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Sec. XV. Moreover, as some have defined painting to be silent poetry,[407] so is there praise in silent flattery. For as hunters are more likely to catch the objects of their chase unawares, if they do not openly appear to be so engaged, but seem to be walking, or tending their sheep, or looking after the farm, so flatterers obtain most success in their praise, when they do not seem to be praising but to be doing something else. For he who gives up his place or seat to the great man when he comes in, and while making a speech to the people or senate breaks off even in the middle, if he observes any rich man wants to speak, and gives up to him alike speech and platform, shows by his silence even more than he would by any amount of vociferation that he thinks the other the better man, and superior to him in judgement. And consequently you may always see them occupying the best places at theatres and public assembly rooms, not that they think themselves worthy of them, but that they may flatter the rich by giving up their places to them; and at public meetings they begin speaking first, and then make way as for better men, and most readily take back their own view, if any influential or rich or famous person espouse the contrary view. And so one can see plainly that all such servility and drawing back on their part is a lowering their sails, not to experience or virtue or age, but to wealth and fame. Not so Apelles the famous painter, who, when Megabyzus sat with him, and wished to talk about lines and shades, said to him, “Do you see my lads yonder grinding colours, they admired just now your purple and gold, but now they are laughing at you for beginning to talk about what you don’t understand.”[408] And Solon, when Croesus asked him about happiness, replied that Tellus, an obscure Athenian, and Bito and Cleobis were happier than he was.[409] But flatterers proclaim kings and rich men and rulers not only happy and fortunate, but also pre-eminent for wisdom, and art, and every virtue.

Sec. XVI. Now some cannot bear to hear the assertion of the Stoics[410] that the wise man is at once rich, and handsome, and noble, and a king; but flatterers declare that the rich man is at once orator and poet, and (if he likes) painter, and flute-player, and swift-footed, and strong, falling down if he wrestles with them, and if contending with him in running letting him win the race, as Crisso of Himera purposely allowed Alexander to outrun him, which vexed the king very much when he heard of it.[411] And Carneades said that the sons of rich men and kings learnt nothing really well and properly except how to ride, for their master praised and flattered them in their studies, and the person who taught them wrestling always let them throw him, whereas the horse, not knowing or caring whether his rider were a private person or ruler, rich or poor, soon threw him over his head if he could not ride well. Simple therefore and fatuous was that remark of Bion, “If you could by encomiums make your field to yield well and be fruitful, you could not be thought wrong in tilling it so rather than digging it and labouring in it: nor would it be strange in you to praise human beings if by so doing you could be useful and serviceable to them.” For a field does not become worse by being praised, but those who praise a man falsely and against his deserts puff him up and ruin him.

Sec. XVII. Enough has been said on this matter: let us now examine outspokenness. For just as Patroclus put on the armour of Achilles, and drove his horses to the battle, only durst not touch his spear from Mount Pelion, but let that alone, so ought the flatterer, tricked out and modelled in the distinctive marks and tokens of the friend, to leave untouched and uncopied only his outspokenness, as the special burden of friendship, “heavy, huge, strong.”[412] But since flatterers, to avoid the blame they incur by their buffoonery, and drinking, and gibes, and jokes, sometimes work their ends by frowns and gravity, and intermix censure and reproof, let us not pass this over either without examination. And I think, as in Menander’s Play the sham Hercules comes on the stage not with a club stout and strong, but with a light and hollow cane, so the outspokenness of the flatterer is to those who experience it mild and soft, and the very reverse of vigorous, and like those cushions for women’s heads, which seem able to stand their ground, but in reality yield and give way under their pressure; so this sham outspokenness is puffed up and inflated with an empty and spurious and hollow bombast, that when it contracts and collapses draws in the person who relies on it. For true and friendly outspokenness attacks wrong-doers, bringing pain that is salutary and likely to make them more careful, like honey biting but cleansing ulcerated parts of the body,[413] but in other respects serviceable and sweet. But we will speak of this anon.[414] But the flatterer first exhibits himself as disagreeable and passionate and unforgiving in his dealings with others. For he is harsh to his servants, and a terrible fellow to attack and ferret out the faults of his kinsmen and friends, and to look up to and respect nobody who is a stranger, but to look down upon them, and is relentless and mischief-making in making people provoked with others, hunting after the reputation of hating vice, as one not likely knowingly to mince matters with the vicious, or ingratiate himself with them either in word or deed. Next he pretends to know nothing of real and great crimes, but he is a terrible fellow to inveigh against trifling and external shortcomings, and to fasten on them with intensity and vehemence, as if he sees any pot or pipkin out of its place, or anyone badly housed, or neglecting his beard or attire, or not adequately attending to a horse or dog. But contempt of parents, and neglect of children, and bad treatment of wife, and haughtiness to friends, and throwing away money, all this he cares nothing about, but is silent and does not dare to make any allusion to it: just as if the trainer in a gymnasium were to allow the athlete to get drunk and live in debauchery,[415] and yet be vexed at the condition of his oil-flask or strigil if out of order; or as if the schoolmaster scolded a boy about his tablet and pen, but paid no attention to a solecism or barbarism. The flatterer is like a man who should make no comment on the speech of a silly and ridiculous orator, but should find fault with his voice, and chide him for injuring his throat by drinking cold water; or like a person bidden to read some wretched composition, who should merely find fault with the thickness of the paper, and call the copyist a dirty and careless fellow. So too when Ptolemy seemed to desire to become learned, his flatterers used to spin out the time till midnight, disputing about some word or line or history, but not one of them all objected to his cruelty and outrages, his torturing and beating people to death.[416] Just as if, when a man has tumours and fistulas, one were to cut his hair and nails with a surgeon’s knife, so flatterers use outspokenness only in cases where it gives no pain or distress.