ὃ δὲ πλείστην μὲν ἡδονὴν ταῖς Ἀθήναις καὶ κόσμον ἤνεγκε, μεγίστην δὲ τοῖς ἄλλοις ἔκπληξιν ἀνθρώποις, μόνον δὲ τῇ Ἑλλάδι μαρτυρεῖ μὴ ψεύδεσθαι τὴν λεγομένην δύναμιν αὐτῆς ἐκείνην καὶ τὸν παλαιὸν ὄλβον, ἡ τῶν ἀναθημάτων κατασκευή, τοῦτο μάλιστα τῶν πολιτευμάτων τοῦ Περικλέους ἐβάσκαινον οἱ ἐχθροὶ καὶ διέβαλλον ἐν ταῖς ἐκκλησίαις, βοῶντες ὡς ὁ μὲν δῆμος ἀδοξεῖ καὶ κακῶς ἀκούει τὰ κοινὰ τῶν Ἑλλήνων χρήματα πρὸς αὑτὸν ἐκ Δήλου μεταγαγών,
But that which brought most delightful adornment to Athens, and the greatest amazement to the rest of mankind; that which alone now testifies for Hellas that her ancient power and splendor, of which so much is told, was no idle fiction,—I mean his construction of sacred edifices,—this, more than all the public measures of Pericles, his enemies maligned and slandered. They cried out in the assemblies: The people has lost its fair fame and is in ill repute because it has removed the public moneys of the Hellenes from Delos into its own keeping,
ἣ δʼ ἔνεστιν αὐτῷ πρὸς τοὺς ἐγκαλοῦντας εὐπρεπεστάτη τῶν προφάσεων, δείσαντα τοὺς βαρβάρους ἐκεῖθεν ἀνελέσθαι καὶ φυλάττειν ἐν ὀχυρῷ τὰ κοινά, ταύτην ἀνῄρηκε Περικλῆς· καὶ δοκεῖ δεινὴν ὕβριν ἡ Ἑλλὰς ὑβρίζεσθαι καὶ τυραννεῖσθαι περιφανῶς, ὁρῶσα τοῖς εἰσφερομένοις ὑπʼ αὐτῆς ἀναγκαίως πρὸς τὸν πόλεμον ἡμᾶς τὴν πόλιν καταχρυσοῦντας καὶ καλλωπίζοντας ὥσπερ ἀλαζόνα γυναῖκα, περιαπτομένην λίθους πολυτελεῖς καὶ ἀγάλματα καὶ ναοὺς χιλιοταλάντους.
and that seemliest of all excuses which it had to urge against its accusers, to wit, that out of fear of the Barbarians it took the public funds from that sacred isle and was now guarding them in a stronghold, of this Pericles has robbed it. And surely Hellas is insulted with a dire insult and manifestly subjected to tyranny when she sees that, with her own enforced contributions for the war, we are gilding and bedizening our city, which, for all the world like a wanton woman, adds to her wardrobe precious stones and costly statues and temples worth their millions.
ἐδίδασκεν οὖν ὁ Περικλῆς τὸν δῆμον ὅτι χρημάτων μὲν οὐκ ὀφείλουσι τοῖς συμμάχοις λόγον προπολεμοῦντες αὐτῶν καὶ τοὺς βαρβάρους ἀνείργοντες, οὐχ ἵππον, οὐ ναῦν, οὐχ ὁπλίτην, ἀλλὰ χρήματα μόνον τελούντων, ἃ τῶν διδόντων οὐκ ἔστιν, ἀλλὰ τῶν λαμβανόντων, ἂν παρέχωσιν ἀνθʼ οὗ λαμβάνουσι·
For his part, Pericles would instruct the people that it owed no account of their moneys to the allies provided it carried on the war for them and kept off the Barbarians; not a horse do they furnish, said he, not a ship, not a hoplite, but money simply; and this belongs, not to those who give it, but to those who take it, if only they furnish that for which they take it in pay.
δεῖ δὲ τῆς πόλεως κατεσκευασμένης ἱκανῶς τοῖς ἀναγκαίοις πρὸς τὸν πόλεμον, εἰς ταῦτα τὴν εὐπορίαν τρέπειν αὐτῆς ἀφʼ ὧν δόξα μὲν γενομένων ἀΐδιος, εὐπορία δὲ γινομένων ἑτοίμη παρέσται, παντοδαπῆς ἐργασίας φανείσης καὶ ποικίλων χρειῶν, αἳ πᾶσαν μὲν τέχνην ἐγείρουσαι, πᾶσαν δὲ χεῖρα κινοῦσαι, σχεδὸν ὅλην ποιοῦσιν ἔμμισθον τὴν πόλιν, ἐξ αὑτῆς ἅμα κοσμουμένην καὶ τρεφομένην.
