Whether the Athenians Were More Renowned For Their Warlike Achievements or For Their Learning (3-5)

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,[*] ⋯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 [*] 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.

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?