δεινόν γε ἡ ἄγνοια καὶ πολλῶν κακῶν ἀνθρώποις αἰτία, ὥσπερ ἀχλύν τινα καταχέουσα τῶν πραγμάτων καὶ τὴν ἀλήθειαν ἀμαυροῦσα καὶ τὸν ἑκάστου βίον ἐπηλυγάζουσα. ἐν σκότῳ γοῦν πλανωμένοις πάντες ἐοίκαμεν, μᾶλλον δὲ τυφλοῖς ὅμοια πεπόνθαμεν, τῷ μὲν προσπταίοντες ἀλόγως, τὸ δὲ ὑπερβαίνοντες, οὐδὲν δέον, καὶ τὸ μὲν πλησίον καὶ παρὰ πόδας οὐχ ὁρῶντες, τὸ δὲ πόρρω καὶ πάμπολυ διεστηκὸς ὡς ἐνοχλοῦν δεδιότες· καὶ ὅλως ἐφʼ ἑκάστου τῶν πραττομένων οὐ διαλείπομεν τὰ πολλὰ ὀλισθαίνοντες. τοιγάρτοι μυρίας ἤδη τοῖς τραγῳδοδιδασκάλοις ἀφορμὰς εἰς τὰ δράματα τὸ τοιοῦτο παρέσχηται, τοὺς Λαβδακίδας καὶ τοὺς Πελοπίδας καὶ τὰ τούτοις παραπλήσια· σχεδὸν γὰρ τὰ πλεῖστα τῶν ἐν τῇ σκηνῇ ἀναβαινόντων κακῶν εὕροι τις ἂν ὑπὸ τῆς ἀγνοίας καθάπερ ὑπὸ τραγικοῦ τινος δαίμονος κεχορηγημένα.
Λέγω δὲ καὶ ἐς τὰ ἄλλα μὲν ἀποβλέπων, μάλιστα δὲ ἐς τὰς οὐκ ἀληθεῖς κατὰ τῶν συνήθων καὶ φίλων διαβολάς, ὑφʼ ὧν ἤδη καὶ οἶκοι ἀνάστατοι γεγόνασι καὶ πόλεις ἄρδην ἀπολώλασι, πατέρες τε κατὰ παίδων ἐξεμάνησαν καὶ ἀδελφοὶ κατὰ τῶν ὁμογενῶν καὶ παῖδες κατὰ τῶν γειναμένων καὶ ἐρασταὶ κατὰ τῶν ἐρωμένων· πολλαὶ δὲ καὶ φιλίαι συνεκόπησαν καὶ ὅρκοι συνεχύθησαν ὑπὸ τῆς κατὰ τὰς διαβολὰς πιθανότητος.
ἵνʼ οὖν ὡς ἥκιστα περιπίπτωμεν αὐταῖς, ὑποδεῖξαι βούλομαι τῷ λόγῳ καθάπερ ἐπί τινος γραφῆς ὁποῖόν τί ἐστιν ἡ διαβολὴ καὶ πόθεν ἄρχεται καὶ ὁποῖα ἐργάζεται.
μᾶλλον δὲ Ἀπελλῆς ὁ Ἐφέσιος πάλαι ταύτην προὔλαβε τὴν εἰκόνα· καὶ γὰρ αὖ καὶ οὗτος διαβληθεὶς πρὸς τὸν Πτολεμαῖον ὡς μετεσχηκὼς Θεοδότᾳ τῆς συνωμοσίας ἐν Τύρῳ, — ὁ δὲ Ἀπελλῆς οὐχ ἑωράκει ποτὲ τὴν Τύρον οὐδὲ τὸν Θεοδόταν, ὅστις ἦν, ἐγίνωσκεν, ἢ καθʼ ὅσον ἤκουε Πτολεμαίου τινὰ ὕπαρχον εἶναι τὰ κατὰ τὴν Φοινίκην ἐπιτετραμμένον. ἀλλʼ ὅμως τῶν ἀντιτέχνων τις Ἀντίφιλος τοὔνομα ὑπὸ φθόνου τῆς παρὰ βασιλεῖ τιμῆς καὶ ὑπὸ τῆς κατὰ τὴν τέχνην ζηλοτυπίας κατεῖπεν αὐτοῦ πρὸς τὸν Πτολεμαῖον ὡς εἴη κεκοινωνηκὼς τῶν ὅλων καὶ ὡς θεάσαιτό τις αὐτὸν ἐν Φοινίκῃ συνεστιώμενον Θεοδότᾳ καὶ παρʼ ὅλον τὸ δεῖπνον πρὸς τὸ οὖς αὐτῷ κοινολογούμενον, καὶ τέλος ἀπέφηνε τὴν Τύρου ἀπόστασιν καὶ Πηλουσίου κατάληψιν ἐκ τῆς Ἀπελλοῦ συμβουλῆς γεγονέναι.
