takes away all distinction of office, and that dignity is but little consistent with familiarity....”[184] There was as yet no gutter journalism to tell the world of the vileness of the conspicuous and successful; but the common man, a little out of conceit with himself, found much consolation in the art of comedy, which flourished exceedingly. The writers of comedy satisfied that almost universal craving for the depreciation of those whose apparent excellence offends our self-love. They threw dirt steadily and industriously at Pericles and his friends. Pericles was portrayed in a helmet; a helmet became him, and it is to be feared he knew as much. This led to much joy and mirth over the pleasant suggestion of a frightfully distorted head, an onion head. The “goings on” of Aspasia were of course a fruitful vineyard for the inventions of the street.... [Illustration: Athene of the Parthenon.] Dreaming souls, weary of the vulgarities of our time, have desired to be transferred to the sublime Age of Pericles. But, plumped down into that Athens, they would have found themselves in very much the atmosphere of the lower sort of contemporary music-hall, very much in the vein of our popular newspapers; the same hot blast of braying libel, foul imputation, greedy “patriotism,” and general baseness would have blown upon them, the “modern note” would have pursued them. As the memories of Platæa and Salamis faded and the new buildings grew familiar, Pericles and the pride of Athens became more and more offensive to the homely humour of the crowd. He was never ostracized--his prestige with the quieter citizens saved him from that; but he was attacked with increasing boldness and steadfastness. He lived and died a poor man; he was perhaps the most honest of demagogues; but this did not save him from an abortive prosecution for peculation. Defeated in that, his enemies resorted to a more devious method; they began to lop away his friends.