And it is but meet that the city, when once she is sufficiently equipped with all that is necessary for prosecuting the war, should apply her abundance to such works as, by their completion, will bring her everlasting glory, and while in process of completion will bring that abundance into actual service, in that all sorts of activity and diversified demands arise, which rouse every art and stir every hand, and bring, as it were, the whole city under pay, so that she not only adorns, but supports herself as well from her own resources.
τοῖς μὲν γὰρ ἡλικίαν ἔχουσι καὶ ῥώμην αἱ στρατεῖαι τὰς ἀπὸ τῶν κοινῶν εὐπορίας παρεῖχον, τὸν δʼ ἀσύντακτον καὶ βάναυσον ὄχλον οὔτʼ ἄμοιρον εἶναι λημμάτων βουλόμενος οὔτε λαμβάνειν ἀργὸν καὶ σχολάζοντα, μεγάλας κατασκευασμάτων ἐπιβολὰς καὶ πολυτέχνους ὑποθέσεις ἔργων διατριβὴν ἐχόντων ἐνέβαλε φέρων εἰς τὸν δῆμον, ἵνα μηδὲν ἧττον τῶν πλεόντων καὶ φρουρούντων καὶ στρατευομένων τὸ οἰκουροῦν ἔχῃ πρόφασιν ἀπὸ τῶν δημοσίων ὠφελεῖσθαι καὶ μεταλαμβάνειν.
And it was true that his military expeditions supplied those who were in the full vigor of manhood with abundant resources from the common funds, and in his desire that the unwarlike throng of common laborers should neither have no share at all in the public receipts, nor yet get fees for laziness and idleness, he boldly suggested to the people projects for great constructions, and designs for works which would call many arts into play and involve long periods of time, in order that the stay-at-homes, no whit less than the sailors and sentinels and soldiers, might have a pretext for getting a beneficial share of the public wealth.
ὅπου γὰρ ὕλη μὲν ἦν λίθος, χαλκός, ἐλέφας, χρυσός, ἔβενος, κυπάρισσος, αἱ δὲ ταύτην ἐκπονοῦσαι καὶ κατεργαζόμεναι τέχναι, τέκτονες, πλάσται, χαλκοτύποι, λιθουργοί, βαφεῖς, χρυσοῦ μαλακτῆρες καὶ ἐλέφαντος, ζωγράφοι, ποικιλταί, τορευταί, πομποὶ δὲ τούτων καὶ κομιστῆρες, ἔμποροι καὶ ναῦται καὶ κυβερνῆται κατὰ θάλατταν,
The materials to be used were stone, bronze, ivory, gold, ebony, and cypress-wood; the arts which should elaborate and work up these materials were those of carpenter, moulder, bronze-smith, stone-cutter, dyer, worker in gold and ivory, painter, embroiderer, embosser, to say nothing of the forwarders and furnishers of the material, such as factors, sailors and pilots by sea,
οἱ δὲ κατὰ γῆν ἁμαξοπηγοὶ καὶ ζευγοτρόφοι καὶ ἡνίοχοι καὶ καλωστρόφοι καὶ λινουργοὶ καὶ σκυτοτόμοι καὶ ὁδοποιοὶ καὶ μεταλλεῖς, ἑκάστη δὲ τέχνη, καθάπερ στρατηγὸς ἴδιον στράτευμα, τὸν θητικὸν ὄχλον καὶ ἰδιώτην συντεταγμένον εἶχεν, ὄργανον καὶ σῶμα τῆς ὑπηρεσίας γινόμενον, εἰς πᾶσαν, ὡς ἔπος εἰπεῖν, ἡλικίαν καὶ φύσιν αἱ χρεῖαι διένεμον καὶ διέσπειρον τὴν εὐπορίαν.
and, by land, wagon-makers, trainers of yoked beasts, and drivers. There were also rope-makers, weavers, leather-workers, road-builders, and miners. And since each particular art, like a general with the army under his separate command, kept its own throng of unskilled and untrained laborers in compact array, to be as instrument unto player and as body unto soul in subordinate service, it came to pass that for every age, almost, and every capacity the city’s great abundance was distributed and scattered abroad by such demands.
