II. THE ATHENIAN DEMAGOGUES.
Soon after the death of Pericles the results of the political changes introduced by him, as well as of the moral and social changes that had taken place in the people from various causes, became apparent in the raising to power of men from the lower walks of life, whose popularity was achieved and maintained mainly by intrigue and flattery. Chief among these rose Cle'on, a tanner, who has been characterized as "the violent demagogue whose arrogant presumption so unworthily succeeded the enlightened magnanimity of Pericles." In the year 428 Mityle'ne, the capital of the Island of Lesbos, revolted against the supremacy of Athens, but was speedily reduced to subjection, and one thousand or more Mityleneans were sent as prisoners to Athens, to be disposed of as the Athenian assembly should direct. Cleon first prominently appears in public in connection with the disposal of these prisoners. With the capacity to transact business in a popular manner, and possessing a stentorian voice and unbounded audacity, he had become "by far the most persuasive speaker in the eyes of the people;" and now, taking the lead in the assembly debate, he succeeded in having the unfortunate prisoners cruelly put to death. From this period his influence steadily increased, and in the year 425 he was elected commander of the Athenian forces. For several years circumstances favored him. With the aid of his general, Demosthenes, he captured Py'lus from the Spartans, and on his return to Athens he was received with demonstrations of great favor; but his military incompetence lost him both the victory and his life in the battle of Amphip'olis, 422 B.C.
What we know of the political conduct of Cleon comes from measurably unreliable sources. Aristoph'anes, the chief of the comic poets, describes him as "a noisy brawler, loud in his criminations, violent in his gestures, corrupt and venal in his principles, a persecutor of rank and merit, and a base flatterer and sycophant of the people." Thucydides also calls him "a dishonest politician, a wrongful accuser of others, and the most violent of all the citizens." Both these writers, however, had personal grievances. Of course Cleon very naturally became a target for the invective of the poet. "The taking of Pylus," says GILLIES, "and the triumphant return of Cleon, a notorious coward transformed by caprice and accident into a brave and successful commander, were topics well suiting the comic vein of Aristophanes; and in the comedy first represented in the seventh year of the war—The Knights—he attacks him in the moment of victory, when fortune had rendered him the idol of a licentious multitude, when no comedian was so daring as to play his character, and no painter so bold as to design his mask." The poet himself, therefore, appeared on the stage, "only disguising his face, the better to represent the part of Cleon." As another writer has said, "Of all the productions of Aristophanes, so replete with comic genius throughout, The Knights is the most consummate and irresistible; and it presents a portrait of Cleon drawn in colors broad and glaring, most impressive to the imagination, and hardly effaceable from the memory." The following extract from the play will show the license indulged in on the stage in democratic Athens, the boldness of the poet's attacks, and will serve, also, as a sample of his style:
Cleon the Demagogue.
The chorus come upon the stage; and thus commence their attack upon Cleon:
Chorus. Close around him, and confound him, the confounder of us all;
Pelt him, pummel him, and maul him; rummage, ransack, overhaul him;
Overbear him and outbawl him; bear him down, and bring him under.
Bellow, like a burst of thunder, robber! harpy! sink of plunder!
Rogue and villain! rogue and cheat! rogue and villain, I repeat!
Oftener than I can repeat it has the rogue and villain cheated.
Close around him, left and right; spit upon him, spurn and smite:
Spit upon him as you see; spurn and spit at him like me.
But beware, or he'll evade you! for he knows the private track
Where En'crates was seen escaping with his mill-dust on his back.
Cleon. Worthy veterans of the jury, you that, either right or wrong,
With my threepenny provision I've maintained and cherished long,
Come to my aid! I'm here waylaid—assassinated and betrayed"!
Chorus. Rightly served! we serve you rightly, for your hungry love of pelf;
For your gross and greedy rapine, gormandizing by yourself—
You that, ere the figs are gathered, pilfer with a privy twitch
Fat delinquents and defaulters, pulpy, luscious, plump, and rich;
Pinching, fingering, and pulling—tempering, selecting, culling;
With a nice survey discerning which are green and which are turning,
Which are ripe for accusation, forfeiture, and confiscation.
Him, besides, the wealthy man, retired upon an easy rent,
Hating and avoiding party, noble-minded, indolent,
Fearful of official snares; intrigues, and intricate affairs—
Him you mark; you fix and hook him, while he's gaping unawares;
At a fling, at once you bring him hither from the Chersonese;
Down you cast him, roast and baste him, and devour him at your ease.
Cleon. Yes; assault, insult, abuse me! This is the return I find
For the noble testimony, the memorial I designed:
Meaning to propose proposals for a monument of stone,
On the which your late achievements should be carved and neatly done.
Chorus. Out, away with him! the slave! the pompous, empty, fawning knave!
Does he think with idle speeches to delude and cheat us all,
As he does the doting elders that attend his daily call?
Pelt him here, and bang him there; and here, and there, and
everywhere.
Cleon. Save me, neighbors! Oh, the monsters! Oh, my side, my back, my breast!
Chorus. What! you're forced to call for help? you brutal, overpowering pest!
[Clean is pelted off the stage, pursued by the Chorus.]
THE PEACE OF NI'ÇI-AS.
The struggle between Sparta and Athens continued ten years without intermission, and without any successes of a decisive character on either side. In the eleventh year of the struggle (421 B.C.) a treaty for a term of fifty years was concluded—called the Peace of Nicias, in honor of the Athenian general of that name —by which the towns captured during the war were to be restored, and both Athens and Sparta placed in much the same state as when hostilities commenced. But this proved to be a hollow truce; for the war was a virtual triumph for Athens—and interest, inclination, and the ambitious views of her party leaders were not long in finding plausible pretexts for renewing the struggle. Again, the Bœotian, Megarian, and Corinthian allies of Sparta refused to carry out the terms of the treaty by making the required surrenders, and Sparta had no power to compel them, while Athens would accept no less than she had bargained for.
The Athenian general Nicias, through whose influence the Fifty Years' Truce had been concluded, endeavored to carry out its terms; but through the artifices of Alcibi'ades, a nephew of Pericles, a wealthy Athenian, and an artful demagogue, the treaty was soon dishonored on the part of Athens. Alcibi'ades also managed to involve the Spartans in a war with their recent allies, the Ar'gives, during which was fought the battle of Mantine'a, 418 B.C., in which the Spartans were victorious; and he induced the Athenians to send an armament against the Dorian island of Me'los, which had provoked the enmity of Athens by its attachment to Sparta, and which was compelled, after a vigorous siege, to surrender at discretion. Meanwhile the feeble resistance of Sparta, and her apparent timidity, encouraged Athens to resume a project of aggrandizement which she had once before undertaken, but had been obliged to relinquish. This was no less than the virtual conquest of Sicily, whose important cities, under the leadership of Syracuse, had some years before joined the Peloponnesian confederacy.