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Lecture

Lecture 23: Envoi.

Lecture 23, Thursday April 26th 2018

Nero’s Iconosphere

Nero the actor

Suetonius (Life of Nero 20): Having gained some knowledge of music in addition to the rest of his early education, as soon as he became emperor he sent for Terpnus, the greatest master of the cithara [= stringed concert instrument] in those days, and after listening to him sing after dinner for many successive days until late at night, he little by little began to practise himself, neglecting none of the exercises which artists of that kind are in the habit of following, to preserve or strengthen their voices. For he used to lie upon his back and hold a leaden plate on his chest, purge himself by the syringe and by vomiting, and deny himself fruits and all foods injurious to the voice. Finally encouraged by his progress, although his voice was weak and husky, he began to long to appear on the stage, and every now and then in the presence of his intimate friends he would quote a Greek proverb meaning “Hidden music counts for nothing.” And he made his début at Naples, where he did not cease singing until he had finished the number which he had begun, even though the theatre was shaken by a sudden earthquake shock.

60 CE: the Neronia

Suetonius (Life of Nero 12): Nero was the first to establish at Rome a quinquennial [= every 4 years] contest in three parts, after the Greek way, i.e. music, gymnastics, and riding. He called these games the Neronia.

🔥 The Fire of 64 CE 🔥

Suetonius (Life of Nero 38): On the pretence of the annoyance at the ugliness of the old buildings and the narrow, crooked streets, Nero openly set fire to the city… For six days and seven nights destruction raged, while the people were driven for shelter to monuments and tombs. At that time, besides an immense number of regular houses, the houses of ancient leaders were burned, still adorned with trophies of victory, and the temples of the gods vowed and dedicated by the kings and later in the Punic and Gallic wars, and  whatever else interesting and noteworthy had survived from antiquity. Viewing the conflagration from the tower of Maecenas and exulting, as he said, in “the beauty of the flames,” he sang the whole of the Sack of Ilium, in his regular stage costume. To gain from this calamity all the spoil and booty possible, while promising the removal of the debris and dead bodies free of cost he allowed no one to approach the ruins of his own property; and from the contributions which he not only received, but even demanded, he nearly bankrupted the provinces and exhausted the resources of individuals.

Tacitus (Ann. 15.38): There followed a disaster, whether due to chance or to the malice of the Nero is uncertain — different writers give different versions — but graver and more terrible than any other which has befallen this city by the ravages of fire.

Mary Beard (TLS, “A don’s life” Sept. 19th 2006): “Professional classicists have a habit of pouring cold water on popular facts about the ancient world.  Take something that everyone thinks they know about Greece and Rome, and the finger-wagging scholar loves nothing better than saying it’s wrong. My own curmudgeonly assault a few posts ago on ‘Et tu Brute‘ was a case in point. It must rank as one of the most famous phrases in the Latin language – and guess what, smirks the don, it was written by Shakespeare. Well, for a change, the good news is that Nero did fiddle while Rome burned. It just depends what you mean by fiddle. Most people, I fear, take ‘fiddling’ in the wrong sense.”

Octavia attributed to Seneca (831-836): [Nero] Next the city’s buildings must fall to flames set by me. Fire, ruined homes, sordid poverty, cruel starvation along with grief must crush this criminal populace.The masses have grown unruly, spoiled by the blessings of my reign. They cannot appreciate my policy of mercy (CLEMENTIA) or feel grateful or endure peace.

Juvenal (Satire 8.211-230): If the people were given a free vote, who would be so depraved as to hesitate about choosing Seneca over Nero? For his punishment more than a single monkey and a single snake and a single sack needed to be provided. His crime was that of Agamemnon’s son [killed his mother, Clytemnestra], but motive makes his case different. The fact is, Orestes, on the authority of the gods, was avenging his father, who’d been slaughtered at a banquet. But he did not pollute himself with Electra’s jugular or his Spartan wife’s blood, he didn’t prepare poison for any relations, he never went on stage to sing the part of Orestes, he never wrote an epic Troy… These were the achievements and these the skills of our highborn emperor, who enjoyed prostituting himself on foreign stages with his horrid singing, and winning Greek parsley crowns. Let your ancestors’ statues have the prizes won by your voice. Go on, put your long gown of Thyestes in front of Domitius’ feet, or your mask of Antigone or Melanippe, and hang your lyre on your colossus made of marble.