ἀναβαινόντων δὲ τῶν ἔργων ὑπερηφάνων μὲν μεγέθει, μορφῇ δʼ ἀμιμήτων καὶ χάριτι, τῶν δημιουργῶν ἁμιλλωμένων ὑπερβάλλεσθαι τὴν δημιουργίαν τῇ καλλιτεχνίᾳ, μάλιστα θαυμάσιον ἦν τὸ τάχος. ὧν γὰρ ἕκαστον ᾤοντο πολλαῖς διαδοχαῖς καὶ ἡλικίαις μόλις ἐπὶ τέλος ἀφίξεσθαι, ταῦτα πάντα μιᾶς ἀκμῇ πολιτείας ἐλάμβανε τὴν συντέλειαν.
So then the works arose, no less towering in their grandeur than inimitable in the grace of their outlines, since the workmen eagerly strove to surpass themselves in the beauty of their handicraft. And yet the most wonderful thing about them was the speed with which they rose. Each one of them, men thought, would require many successive generations to complete it, but all of them were fully completed in the heyday of a single administration.
καίτοι ποτέ φασιν Ἀγαθάρχου τοῦ ζωγράφου μέγα φρονοῦντος ἐπὶ τῷ ταχὺ καὶ ῥᾳδίως τὰ ζῷα ποιεῖν ἀκούσαντα τὸν Ζεῦξιν εἰπεῖν· ἐγὼ δʼ ἐν πολλῷ χρόνῳ. ἡ γὰρ ἐν τῷ ποιεῖν εὐχέρεια καὶ ταχύτης οὐκ ἐντίθησι βάρος ἔργῳ μόνιμον οὐδὲ κάλλους ἀκρίβειαν· ὁ δʼ εἰς τὴν γένεσιν τῷ πόνῳ προδανεισθεὶς χρόνος ἐν τῇ σωτηρίᾳ τοῦ γενομένου τὴν ἰσχὺν ἀποδίδωσιν.
And yet they say that once on a time when Agatharchus the painter was boasting loudly of the speed and ease with which he made his figures, Zeuxis heard him, and said, Mine take, and last, a long time. And it is true that deftness and speed in working do not impart to the work an abiding weight of influence nor an exactness of beauty; whereas the time which is put out to loan in laboriously creating, pays a large and generous interest in the preservation of the creation.
ὅθεν καὶ μᾶλλον θαυμάζεται τὰ Περικλέους ἔργα πρὸς πολὺν χρόνον ἐν ὀλίγῳ γενόμενα. κάλλει μὲν γὰρ ἕκαστον εὐθὺς ἦν τότε ἀρχαῖον, ἀκμῇ δὲ μέχρι νῦν πρόσφατόν ἐστι καὶ νεουργόν· οὕτως ἐπανθεῖ καινότης ἀεί τις ἄθικτον ὑπὸ τοῦ χρόνου διατηροῦσα τὴν ὄψιν, ὥσπερ ἀειθαλὲς πνεῦμα καὶ ψυχὴν ἀγήρω καταμεμιγμένην τῶν ἔργων ἐχόντων.
For this reason are the works of Pericles all the more to be wondered at; they were created in a short time for all time. Each one of them, in its beauty, was even then and at once antique; but in the freshness of its vigor it is, even to the present day, recent and newly wrought. Such is the bloom of perpetual newness, as it were, upon these works of his, which makes them ever to look untouched by time, as though the unfaltering breath of an ageless spirit had been infused into them.
πάντα δὲ διεῖπε καὶ πάντων ἐπίσκοπος ἦν αὐτῷ Φειδίας, καίτοι μεγάλους ἀρχιτέκτονας ἐχόντων καὶ τεχνίτας τῶν ἔργων. τὸν μὲν γὰρ ἑκατόμπεδον Παρθενῶνα Καλλικράτης εἰργάζετο καὶ Ἰκτῖνος, τὸ δʼ ἐν Ἐλευσῖνι τελεστήριον ἤρξατο μὲν Κόροιβος οἰκοδομεῖν, καὶ τοὺς ἐπʼ ἐδάφους κίονας ἔθηκεν οὗτος καὶ τοῖς ἐπιστυλίοις ἐπέζευξεν· ἀποθανόντος δὲ τούτου Μεταγένης ὁ Ξυπέτιος τὸ διάζωμα καὶ τοὺς ἄνω κίονας ἐπέστησε·
His general manager and general overseer was Pheidias, although the several works had great architects and artists besides. Of the Parthenon, for instance, with its cella of a hundred feet in length, Callicrates and Ictinus were the architects; it was Coroebus who began to build the sanctuary of the mysteries at Eleusis, and he planted the columns on the floor and yoked their capitals together with architraves; but on his death Metagenes, of the deme Xypete, carried up the frieze and the upper tier of columns;
τὸ δʼ ὀπαῖον ἐπὶ τοῦ ἀνακτόρου Ξενοκλῆς ὁ Χολαργεὺς ἐκορύφωσε· τὸ δὲ μακρὸν τεῖχος, περὶ οὗ Σωκράτης ἀκοῦσαί φησιν αὐτὸς εἰσηγουμένου γνώμην Περικλέους, ἠργολάβησε Καλλικράτης. κωμῳδεῖ δὲ τὸ ἔργον Κρατῖνος ὡς βραδέως περαινόμενον· πάλαι γὰρ αὐτό, φησί, / λόγοισι προάγει Περικλέης, ἔργοισι δʼ οὐδὲ κινεῖ. / τὸ δʼ Ὠιδεῖον, τῇ μὲν ἐντὸς διαθέσει πολύεδρον καὶ πολύστυλον, τῇ δʼ ἐρέψει περικλινὲς καὶ κάταντες ἐκ μιᾶς κορυφῆς πεποιημένον, εἰκόνα λέγουσι γενέσθαι καὶ μίμημα τῆς βασιλέως σκηνῆς, ἐπιστατοῦντος καὶ τούτῳ Περικλέους.
