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. It is reported also, that when one of his familiar friends said to Menander, The feasts of Bacchus are at hand, and thou hast made ne’er a comedy; he made him this answer: By all the Gods, I have made a comedy, for I have laid my plot; and there remains only to make the verses and measures to it. So that the poets themselves believe the actions to be more necessary than the words, and the first things to be considered. Corinna likewise, when Pindar was but a young man and made too daring a use of his eloquence, gave him this admonition, that he was no poet, for that he never composed any fables, which was the chiefest office of poetry; in regard that strange words, figures, metaphors, songs, and measures were invented to give a sweetness to things. Which admonition Pindar laying up in his mind, wrote a certain ode which thus begins: 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. Which when he showed to Corinna, she with a smile replied: When you sow, you must scatter the seed with your hand, not empty the whole sack at once. And indeed we find that Pindar intermixes in his poetic numbers a collection of all sorts of fables. Now that poetry employs itself in mythology is agreed by Plato likewise. For a fable is the relation of a false story resembling truth, and therefore very remote from real actions; for relation is the image of action, as fable is the image of relation. And therefore they that feign actions fall as far behind historians as they that speak differ from those that act. 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?