A terrible thing is ignorance, the source of endless human woes, spreading a mist over facts, obscuring truth, and casting a gloom upon the individual life. We are all walkers in darkness—or say, our experience is that of blind men, knocking helplessly against the real, and stepping high to clear the imaginary, failing to see what is close at their feet, and in terror of being hurt by something that is leagues away. Whatever we do, we are perpetually slipping about. This it is that has found the tragic poets a thousand themes, Labdacids, Pelopids, and all their kind. Inquiry would show that most of the calamities put upon the boards are arranged by ignorance as by some supernatural stage-manager. This is true enough as a generality; but I refer more particularly to the false reports about intimates and friends that have ruined families, razed cities, driven fathers into frenzy against their offspring, embroiled brother with brother, children with parents, and lover with beloved. Many are the friendships that have been cut short, many the households set by the ears, because slander has found ready credence.
By way of precaution against it, then, it is my design to sketch the nature, the origin, and effects of slander, though indeed the picture is already in existence, by the hand of Apelles. He had been traduced in the ears of Ptolemy as an accomplice of Theodotas in the Tyrian conspiracy. As a matter of fact he had never seen Tyre, and knew nothing of Theodotas beyond the information that he was an officer of Ptolemy’s in charge of Phoenicia. However, that did not prevent another painter called Antiphilus, who was jealous of his court influence and professional skill, from reporting his supposed complicity to Ptolemy: he had seen him at Theodotas’s table in Phoenicia, whispering in his ear all through dinner; he finally got as far as making Apelles out prime instigator of the Tyrian revolt and the capture of Pelusium.
ὁ δὲ Πτολεμαῖος ὡς ἂν καὶ τἆλλα οὐ κάρτα φρενήρης τις ὤν, ἀλλʼ ἐν κολακείᾳ δεσποτικῇ τεθραμμένος, οὕτως ἐξεκαύθη καὶ συνεταράχθη πρὸς τῆς παραδόξου ταύτης διαβολῆς, ὥστε μηδὲν τῶν εἰκότων λογισάμενος, μηδʼ ὅτι ἀντίτεχνος ἦν ὁ διαβάλλων μηδʼ ὅτι μικρότερος ἢ κατὰ τηλικαύτην προδοσίαν ζωγράφος, καὶ ταῦτα εὖ πεπονθὼς ὑπʼ αὐτοῦ καὶ παρʼ ὁντινοῦν τῶν ὁμοτέχνων τετιμημένος, ἀλλʼ οὐδὲ τὸ παράπαν εἰ ἐξέπλευσεν Ἀπελλῆς ἐς Τύρον ἐξετάσας, εὐθὺς ἐξεμήνιεν καὶ βοῆς ἐνεπίμπλα τὰ βασίλεια τὸν ἀχάριστον κεκραγὼς καὶ τὸν ἐπίβουλον καὶ συνωμότην. καὶ εἴ γε μὴ τῶν συνειλημμένων τις ἀγανακτήσας ἐπὶ τῇ τοῦ Ἀντιφίλου ἀναισχυντίᾳ καὶ τὸν ἄθλιον Ἀπελλῆν κατελεήσας ἔφη μηδενὸς αὐτοῖς κεκοινωνηκέναι τὸν ἄνθρωπον, ἀπετέτμητο ἂν τὴν κεφαλὴν καὶ παραπελελαύκει τῶν ἐν Τύρῳ κακῶν οὐδὲν αὐτὸς αἴτιος γεγονώς.
ὁ μὲν οὖν Πτολεμαῖος οὕτω λέγεται αἰσχυνθῆναι ἐπὶ τοῖς γεγονόσιν, ὥστε τὸν μὲν Ἀπελλῆν ἑκατὸν ταλάντοις ἐδωρήσατο, τὸν δὲ Ἀντίφιλον δουλεύειν αὐτῷ παρέδωκεν. ὁ δὲ Ἀπελλῆς ὧν παρεκινδύνευσε μεμνημένος τοιᾷδέ τινι εἰκόνι ἠμύνατο τὴν διαβολήν.