The Golden House (Domus Aurea)

Ramage & Ramage (6th edition) 2015: 163-164: “After the disastrous fire, a huge building program was set in motion to replace the burned-out sections of the city…To house the many people who had lost their homes, many new high-rise tenements were built following safer standards, and urbanization was widespread. The overcrowding was satirized by the Roman poet Juvenal (Satire 3), who deplored the noisy, dirty streets and uncouth people. While the poor endured such conditions, Nero himself immediately seized upon the opportunity to build a sumptuous country house for himself in the center of Rome, in a large area that had been cleared by the fire. As it was extraordinarly lavish, and in part gilded, it is called the Golden House of Nero, or the Domus Aurea. [p164] The emperor hired the best architects of the day, Severus and Celer, to construct the palace, the surrounding gardens, and the artifical lake.”

oct1.jpg

Photograph of the octagonal room in Nero’s Domus Aurea. When Trajan (reigned 98-117 CE) built his Baths over it, it was no longer seen in Rome. Image: stuff.mit.edu.

Ramage & Ramage (6th edition) 2015: 164: “A dome with a central opening, known as an oculus, covered the center of the octagonal room…In addition to the light that came through the hole in the roof, there were slits that let light into the radiating rooms. This was an unprecedented and ingenius design that hid the light source from the viewer.”

Suetonius (Life of Nero 31): Nero made a palace extending all the way from the Palatine to the Esquiline, which at first he called the House of Passage [=Domus Transitoria], but when it was burned shortly after its completion and rebuilt, the Golden House. Its size and splendour will be sufficiently indicated by the following details. Its vestibule was large enough to contain a colossal statue of the emperor a hundred and twenty feet high; and it was so extensive that it had a triple colonnade a mile long. There was a pond too, like a sea, surrounded with buildings to represent cities, besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals.  In the rest of the house all parts were overlaid with gold and adorned with gems and mother-of‑pearl. There were dining-rooms with fretted ceils of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet hall was circular and constantly revolved night and day, in imitation of the motion of the celestial bodies”.  He had baths supplied with sea water and sulphur water. When the building was finished in this style and he dedicated it, he deigned to say nothing more in the way of approval than that he was at last beginning to be housed like a human being

Domus Aurea and the Fourth Style

For a refresher on the Pompeian wall painting styles, go back to lecture 10.

Fourth Style Baroque
reaction against 3rd style, panoramic vistas, architectural details; eclectic, variety. The appearance of framed pictures.
c. 20 – end of 1st c. CE [many examples from 79 CE] Nero’s Golden House, Domus Aurea (between 64 and 68 CE)

 

Rome

 

House of the Vettii (after 62 CE) Pompeii VI 15, 1
House of D. Octavius Quartio (later 1st c. CE) Pompeii II 2, 2-5

 

domus-aurea-wall-painting

humidity-salt-damage-domus-aurea

Photographs of what remains of Nero’s Domus Aurea. Top: high vaulted ceilings with delicate painted patterns. Bottom: the effect of time on the extant parts of the Domus Aurea. Images: romewise.com. 

grottesque-closeup-thumb.jpgFourth Style: Birds, animals, and marine creatures in the Domus Aurea c. 64-68 CE. Ceiling paint. Image: romewise.com.

Ramage & Ramage (6th edition) 2015: 167: “The paintings of the Golden House of Nero were discovered in the late 15th century. A number of famous Renaissance painters, such as Raphael and Giovanni da Udine, crawled in under the ceiling, which was then well underground, and were inspired to paint similar decorative motifs in some of their own works. Because the cave-like excavations in the Golden House were called grottoes, the figures on the wall were name grotteschi from which comes our word “grotesque“.

Screen-shot-2014-03-12-at-8.16.25-PM-480x209.png
Image of the graffito of Giovanni da Udine (signed as “ZVAN DA VDENE FIRLANO”) from the cryptoporticus in the Domus Aurea. Image: albertis-window.com.

 Nero as Sun god?

  • 66 CE: Tiridates arrives in Rome, where he is crowned king of Armenia, and hails Nero as Mithras.