while Xenocles, of the deme Cholargus, set on high the lantern over the shrine. For the long wall, concerning which Socrates says he himself heard Pericles introduce a measure, Callicrates was the contractor. Cratinus pokes fun at this work for its slow progress, and in these words:— Since ever so long now / In word has Pericles pushed the thing; in fact he / does not budge it. / The Odeum, which was arranged internally with many tiers of seats and many pillars, and which had a roof made with a circular slope from a single peak, they say was an exact reproduction of the Great King’s pavilion, and this too was built under the superintendence of Pericles.
διὸ καὶ πάλιν Κρατῖνος ἐν Θρᾴτταις παίζει πρὸς αὐτόν· ὁ σχινοκέφαλος Ζεὺς ὅδε / προσέρχεται τᾠδεῖον ἐπὶ τοῦ κρανίου / ἔχων, ἐπειδὴ τοὔστρακον παροίχεται. / φιλοτιμούμενος δʼ ὁ Περικλῆς τότε πρῶτον ἐψηφίσατο μουσικῆς ἀγῶνα τοῖς Παναθηναίοις ἄγεσθαι, καὶ διέταξεν αὐτὸς ἀθλοθέτης αἱρεθεὶς καθότι χρὴ τοὺς ἀγωνιζομένους αὐλεῖν ἢ ᾄδειν ἢ κιθαρίζειν. ἐθεῶντο δὲ καὶ τότε καὶ τὸν ἄλλον χρόνον ἐν Ὠιδείῳ τοὺς μουσικοὺς ἀγῶνας.
Wherefore Cratinus, in his Thracian Women, rails at him again:— The squill-head Zeus! lo! here he comes, / The Odeum like a cap upon his cranium, / Now that for good and all the ostracism is o’er. / 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.
τὰ δὲ Προπύλαια τῆς ἀκροπόλεως ἐξειργάσθη μὲν ἐν πενταετίᾳ Μνησικλέους ἀρχιτεκτονοῦντος· τύχη δὲ θαυμαστὴ συμβᾶσα περὶ τὴν οἰκοδομίαν ἐμήνυσε τὴν θεὸν οὐκ ἀποστατοῦσαν, ἀλλὰ συνεφαπτομένην τοῦ ἔργου καὶ συνεπιτελοῦσαν.
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.
ὁ γὰρ ἐνεργότατος καὶ προθυμότατος τῶν τεχνιτῶν ἀποσφαλεὶς ἐξ ὕψους ἔπεσε καὶ διέκειτο μοχθηρῶς, ὑπὸ τῶν ἰατρῶν ἀπεγνωσμένος. ἀθυμοῦντος δὲ τοῦ Περικλέους ἡ θεὸς ὄναρ φανεῖσα συνέταξε θεραπείαν, ᾗ χρώμενος ὁ Περικλῆς ταχὺ καὶ ῥᾳδίως ἰάσατο τὸν ἄνθρωπον. ἐπὶ τούτῳ δὲ καὶ τὸ χαλκοῦν ἄγαλμα τῆς Ὑγιείας Ἀθηνᾶς ἀνέστησεν ἐν ἀκροπόλει παρὰ τὸν βωμὸν ὃς καὶ πρότερον ἦν, ὡς λέγουσιν.
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.