ἐν δεξιᾷ τις ἀνὴρ κάθηται τὰ ὦτα παμμεγέθη ἔχων μικροῦ δεῖν τοῖς τοῦ Μίδου προσεοικότα, τὴν χεῖρα προτείνων πόρρωθεν ἔτι προσιούσῃ τῇ Διαβολῇ. περὶ δὲ αὐτὸν ἑστᾶσι δύο γυναῖκες, Ἄγνοιά μοι δοκεῖ καὶ Ὑπόληψις· ἑτέρωθεν δὲ προσέρχεται ἡ Διαβολή, γύναιον ἐς ὑπερβολὴν πάγκαλον, ὑπόθερμον δὲ καὶ παρακεκινημένον, οἷον δὴ τὴν λύτταν καὶ τὴν ὀργὴν δεικνύουσα, τῇ μὲν ἀριστερᾷ δᾷδα καιομένην ἔχουσα, τῇ ἑτέρᾳ δὲ νεανίαν τινὰ τῶν τριχῶν σύρουσα τὰς χεῖρας ὀρέγοντα εἰς τὸν οὐρανὸν καὶ μαρτυρόμενον τοὺς θεούς. ἡγεῖται δὲ ἀνὴρ ὠχρὸς καὶ ἄμορφος, ὀξὺ δεδορκὼς καὶ ἐοικὼς τοῖς ἐκ νόσου μακρᾶς κατεσκληκόσι. τοῦτον οὖν εἶναι τὸν Φθόνον ἄν τις εἰκάσειε. καὶ μὴν καὶ ἄλλαι τινὲς δύο παρομαρτοῦσι προτρέπουσαι καὶ περιστέλλουσαι καὶ κατακοσμοῦσαι τὴν Διαβολήν. ὡς δέ μοι καὶ ταύτας ἐμήνυσεν ὁ περιηγητὴς τῆς εἰκόνος, ἡ μέν τις Ἐπιβουλὴ ἦν, ἡ δὲ Ἀπάτη. κατόπιν δὲ ἠκολούθει πάνυ πενθικῶς τις ἐσκευασμένη, μελανείμων καὶ κατεσπαραγμένη, Μετάνοια, οἶμαι, αὕτη ἐλέγετο· ἐπεστρέφετο γοῦν εἰς τοὐπίσω δακρύουσα καὶ μετʼ αἰδοῦς πάνυ τὴν Ἀλήθειαν προσιοῦσαν ὑπέβλεπεν.
οὕτως μὲν Ἀπελλῆς τὸν ἑαυτοῦ κίνδυνον ἐπὶ τῆς γραφῆς ἐμιμήσατο.
Ptolemy was not distinguished for sagacity; he had been brought up on the royal diet of adulation; and the incredible tale so inflamed and carried him away that the probabilities of the case never struck him: the traducer was a professional rival; a painter’s insignificance was hardly equal to the part; and this particular painter had had nothing but good at his hands, having been exalted by him above his fellows. But no, he did not even find out whether Apelles had ever made a voyage to Tyre; it pleased him to fall into a passion and make the palace ring with denunciations of the ingrate, the plotter, the conspirator. Luckily one of the prisoners, between disgust at Antiphilus’s effrontery and compassion for Apelles, stated that the poor man had never been told a word of their designs; but for this, he would have paid with his head for his non-complicity in the Tyrian troubles.
Ptolemy was sufficiently ashamed of himself, we learn, to make Apelles a present of £25,000, besides handing Antiphilus over to him as a slave. The painter was impressed by his experience, and took his revenge upon Slander in a picture.
On the right sits a man with long ears almost of the Midas pattern, stretching out a hand to Slander, who is still some way off, but coming. About him are two females whom I take for Ignorance and Assumption. Slander, approaching from the left, is an extraordinarily beautiful woman, but with a heated, excitable air that suggests delusion and impulsiveness; in her left hand is a lighted torch, and with her right she is haling a youth by the hair; he holds up hands to heaven and calls the Gods to witness his innocence. Showing Slander the way is a man with piercing eyes, but pale, deformed, and shrunken as from long illness; one may easily guess him to be Envy. Two female attendants encourage Slander, acting as tire-women, and adding touches to her beauty; according to the cicerone, one of these is Malice, and the other Deceit. Following behind in mourning guise, black-robed and with torn hair, comes (I think he named her) Repentance. She looks tearfully behind her, awaiting shame-faced the approach of Truth. That was how Apelles translated his peril into paint.