Dio Cassius (63.4): At daybreak Nero, wearing the triumphal garb and accompanied by the senate and the praetorians, entered the Forum. He ascended the rostra and seated himself upon a chair of state. Next Tiridates [of Armenia] and his suite passed between lines of heavy-armed troops drawn up on either side, took their stand close to the rostra, and bowed to the emperor as they had done before.  These were his words: “Master, I am the descendant of Arsaces, brother of the kings Vologaesus and Pacorus, and your slave. And I have come to you, my god, to worship you as I do Mithras. The destiny you spin for me shall be mine; for you are my Fortune and my Fate.”

The Cambridge Companion to the Age of Nero (2017: 202): “For those who followed the religion of Zoroaster, the sun was the eye of Mithras, and Mithras was associated with, if not identified as, the sun…And that must have been how Romans interpreted the ceremony as well, especially since the second part of the spectacle took place in the Theater of Pompey, which had been gilded for the occasion. The theater was overhung by an awning of purple on which was depicted a gigantic figure of Nero as the sun riding his chariot in the sky surrounded by stars resplendent with gold.”

Death of Nero and accession of Galba

Galba: The governor of Hispania Tarraconensis at the time of the rebellion of Julius Vindex in Gaul (67/68 CE), he seized the throne following Nero’s suicide (June 9, 68 CE).

Suetonius (Life of Nero 49): At last, while his companions one and all urged him to save himself as soon as possible from the indignities that threatened him, he bade them dig a grave in his presence, proportioned to the size of his own person, and at the same time bring water and wood for presently disposing of his body. As each of these things was done, he wept and said again and again: “What an artist the world is losing!” Qualis artifex pereo!

Suetonius (Life of Galba 1, 2): The race of the Caesars ended with Nero. Nero was succeeded by Galba, who was related in no degree to the house of the Caesars, although unquestionably of noble origin and of an old and powerful family; for he always added to the inscriptions on his statues that he was the great-grandson of Quintus Catulus Capitolinus, and when he became emperor he even displayed a family tree in his hall in which he carried back his ancestry on his father’s side to Jupiter and on his mother’s to Pasiphae, the wife of Minos.

Back to the beginning…

Rome’s traditional foundation date 21st April 753 BCE
Regal period at  Rome 753 – 509 BCE
Roman Republic 509 BCE – 27 BCE
Roman Empire 27 BCE – 476 CE
“fall” of Rome 330 CE: capital moved Rome to Constantinople (Nova Roma)
395 CE: split into West + East
476 CE: Western portion falls
1453 CE: East falls to Ottoman Turks
Rome’s 1st king: Romulus, 753 – c. 717 BCE
Rome’s 1st emperor: Augustus (considered calling self Romulus), 27 BCE – 14 CE
Rome’s last emperor = Romulus Augustulus (‘Romulus little Augustus’),  460 CE – after 476 CE

Quotations of the ancient visual

Ralph Waldo Emerson Quotation and Originality (1875): “By necessity, by proclivity, and by delight, we all quote. We quote not only books and proverbs, but arts, sciences, religion, customs, and laws; nay, we quote temples and houses, tables and chairs.”

1280px-Pantheon_panorama,_Rome_-_4.jpgPhotograph of the outside of the Pantheon, a large temple dedicated to all of the gods. One of the best preserved and influential of all Roman buildings. It has been well preserved because it was converted into a church by the early 7th c. CE. Although Agrippa, whose name appears in the inscription over the porch (M AGIRPPA L F COS TERTIUM FECIT = “Marcus Agrippa, son of Lucius, made [this building] when consul for the third time”), had constructed an original structure here in 27 BCE, the building which we now see was largely constructed under late in the reign of Trajan (r. 98-117 CE). A prior dating to the reign of Hadrian (117-138 CE) was previously standard in scholarship based on the discovery of Roman brick stamps dated to 125 CE. But examination of the rotunda shows that much of the building was already standing when Hadrian’s transitional block and porch were built. Image: “Maros” (CC BY 2.5) via Wikimedia.

1280px-Dome_of_Pantheon_Rome.JPGThe Dome inside the Pantheon with its oculus, 27 feet across.  Public domain via Wikimedia.

