenians, having shaken off the Spartan yoke, set the rest of Greece at liberty, with as ample privileges as they had themselves; he sits poring at home in his study, seeking out proper phrases and choice words for his oration, as long a time as Pericles spent in erecting the Propylaea and the Parthenon. Though the comic poet Cratinus seems to deride even Pericles himself as one that was none of the quickest, where he says of the middle wall:

In words the mighty Pericles

Has rais’d us up a wall;

But ’tis a wall in only words,

For we see none at all.