φέρε δὲ καὶ ἡμεῖς, εἰ δοκεῖ, κατὰ τὴν τοῦ Ἐφεσίου ζωγράφου τέχνην διέλθωμεν τὰ προσόντα τῇ διαβολῇ, πρότερόν γε ὅρῳ τινὶ περιγράψαντες αὐτήν· οὕτω γὰρ ἂν ἡμῖν ἡ εἰκὼν γένοιτο φανερωτέρα. ἔστι τοίνυν διαβολὴ κατηγορία τις ἐξ ἐρημίας γινομένη, τὸν κατηγορούμενον λεληθυῖα, ἐκ τοῦ μονομεροῦς ἀναντιλέκτως πεπιστευμένη. τοιαύτη μὲν ἡ ὑπόθεσις τοῦ λόγου. τριῶν δʼ ὄντων προσώπων, καθάπερ ἐν ταῖς κωμῳδίαις, τοῦ διαβάλλοντος καὶ τοῦ διαβαλλομένου καὶ τοῦ πρὸς ὃν ἡ διαβολὴ γίνεται, καθʼ ἕκαστον αὐτῶν ἐπισκοπήσωμεν οἷα εἰκὸς εἶναι τὰ γινόμενα.
πρῶτον μὲν δή, εἰ δοκεῖ, παραγάγωμεν τὸν πρωταγωνιστὴν τοῦ δράματος, λέγω δὲ τὸν ποιητὴν τῆς διαβολῆς. οὗτος δὲ δὴ ὡς μὲν οὐκ ἀγαθὸς ἄνθρωπός ἐστι, πᾶσιν οἶμαι γνώριμον· οὐδεὶς γὰρ ἂν ἀγαθὸς κακῶν αἴτιος γένοιτο τῷ πλησίον, ἀλλʼ ἔστιν ἀγαθῶν ἀνδρῶν ἀφʼ ὧν εὖ ποιοῦσιν αὐτοὶ τοὺς φίλους, οὐκ ἀφʼ ὧν τοὺς ἄλλους ἀδικοῦντες αἰτιῶνται καὶ μισεῖσθαι παρασκευάζουσιν, εὐδοκιμεῖν δόξαν εὐνοίας προσλαβόντες.
ἔπειτα δὲ ὡς ἄδικος ὁ τοιοῦτος καὶ παράνομός ἐστι καὶ ἀσεβὴς καὶ τοῖς χρωμένοις ἐπιζήμιος, ῥᾴδιον καταμαθεῖν. τίς γὰρ οὐκ ἂν ὁμολογήσειε τὴν μὲν ἰσότητα ἐν ἅπαντι καὶ τὸ μηδὲν πλέον δικαιοσύνης ἔργα εἶναι, τὸ δὲ ἄνισόν τε καὶ πλεονεκτικὸν ἀδικίας; ὁ δὲ τῇ διαβολῇ κατὰ τῶν ἀπόντων λάθρᾳ χρώμενος πῶς οὐ πλεονέκτης ἐστὶν ὅλον τὸν ἀκροατὴν σφετεριζόμενος καὶ προκαταλαμβάνων αὐτοῦ τὰ ὦτα καὶ ἀποφράττων καὶ τῷ δευτέρῳ λόγῳ παντελῶς ἄβατα κατασκευάζων αὐτὰ ὑπὸ τῆς διαβολῆς προεμπεπλησμένα; ἐσχάτης ἀδικίας τὸ τοιοῦτον, ὡς φαῖεν ἂν καὶ οἱ ἄριστοι τῶν νομοθετῶν, οἷον ὁ Σόλων καὶ ὁ Δράκων, ἔνορκον ποιησάμενοι τοῖς δικασταῖς τὸ ὁμοίως ἀμφοῖν ἀκροᾶσθαι καὶ τὸ τὴν εὔνοιαν ἴσην τοῖς κρινομένοις ἀπονέμειν, ἄχρι ἂν ὁ τοῦ δευτέρου λόγος παρατεθεὶς θατέρου χείρων ἢ ἀμείνων φανῇ· πρὶν δέ γε ἀντεξετάσαι τὴν ἀπολογίαν τῇ κατηγορίᾳ, παντελῶς ἀσεβῆ καὶ ἀνόσιον ἡγήσαντο ἔσεσθαι τὴν κρίσιν. καὶ γὰρ ἂν καὶ αὐτοὺς ἀγανακτῆσαι τοὺς θεοὺς εἴποιμεν, εἰ τῷ κατηγόρῳ μετʼ ἀδείας ἃ θέλει λέγειν ἐπιτρέποιμεν, ἀποφράξαντες δὲ τῷ κατηγορουμένῳ τὰ ὦτα ἢ τῷ στόματι σιωπῶντος καταψηφιζοίμεθα τῷ προτέρῳ λόγῳ κεχειρωμένοι, ὥστε οὐ κατὰ τὸ δίκαιον καὶ τὸ νόμιμον καὶ τὸν ὅρκον τὸν δικαστικὸν φαίη τις ἂν γίγνεσθαι τὰς διαβολάς. εἰ δέ τῳ μὴ ἀξιόπιστοι δοκοῦσιν οἱ νομοθέται παραινοῦντες οὕτω δικαίας καὶ ἀμερεῖς ποιεῖσθαι τὰς κρίσεις, ποιητήν μοι δοκῶ τὸν ἄριστον ἐπάγειν τῷ λόγῳ εὖ μάλα περὶ τούτων ἀποφηνάμενον, μᾶλλον δὲ νομοθετήσαντα. φησὶ δέ, μήτε δίκην δικάσῃς, πρὶν ἄμφω μῦθον ἀκούσῃς. ἠπίστατο γάρ, οἶμαι, καὶ οὗτος ὡς πολλῶν ὄντων ἐν τῷ βίῳ ἀδικημάτων οὐδὲν ἄν τις εὕροι χεῖρον οὐδὲ ἀδικώτερον ἢ ἀκρίτους τινὰς καὶ ἀμοίρους λόγων καταδεδικάσθαι· ὅπερ ἐξ ἅπαντος ὁ διαβάλλων ἐπιχειρεῖ ποιεῖν ἄκριτον ὑπάγων τὸν διαβαλλόμενον τῇ τοῦ ἀκούοντος ὀργῇ καὶ τὴν ἀπολογίαν τῷ λαθραίῳ τῆς κατηγορίας παραιρούμενος.