Monticello_0.JPG
Monticello, Virginia, primary home of Thomas Jefferson, who began designing the complex at the age of 26. 1769-1809. Image: americanheritage.com.

UVA_RotundaUniversity of Virginia Rotunda, designed by Thomas Jefferson to represent the “authority of nature and power of reason.” Heavily inspired by the Pantheon. 1822-1826. Image: “Patrickneil” (CC BY-SA 3.0) via Wikimedia.

jefferson_20memorial.jpgThe Jefferson Memorial designed by John Russell Pepe. 1939-1943. Statue of Jefferson added in 1947. Image: curbed.com.

On leaving antiquity

decline and fall.jpg
Spines of English historian Edward Gibbon’s History of The Decline and Fall of the Roman Empire (1776-1788), which shows the steady crumbling of a column over time. Spans period of reign of Trajan (98 CE) to Constantinople (1453). Image: @TheHiddenWorId.

Are We Romans?

Sarah Bond: “The trend of comparing the US to Rome is nothing new. What is clear is that the ‘Fall of Rome’ and the fall of the Roman Republic are most often used as a device to tease out perceived flaws in American society.”

+ her ongoing list of articles that compare various things about American society to the quote unquote “fall of Rome”:

Phiroze Vasunia (2013: 239): “The ‘Indian’ Homer and the ‘British’ Virgil are complementary approaches to the ancient epic tradition but present different perspectives on empire. Homer was part of the discussion of the theory of Indo-European origins, where Virgil was not, and thus the Homeric poems, along with the Sanskrit epics, became enmeshed in debates about the early sources of language, religion, and culture; these debates were not just restricted to European thinkers and joined by Indian scholars and intellectuals. In Britain, while Homer’s reputation did not quite decline, Virgil’s appeal increased over the nineteenth century and he came to be seen as the most accomplished of Roman authors; more than any other classical poet, he encouraged Britons to think about their own empire and the conception of a national epic. In India and Britain, responses to epic were explorations of literary history, national identity, and of the distance between antiquity and the present. But the contrast in national situations meant that, in India, the treatment of epic was often assimilated to national recovery and the prestige of a subject people, while, in Britain, epic verse was associated with imperial status as well as national pride.”

Robert Needham Cust (1899: 17): “…and when gradually, though not yet thirty years of age, I found myself helping to rule Millions in their hundreds of towns and thousands of villages, the lines of Virgil came back to me:
‘Tu regere imperio populos, Romane, memento;
Hae tibi erunt artes; pacisque imponere morem,
Parcere subjectis, et debellare superbos.’ [=Aeneid 6.851-853]

Sarah Ruden’s translation of 6.851-853 (p141):

“But Romans, don’t forget that world dominion
Is your great craft: peace, and then peaceful customs;
Sparing the conquered, striking down the haughty.

Phiroze Vasunia (2013: 240):Robert Needham Cust wrote in his autobiography that he was reminded of lines from Book Six of the Aeneid when he was sent to India as a young man and entrusted with the task of governing millions. And one finds references to Virgil and his works in articles written by Europeans (and some by Indians) for the learned journals of the Asiatic societies, in the official reports of colonial administrators, and in memoirs of army officers, civil servants, and the like.

Edith Hall, “How Enoch Powell got Vergil Wrong” (20 April 2013): “45 Years ago today, classical literature was put to its most shameful use in the history of British oratory, when Enoch Powell MP quoted  lines from the Aeneid to incite racial hatred. At a Conservative Party meeting in Birmingham, he emotively described the alleged plight of the white working-class in the face of immigration, and said that it was bound to end in violence: ‘like the Roman, I seem to see “the River Tiber foaming with much blood”.’” bella, horrida bella / et Thybrim multo spumantem sanguine cerno’ (6.86-7). [The words are in fact spoken by the Apollo via Sibyl to Aeneas — she predicts that there will be a second Trojan War in Italy]