ὁ δὲ Φειδίας εἰργάζετο μὲν τῆς θεοῦ τὸ χρυσοῦν ἕδος, καὶ τούτου δημιουργὸς ἐν τῇ στήλῃ ἀναγέγραπται, πάντα δʼ ἦν σχεδὸν ἐπʼ αὐτῷ, καὶ πᾶσιν, ὡς εἰρήκαμεν, ἐπεστάτει τοῖς τεχνίταις διὰ φιλίαν Περικλέους. καὶ τοῦτο τῷ μὲν φθόνον, τῷ δὲ βλασφημίαν ἤνεγκεν, ὡς ἐλευθέρας τῷ Περικλεῖ γυναῖκας εἰς τὰ ἔργα φοιτώσας ὑποδεχομένου τοῦ Φειδίου.
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.
δεξάμενοι δὲ τὸν λόγον οἱ κωμικοὶ πολλὴν ἀσέλγειαν αὐτοῦ κατεσκέδασαν, εἴς τε τὴν Μενίππου γυναῖκα διαβάλλοντες, ἀνδρὸς φίλου καὶ ὑποστρατηγοῦντος, εἴς τε τὰς Πυριλάμπους ὀρνιθοτροφίας, ὃς ἑταῖρος ὢν Περικλέους αἰτίαν εἶχε ταῶνας ὑφιέναι ταῖς γυναιξὶν αἷς ὁ Περικλῆς ἐπλησίαζε.
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.
καὶ τί ἄν τις ἀνθρώπους σατυρικοὺς τοῖς βίοις καὶ τὰς κατὰ τῶν κρειττόνων βλασφημίας ὥσπερ δαίμονι κακῷ τῷ φθόνῳ τῶν πολλῶν ἀποθύοντας ἑκάστοτε θαυμάσειεν, ὅπου καὶ Στησίμβροτος ὁ Θάσιος δεινὸν ἀσέβημα καὶ μυθῶδες ἐξενεγκεῖν ἐτόλμησεν εἰς τὴν γυναῖκα τοῦ υἱοῦ κατὰ τοῦ Περικλέους;
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?
οὕτως ἔοικε πάντη χαλεπὸν εἶναι καὶ δυσθήρατον ἱστορίᾳ τἀληθές, ὅταν οἱ μὲν ὕστερον γεγονότες τὸν χρόνον ἔχωσιν ἐπιπροσθοῦντα τῇ γνώσει τῶν πραγμάτων, ἡ δὲ τῶν πράξεων καὶ τῶν βίων ἡλικιῶτις ἱστορία τὰ μὲν φθόνοις καὶ δυσμενείαις, τὰ δὲ χαριζομένη καὶ κολακεύουσα λυμαίνηται καὶ διαστρέφῃ τὴν ἀλήθειαν.
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.
τῶν δὲ περὶ τὸν Θουκυδίδην ῥητόρων καταβοώντων τοῦ Περικλέους ὡς σπαθῶντος τὰ χρήματα καὶ τὰς προσόδους ἀπολλύντος, ἠρώτησεν ἐν ἐκκλησίᾳ τὸν δῆμον εἰ πολλὰ δοκεῖ δεδαπανῆσθαι· φησάντων δὲ πάμπολλα· μὴ τοίνυν, εἶπεν, ὑμῖν, ἀλλʼ ἐμοὶ δεδαπανήσθω, καὶ τῶν ἀναθημάτων ἰδίαν ἐμαυτοῦ ποιήσομαι τὴν ἐπιγραφήν.
Thucydides and his party kept denouncing Pericles for playing fast and loose with the public moneys and annihilating the revenues. Pericles therefore asked the people in assembly whether they thought he had expended too much, and on their declaring that it was altogether too much, Well then, said he, let it not have been spent on your account, but mine, and I will make the inscriptions of dedication in my own name.
εἰπόντος οὖν ταῦτα τοῦ Περικλέους, εἴτε τὴν μεγαλοφροσύνην αὐτοῦ θαυμάσαντες εἴτε πρὸς τὴν δόξαν ἀντιφιλοτιμούμενοι τῶν ἔργων, ἀνέκραγον κελεύοντες ἐκ τῶν δημοσίων ἀναλίσκειν καὶ χορηγεῖν μηδενὸς φειδόμενον. τέλος δὲ πρὸς τὸν Θουκυδίδην εἰς ἀγῶνα περὶ τοῦ ὀστράκου καταστὰς καὶ διακινδυνεύσας ἐκεῖνον μὲν ἐξέβαλε, κατέλυσε δὲ τὴν ἀντιτεταγμένην ἑταιρείαν.
When Pericles had said this, whether it was that they admired his magnanimity or vied with his ambition to get the glory of his works, they cried out with a loud voice and bade him take freely from the public funds for his outlays, and to spare naught whatsoever. And finally he ventured to undergo with Thucydides the contest of the ostracism, wherein he secured his rival’s banishment, and the dissolution of the faction which had been arrayed against him.
Cite This Text