I propose that we too execute in his spirit a portrait of Slander and her surroundings; and to avoid vagueness let us start with a definition or outline. Slander, we will say, is an undefended indictment, concealed from its object, and owing its success to one-sided half-informed procedure. Now we have something to go upon. Further, our actors, as in comedy, are three—the slanderer, the slandered, and the recipient of the slander; let us take each in turn and see how his case works out.
And first for our chief character, the manufacturer of the slander. That he is not a good man needs no proof; no good man will injure his neighbour; good men’s reputation, and their credit for kindness, is based on the benefits they confer upon their friends, not on unfounded disparagement of others and the ousting of them from their friends’ affections.
Secondly, it is easy to realize that such a person offends against justice, law, and piety, and is a pest to all who associate with him. Equality in everything, and contentment with your proper share, are the essentials of justice; inequality and over-reaching, of injustice; that every one will admit. It is not less clear that the man who secretly slanders the absent is guilty of over-reaching; he is insisting on entire possession of his hearer, appropriating and enclosing his ears, guarding them against impartiality by blocking them with prejudice. Such procedure is unjust to the last degree; we have the testimony of the best lawgivers for that; Solon and Draco made every juror swear that he would hear indifferently, and view both parties with equal benevolence, till the defence should have been compared with the prosecution and proved better or worse than it. Before such balancing of the speeches, they considered that the forming of a conclusion must be impious and unholy. We may indeed literally suppose Heaven to be offended, if we license the accuser to say what he will, and then, closing our own ears or the defendant’s mouth, allow our judgement to be dictated by the first speech. No one can say, then, that the uttering of slander is reconcilable with the requirements of justice, of law, or of the juror’s oath. If it is objected that the lawgivers are no sufficient authority for such extreme justice and impartiality, I fall back on the prince of poets, who has expressed a sound opinion, or let me say, laid down a sound law on the subject:
Nor give thy judgement, till both sides are heard.