9/11 monument — New York City

Caroline Alexander, New York Times April 6th 2011: “But one feature of the National September 11 Memorial and Museum seems above reproach: a quotation from Virgil’s “Aeneid” that will be inscribed on a wall in front of the victims’ remains. The memorial inscription, “No day shall erase you from the memory of time” is an eloquent translation of the original Latin of “The Aeneid” — Nulla dies umquam memori vos eximet aevo (9.447). The impulse to turn to time-hallowed texts, like the classics or the Bible, is itself time-hallowed. In the face of powerful emotions, our own words may seem hollow and inadequate, while the confirmation that people in the past felt as we now feel holds solace. And the language of poets and great thinkers can be in itself ennobling. But not in this case. Anyone troubling to take even a cursory glance at the quotation’s context will find the choice offers neither instruction nor solace…The immediate context of the quotation is a night ambush of the Rutulian enemy camp by two Trojan warriors, Nisus and Euryalus, whose mutual love is described in terms of classical homoerotic convention and whose deaths represent one of the epic’s famously sentimental set pieces. Falling on the sleeping enemy, the two hack away with their swords, until the ground reeks with “warm black gore.” Stripping the murdered soldiers of their armor, the two are in turn ambushed by a returning Rutulian cavalry troop. As each Trojan tries to save his companion, both are killed, brutally and graphically…”

Further Reading: 

  • Sarah Bond’s many excellent pieces at Forbes and now Hyperallergic
  • Phiroze Vasunia (2013) The Classics and Colonial India. Available online via BU library.
  • Peter Onuf and Nicholas Cole (2011) Thomas Jefferson, the classical world, and early America. Available online via BU library.
  • Carl Richard (1994) The founders and the classics: Greece, Rome, and the American Enlightenment. [Mugar JA84.U5 R48 1994]
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Lecture

Lecture 22: Post-Aug Empire: Claudius (41-54 CE), Nero’s Iconosphere (54-68 CE).

Lecture 22, Tuesday April 23rd 2018

Julio-Claudian Emperors

Augustus 27 BCE – 14 CE
Tiberius 14 – 37 CE
Gaius ‘Caligula’ 37 – 41 CE
Claudius 41 – 54 CE
Nero 54 – 68 CE

 

Julio-Claudian family tree

Augustus family tree[Printable pdf of Julio-Claudian family tree]

Reign of Claudius (41-54 CE) 

Suetonius (Life of Claudius 10): When the assassins of Gaius shut out the crowd under pretence that the emperor wished to be alone, Claudius was ousted with the rest and withdrew to an apartment called the Hermaeum; and a little later, in great terror at the news of the murder, he stole away to a balcony hard by and hid among the curtains which hung before the door.  As he cowered there, a common soldier, who was prowling about at random, saw his feet, intending to ask who he was, pulled him out and recognized him; and when Claudius fell at his feet in terror, he hailed him as emperor.

What kind of man is Claudius? What kind of ruler?

I, Clavdivs — ep. 1 “A Touch of Murder.” Sybil: What groans beneath the Punic curse and strangles in the strings of purse before she mends must sicken worse. Ten years, fifty days and three, Clau-Clau-Claudius shall be given thee a gift that all desire but he. But when he’s done, and no more here, nineteen hundred year or near, Clau-Clau-Claudius shall speak clear.

  • b. 10 BCE at Lugdunum, Gaul (modern Lyons, France) — the emperor Caracalla (r. 211-217 CE) was also born there
  • Claudius = nephew of Tiberius, uncle of Caligula, younger brother of Germanicus
  • equestrian status until 37 CE when he was suffect consul with his nephew, emperor Caligula; consul again in 42, 43, 47, 51 CE
  • by end of reign, had received 27 salutations as imperator — more than any other emperor until Constantine I
  • revived office of censor in 47-48 CE (his colleague was L. Vitellius, father of a future emperor, r. 69 CE for 8 months) — censorship had not been held since 22 BCE

Claims of physical and mental infirmity 

Suetonius (Life of Claudius 3): His mother Antonia often called him “a monster of a man, not finished but merely begun by nature”; and if she accused anyone of dulness, she used to say that he was “a bigger fool than her son Claudius.” His grandmother Augusta [=Livia] always treated him with the utmost contempt, very rarely speaking to him; and when she criticized him, she did so in short, harsh letters, or through messengers.

Dio Cassius (60.2.1-2): In mental ability he was by no means inferior, as his faculties had been in constant training (in fact, he had actually written some historical treatises); but he was sickly in body, so that his head and hands shook slightly.  Because of this his voice was also faltering, and he did not himself read all the measures that he introduced before the senate, but would give them to the quaestor to read, though at first, at least, he was generally present. Whatever he did read himself, he usually delivered sitting down.

