dependant cities, awoke the desire of art; and the graceful intellect
of Pericles at once indulged and directed the desire, by advancing
every species of art to its perfection. The freedom of democracy--the
cultivation of the drama (which is the oratory of poetry)--the rise of
prose literature--created the necessity of popular eloquence--and with
Pericles the Athenian eloquence was born. Thus his power was derived
from a hundred sources: whether from the grosser interests--the mental
sympathies--the vanity--ambition--reason--or imagination of the
people. And in examining the character of Pericles, and noting its
harmony with his age, the admiration we bestow on himself must be
shared by his countrymen. He obtained a greater influence than
Pisistratus, but it rested solely on the free-will of the Athenians--
it was unsupported by armed force--it was subject to the laws--it
might any day be dissolved; and influence of this description is only
obtained, in free states, by men who are in themselves the likeness
and representative of the vast majority of the democracy they wield.
Even the aristocratic party that had so long opposed him appear, with
the fall of Thucydides, to have relaxed their hostilities. In fact,
they had less to resent in Pericles than in any previous leader of the
democracy. He was not, like Themistocles, a daring upstart, vying
with, and eclipsing their pretensions. He was of their own order.
His name was not rendered odious to them by party proscriptions or the
memory of actual sufferings. He himself had recalled their idol
Cimon--and in the measures that had humbled the Areopagus, so
discreetly had he played his part, or so fortunately subordinate had
been his co-operation, that the wrath of the aristocrats had fallen
only on Ephialtes. After the ostracism of Thucydides, "he became,"
says Plutarch [264], "a new man--no longer so subservient to the
multitude--and the government assumed an aristocratical, or rather
monarchical, form." But these expressions in Plutarch are not to be