καὶ γὰρ ἀπαρρησίαστος καὶ δειλὸς ἅπας ὁ τοιοῦτος ἄνθρωπος οὐδὲν ἐς τοὐμφανὲς ἄγων, ἀλλʼ ὥσπερ οἱ λοχῶντες ἐξ ἀφανοῦς ποθεν τοξεύων, ὡς μηδὲ ἀντιτάξασθαι δυνατὸν εἶναι μηδὲ ἀνταγωνίσασθαι, ἀλλʼ ἐν ἀπορίᾳ καὶ ἀγνοίᾳ τοῦ πολέμου διαφθείρεσθαι, ὃ μέγιστόν ἐστι σημεῖον τοῦ μηδὲν ὑγιὲς τοὺς διαβάλλοντας λέγειν. ἐπεὶ εἴ τίς γε τἀληθῆ κατηγοροῦντι ἑαυτῷ συνεπίσταται, οὗτος, οἶμαι, καὶ εἰς τὸ φανερὸν ἐλέγχει καὶ διευθύνει καὶ ἀντεξετάζει τῷ λόγῳ, ὥσπερ οὐδεὶς ἂν ἐκ τοῦ προφανοῦς νικᾶν δυνάμενος ἐνέδρᾳ ποτὲ καὶ ἀπάτῃ χρήσαιτο κατὰ τῶν πολεμίων.
ἴδοι δʼ ἄν τις τοὺς τοιούτους μάλιστα ἔν τε βασιλέων αὐλαῖς καὶ περὶ τὰς τῶν ἀρχόντων καὶ δυναστευόντων φιλίας εὐδοκιμοῦντας, ἔνθα πολὺς μὲν ὁ φθόνος, μυρίαι δὲ ὑπόνοιαι, πάμπολλαι δὲ κολακειῶν καὶ διαβολῶν ὑποθέσεις· ὅπου γὰρ ἀεὶ μείζους ἐλπίδες, ἐνταῦθα καὶ οἱ φθόνοι χαλεπώτεροι καὶ τὰ μίση ἐπισφαλέστερα καὶ αἱ ζηλοτυπίαι κακοτεχνέστεραι. πάντες οὖν ἀλλήλους ὀξὺ δεδόρκασι καὶ ὥσπερ οἱ μονομαχοῦντες ἐπιτηροῦσιν εἴ πού τι γυμνωθὲν μέρος θεάσαιντο τοῦ σώματος· καὶ πρῶτος αὐτὸς ἕκαστος εἶναι βουλόμενος παρωθεῖται καὶ παραγκωνίζεται τὸν πλησίον καὶ τὸν πρὸ αὑτοῦ, εἰ δύναιτο, ὑποσπᾷ καὶ ὑποσκελίζει. ἔνθα ὁ μὲν χρηστὸς ἀτεχνῶς εὐθὺς ἀνατέτραπται καὶ παρασέσυρται καὶ τὸ τελευταῖον ἀτίμως ἐξέωσται, ὁ δὲ κολακευτικώτερος καὶ πρὸς τὰς τοιαύτας κακοηθείας πιθανώτερος εὐδοκιμεῖ· καὶ ὅλως ὁ φθάσας κρατεῖ· τὰ γὰρ τοῦ Ὁμήρου πάνυ ἐπαληθεύουσιν, ὅτι τοι ξυνὸς Ἐνυάλιος καὶ τὸν κτανέοντα κατέκτα. τοιγαροῦν ὡς οὐ περὶ μικρῶν τοῦ ἀγῶνος ὄντος ποικίλας κατʼ ἀλλήλων ὁδοὺς ἐπινοοῦσιν, ὧν ταχίστη καὶ ἐπισφαλεστάτη ἐστὶν ἡ τῆς διαβολῆς, τὴν μὲν ἀρχὴν ἀπὸ φθόνου ἢ μίσους εὐέλπιδα λαμβάνουσα, οἰκτρότερα δὲ καὶ τραγικὰ ἐπάγουσα τὰ τέλη καὶ πολλῶν συμφορῶν ἀνάπλεα.
οὐ μέντοι μικρὸν οὐδὲ ἁπλοῦν ἐστι τοῦτο, ὡς ἄν τις ὑπολάβοι, ἀλλὰ πολλῆς μὲν τέχνης, οὐκ ὀλίγης δὲ ἀγχινοίας, ἀκριβοῦς δέ τινος ἐπιμελείας δεόμενον· οὐ γὰρ ἂν τοσαῦτα ἔβλαπτεν ἡ διαβολή, εἰ μὴ πιθανόν τινα τρόπον ἐγίνετο· οὐδʼ ἂν κατίσχυε τὴν πάντων ἰσχυροτέραν ἀλήθειαν, εἰ μὴ πολὺ τὸ ἐπαγωγὸν καὶ πιθανὸν καὶ μυρία ἄλλα παρεσκεύαστο κατὰ τῶν ἀκουόντων.