Suetonius (Life of Claudius 38): He did not even keep quiet about his own stupidity, but in certain brief speeches he declared that he had purposely feigned it under Gaius, because otherwise he could not have escaped alive and attained his present station. But he convinced no one, and  within a short time a book was published, the title of which was “The Elevation of Fools” and its thesis, that no one feigned folly.

Dio Cassius (60.2.4-5): From a child he had been reared a constant prey to illness and great terror, and for that reason had feigned a stupidity greater than was really the case (a fact that he himself admitted in the senate).

Claudius’ life of mind

  • wrote a history of Rome in over 40 Books; Etruscan history in 20 Books (in Greek); history of Carthage in 8 Books (in Greek) — Suet. Claudius 42
  • he was encouraged in his writing of history by Livy (Suet. Claudius 41)

 Tacitus (Annales 11.13-14): After making the discovery that not even the Greek alphabet was begun and completed in the same instant, he invented and gave to the world some additional Latin characters. [14] The Egyptians, in their animal-pictures, were the first people to represent thought by symbols: these, the earliest documents of human history, are visible today, impressed upon stone. They describe themselves also as the inventors of the alphabet: from Egypt, they consider, the Phoenicians, who were predominant at sea, imported the knowledge into Greece, and gained the credit of discovering what they had borrowed. For the tradition runs that it was Cadmus, arriving with a Phoenician fleet, who taught the art to the still uncivilized Greek peoples. Others relate that Cecrops of Athens (or Linus of Thebes) and, in the Trojan era, Palamedes of Argos, invented sixteen letters, the rest being added later by different authors, particularly Simonides. In Italy the Etruscans learned the lesson from the Corinthian Demaratus, the Aborigines from Evander the Arcadian; and in form the Latin characters are identical with those of the earliest Greeks. But, in our case too, the original number was small, and additions were made subsequently: a precedent for Claudius, who appended three more letters, which were used during his reign, then fell out of use, but still meet the eye on the official bronzes fixed in the forums and temples.

Suetonius (Life of Claudius 41): he invented three new letters and added them to the alphabet, maintaining that they were greatly needed; he published a book on their theory when he was still in private life, and when he became emperor had no difficulty in bringing about their general use. These characters may still be seen in numerous books, in the state registers, and in inscriptions on public buildings.

Claudius’ letters:

  1. An inverted digamma, A Claudian letter, for the consonantal u, i.e. English ‘w’ (A Claudian letterVLGVS = VVLGVS);
  2. an “antisigma,” , equivalent to the Greek Ψ (sound: ps) and the sound bs — no known extant examples (and some uncertainty about what it really looked like: alternative theory = ↃϹ )
  3. the Greek sign for the spiritus asperA Claudian letter, to express the y‑sound, between u and i, heard in such words as maximus (maxumus) (= MAXA Claudian letterMVS).

49 CE cippi.png
Pomerium boundary stone, Rome. 49 CE. Found in 1913 near the Via Flaminia. One of 8 or 9 discovered examples of boundary-stones set up by Claudius when he expanded Rome’s pomerium during his censorship 47-48 CE. The last line reads: ampliaℲit terminaℲitq[ue]. = ampliauit terminauitque, “he enlarged it and made a boundary” (Illustrated Introduction to Latin Epigraphy, 118).

Imperial innovations

  • his domestic policy aimed at remedying the damage done by Caligula and stressing the importance of the cult of the imperial family
    • at his accession, Claudius deified Livia (Suet. Claudius 11, Dio Cassius 60.5.2); Tiberius had not wanted to deify his mother…
    • abolished taxes introduced by Caligula (Dio Cassius 60.4.1)
    • brought back those exiled by Caligula, including Caligula’s sisters Agrippina and Julia Livilla (Dio Cassius 60.4.1)
    • he took an active role in overseeing court cases and finances (Dio Cassius 60.4.4)
    • he destroyed all of the poisons found in Caligula’s residence; and the two books named Gladius (‘The Sword’) and Pugio (‘The Dagger’) belonging to Caligula’s freedman, Protogenes (Dio Cassius 60.4.5) which contained names of those marked out for judicial murder
  • but he did not allow the senate to officially condemn the memory (damnatio memoriae) of Caligula (Dio Cassius 60.4.5)

Dio Cassius (60.4.5-6): And yet, when the senate desired to dishonour Caligula, he personally prevented the passage of the measure, but on his own responsibility caused all his predecessor’s images to disappear by night.  [6] Hence the name of Caligula does not occur in the list of emperors whom we mention in our oaths and prayers any more than does that of Tiberius; and yet neither one of them suffered disgraced by official decree.

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1) Marble statue of Claudius with attributes of Jupiter, c. 50 CE. Over life sized. Musei Vaticani. Image: Sergey Sosnovskiy (CC BY-SA 4.0). 2) Close-up of Claudius as Jupiter. Image: GJCL Classical Art History. 3) Bronze head of Claudius, c. 50 CE, found at the River Alde at Rendham, Suffolk, perhaps originally from Colchester. British Museum, London. Image: Carole Raddato (CC-BY-SA-2.0) via Wikimedia. 4) Claudius conquers Britain, marble sculptural relief from Aphrodisias. Image: nyu.edu.

  • reorganized the central administration of empire into various departments for administrative tasks
  • provinces:
    • Mauretania organized into two procuratorial provinces (Caesariensis and Tingitana), 42 CE;
    • conquest of Britain begun (43 CE); with imperial cult at Camulodunum (modern Colchester)
    • Lycia + Pamphylia become a new imperial province (43 CE)
    • Anatolia integrated into the Empire (43 CE)
    • Thrace becomes a procuratorial province (46 CE)
    • by 54 CE Claudius’ eastern governers had allowed Parthia to control Greater Armenia, blow to Roman prestige
  • undertook construction and public works
    • project to drain Lake Fucinus, large lake in central Italy: Claudius employed 30, 000 men over 11 years to execute Caesar’s plan to drain the lake; emissarium of 3½ miles excavated through a mountain ridge to carry the lake waters to the River Liris (Suet. Iul. 44; Claudius 20, 32)
    • built aqueducts (Suet. Claudius 20)
    • the port of Ostia (Suet. Claudius 20); completed by Nero

coin of nero showing the harbour at Ostia.jpg

Copper alloy coin of Nero (reverse), mid. 1st c. CE. Bird’s eye view of the harbour of Ostia begun by Claudius in 42 CE, completed by Nero. At the top, a statue of Neptune on a base or on top of a lighthouse; at the bottom, reclining figure of River Tiber, holding rudder in right hand and dolphin in left hand; to left, crescent-shaped pier with portico of fourteen pillars, terminating with figure sacrificing at altar before building; to right, crescent-shaped row of fourteen breakwaters or slips terminating with figure seated on rock; within the central harbour, seven ships (three left, one centre, three right). The inscription reads: AUGUSTI POROST = Portus Ostiensis Augustus, “Augustan harbour of Ostia”. The term “Augustan” here refers to Nero, not to Augustus himself. Image: British Museum.

The advancement of provincial senators 

$CIL_13_01668_1.jpg
The Lugdunum tablet, or Lyons tablet (CIL XIII, 1668), discovered in 16th century near Lyons, France. Bronze tablet inscribed with a speech given by Claudius in 48 CE. Lugdunum, Gaul, was the city of Claudius’ birth and it also housed an imperial cult centre (see the image of the Lugdunum altar to Rome and Augustus on a coin in lecture 19 — this altar was consecrated in the year of Claudius’ birth, 10 BCE). Claudius’ speech made before the Roman senate argued that citizens from northern and central Gaul be allowed to become senators. The bronze tablet reflects the words which Claudius wanted his Gallic audience to hear. The historian Tacitus (Ann. 11.23-25) gives us his own version. This is another example of an extant inscription relating a historical event which was described by Tacitus, like the Senatus Consultum de Pisone patre. These points of contact allow us to analyze Tacitus as a historical source. Claudius’ speech shows his concern for the interest of provincial elites; his antiquarianism; and his literary/historical debt to Livy. Image: EDCS.