He too was doubtless very well aware that, of all the ills that flesh is heir to, none is more grievous or more iniquitous than that a man should be condemned unjudged and unheard. That is precisely what the slanderer tries to effect by exposing the slandered without trial to his hearer’s wrath, and precluding defence by the secrecy of his denunciation.
Every such person is a skulker and a coward; he will not come into the open; he is an ambuscader shooting from a lurking-place, whose opponent cannot meet him nor have it out with him, but must be shot down helplessly before he knows that war is afoot; there could be no clearer proof that his allegations are baseless. Of course a man who knows he is bringing true charges does the exposure in public, challenges inquiry, and faces examination; just so no one who can win a pitched battle will resort to ambush and deceit.
It is in kings’ courts that these creatures are mostly found; they thrive in the atmosphere of dominion and power, where envy is rife, suspicions innumerable, and the opportunities for flattery and back-biting endless. Where hopes are higher, there envy is more intense, hatred more reckless, and jealousy more unscrupulous. They all keep close watch upon one another, spying like duellists for a weak spot. Every one would be first, and to that end shoves and elbows his neighbour aside, and does his best to pull back or trip the man in front of him. One whose equipment is limited to goodness is very soon thrown down, dragged about, and finally thrust forth with ignominy; while he who is prepared to flatter, and can make servility plausible, is high in credit, gets first to his end, and triumphs. These people bear out the words of Homer:
Th’ impartial War-God slayeth him that slew.
Convinced that the prize is great, they elaborate their mutual stratagems, among which slander is at once the speediest and the most uncertain; high are the hopes with which this child of envy or hatred is born; pitiful, gloomy and disastrous the end to which it comes.
Success is by no means the easy simple matter it may be supposed; it demands much skill and tact, with the most concentrated attention. Slander would never do the harm it does, if it were not made plausible; it would never prevail against truth, that strongest of all things, if it were not dressed up into really attractive bait.
διαβάλλεται μὲν οὖν ὡς τὸ πολὺ μάλιστα ὁ τιμώμενος καὶ διὰ τοῦτο τοῖς ὑπολειπομένοις αὐτοῦ ἐπίφθονος· ἅπαντες γὰρ τῷδʼ ἐπιτοξάζονται καθάπερ τι κώλυμα καὶ ἐμπόδιον προορώμενοι, καὶ ἕκαστος οἴεται πρῶτος αὐτὸς ἔσεσθαι τὸν κορυφαῖον ἐκεῖνον ἐκπολιορκήσας καὶ τῆς φιλίας ἀποσκευασάμενος. οἷόν τι καὶ ἐπὶ τοῖς γυμνικοῖς ἀγῶσιν ἐπὶ τῶν δρομέων γίγνεται· κἀκεῖ γὰρ ὁ μὲν ἀγαθὸς δρομεὺς τῆς ὕσπληγγος εὐθὺς καταπεσούσης μόνον τοῦ πρόσω ἐφιέμενος καὶ τὴν διάνοιαν ἀποτείνας πρὸς τὸ τέρμα κἀν τοῖς ποσὶ τὴν ἐλπίδα τῆς νίκης ἔχων τὸν πλησίον οὐδὲν κακουργεῖ οὐδέ τι τῶν κατὰ τοὺς ἀγωνιστὰς πολυπραγμονεῖ, ὁ δὲ κακὸς ἐκεῖνος καὶ ἄναθλος ἀνταγωνιστὴς ἀπογνοὺς τὴν ἐκ τοῦ τάχους ἐλπίδα ἐπὶ τὴν κακοτεχνίαν ἐτράπετο, καὶ τοῦτο μόνον ἐξ ἅπαντος σκοπεῖ, ὅπως τὸν τρέχοντα ἐπισχὼν ἢ ἐμποδίσας ἐπιστομιεῖ, ὡς, εἰ τούτου διαμάρτοι, οὐκ ἄν ποτε νικῆσαι δυνάμενος. ὁμοίως δὲ τούτοις κἀν ταῖς φιλίαις τῶν εὐδαιμόνων τούτων γίνεται· ὁ γὰρ προέχων αὐτίκα ἐπιβουλεύεται καὶ ἀφύλακτος ἐν μέσῳ ληφθεὶς τῶν δυσμενῶν ἀνηρπάσθη, οἱ δὲ ἀγαπῶνται καὶ φίλοι δοκοῦσιν ἐξ ὧν ἄλλους βλάπτειν ἔδοξαν.
τό τε ἀξιόπιστον τῆς διαβολῆς οὐχ ὡς ἔτυχεν ἐπινοοῦσιν, ἀλλʼ ἐν τούτῳ τὸ πᾶν αὐτοῖς ἐστιν ἔργον δεδοικόσι τι προσάψαι ἀπῳδὸν ἢ καὶ ἀλλότριον. ὡς γοῦν ἐπὶ πολὺ τὰ προσόντα τῷ διαβαλλομένῳ πρὸς τὸ χεῖρον μεταβάλλοντες οὐκ ἀπιθάνους ποιοῦνται τὰς κατηγορίας, οἷον τὸν μὲν ἰατρὸν διαβάλλουσιν ὡς φαρμακέα, τὸν πλούσιον δὲ ὡς τύραννον, τὸν τυραννικὸν δὲ ὡς προδοτικόν.
ἐνίοτε μέντοι καὶ ὁ ἀκροώμενος αὐτὸς ὑποβάλλει τῆς διαβολῆς τὰς ἀφορμάς, καὶ πρὸς τὸν ἐκείνου τρόπον οἱ κακοήθεις αὐτοὶ ἁρμοζόμενοι εὐστοχοῦσιν. ἢν μὲν γὰρ ζηλότυπον αὐτὸν ὄντα ἴδωσι, Διένευσε, φασί, τῇ γυναικί σου παρὰ τὸ δεῖπνον καὶ ἀπιδὼν ἐς αὐτὴν ἐστέναξε, καὶ ἡ Στρατονίκη πρὸς αὐτὸν οὐ μάλα ἀηδῶς· καὶ ὅλως ἐρωτικαί τινες καὶ μοιχικαὶ πρὸς αὐτὸν αἱ διαβολαί. ἢν δὲ ποιητικὸς ᾖ καὶ ἐπὶ τούτῳ μέγα φρονῇ, Μὰ Δίʼ ἐχλεύασέ σου Φιλόξενος τὰ ἔπη καὶ διέσυρε καὶ ἄμετρα εἶπεν αὐτὰ καὶ κακοσύνθετα. πρὸς δὲ τὸν εὐσεβῆ καὶ φιλόθεον ὡς ἄθεος καὶ ἀνόσιος ὁ φίλος διαβάλλεται καὶ ὡς τὸ θεῖον παρωθούμενος καὶ τὴν πρόνοιαν ἀρνούμενος· ὁ δὲ ἀκούσας εὐθὺς μύωπι διὰ τοῦ ὠτὸς τυπεὶς διακέκαυται ὡς τὸ εἰκὸς καὶ ἀπέστραπται τὸν φίλον οὐ περιμείνας τὸν ἀκριβῆ ἔλεγχον.
The chief mark for it is the man who is in favour, and therefore enviable in the eyes of his distanced competitors; they all regard him as standing in their light, and let fly at him; every one thinks he will be first if he can only dispose of this conspicuous person and spoil him of his favour. You may see the same thing among runners at the games. The good runner, from the moment the barrier falls, simply makes the best of his way; his thoughts are on the winning-post, his hopes of victory in his feet; he leaves his neighbour alone and does not concern himself at all with his competitors. It is the ill qualified, with no prospect of winning by his speed, who resorts to foul play; his one pre-occupation is how he may stop, impede, curb the real runner, because failing that his own victory is out of the question. The persons we are concerned with race in like manner for the favour of the great. The one who forges ahead is at once the object of plots, is taken at a disadvantage by his enemies when his thoughts are elsewhere, and got rid of, while they get credit for devotion by the harm they do to others.
The credibility of the slander is by no means left to take care of itself; it is the chief object of their solicitude; they are extremely cautious against inconsistencies or contradictions. The usual method is to seize upon real characteristics of a victim, and only paint these in darker colours, which allows verisimilitude. A man is a doctor; they make him out a poisoner; wealth figures as tyranny; the tyrant’s ready tool is a ready traitor too.
Sometimes, however, the hint is taken from the hearer’s own nature; the villains succeed by using a bait that will tempt him. They know he is jealous, and they tell him: ‘He beckoned to your wife at dinner, and sighed as he gazed at her; and Stratonice—well, did not seem offended.’ Or he writes poetry, and piques himself upon it; then, ‘Philoxenus had great sport pulling your poem to pieces—said the metre was faulty and the composition vile.’ A devout religious person is told that his friend is an atheist and a blasphemer, rejects belief and denies Providence. That is quite enough; the venom has entered at the ear and inflamed the brain; the man does not wait for confirmation, but abandons his friend.
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