Tacitus (Ann. 11.24): “In my own ancestors, the eldest of whom, Clausus, a Sabine by extraction, was made simultaneously a citizen and the head of a patrician house, I find encouragement to employ  the same policy in my administration, by transferring hither all true excellence, let it be found where it will. For I am not unaware that the Julii came to us from Alba, the Coruncanii from Camerium, the Porcii from Tusculum; that — not to scrutinize antiquity — members were drafted into the senate from Etruria, from Lucania, from the whole of Italy; and that finally Italy itself was extended to the Alps, in order that not individuals merely but countries and nationalities should form one body under the name of Romans…”

The influence of women and freedmen…

Dio Cassius (60.2.4): It was not these infirmities,  however, that caused the deterioration of Claudius so much as it was the freedmen and the women with whom he associated; for he, more conspicuously than any of his peers, was ruled by slaves and by women.

Claudius’ freedmen:

  • Narcissus: freedman secretary of correspondence to Claudius. Acquired 400 million sesterces and great political influence. Power weakened during the Messalina affair of 48 CE.
  • Gaius Julius Callistus: an influential freedman who took part in the conspiracy to assassinate Caligula in 41 CE; in charge of petitions under Claudius.
  • Marcus Antonius Pallas: freedman of Claudius’ mother, Antonia, and financial secretary under Claudius. Wealth, success, arrogance made him unpopular. Devoted to Agrippina (sister of Caligula), and rumoured to be her lover, he successfully championed her as Claudius’ new wife after downfall of Messalina. Under Pallas’ influence, Claudius promoted Agrippina’s son, future emperor Nero, ahead of his bio son, Britannicus. After his influenced waned, he was put to death by Nero in 62 CE.

The Messalina Affair (48 CE) — the marriage to Gaius Silius

  • Valeria Messalina = Claudius’ 3rd wife (married in 38 or 39 CE), great-granddaughter on both sides of Octavia (Aug.’s sister) and Mark Antony. Her children with Claudius: Octavia (b. 40 CE), Britannicus (b. 41 CE).
  • during the height of her power she arranged the destruction or exile of a number of prominent elite individuals including Caligula’s sister, Julia Livilla, and Seneca 
  • 48 CE: Claudius’ wife Messalina “married” a consul-designate named Gaius Silius (attempt to replace Claudius as emperor). Tacitus gives an extended account of the public wedding celebrations and Messalina’s downfall.
  • Messalina and Silius were both executed — as well as 8 of their associates (Suet. Claud. 26, 39; Tac. Ann. 11.28-38; Dio 60(61).31.5)
  • her children were both later murdered by Nero: Britannicus (55 CE), Octavia (then Nero’s wife, 62 CE).
  • She was denied the title of Augusta (Dio Cassius 60.12.5), and suffered damnatio memoriae (Tac. Ann. 11.38.3; Varner 2004: 96)

Tacitus (Ann. 11.31-32): But Messalina had never given voluptuousness a freer rein. Autumn was at the full, and she was celebrating a mimic vintage through the grounds of the house. Presses were being trodden, vats flowed; while, beside them, naked women were bounding like Bacchanals excited by sacrifice or delirium. She herself was there with dishevelled tresses and waving a thyrsus; at her side, Gaius Silius with an ivy crown, wearing the buskins and tossing his head, while around him rose the din of a wanton chorus. The tale runs that Vettius Valens, in some freak of humour, clambered into a tall tree, and to the question, “What did he spy?” answered: “A frightful storm over Ostia” — whether something of the kind was actually taking shape, or a chance-dropped word developed into a prophecy. [32] In the meanwhile, not rumour only but messengers were hurrying in from all quarters, charged with the news that Claudius knew all and was on the way, hot for revenge.

Juvenal* (Satire 6.115-132): Then take a look at the rivals of the gods, listen to what Claudius put up with. When his wife [=Messalina] realised her husband was asleep, she would leave, with no more than a single maid as her escort. Preferring a mat to her bedroom in the Palace, she had the nerve to put on a nighttime hood, the whore-empress (meretrix Augusta). Like that, with a blonde wig hiding her black hair, she went inside a brothel reeking of ancient blankets to an empty cubicle—her very own. Then she stood there, naked and for sale, with her nipples gilded, under the trade name of “She-Wolf,” (lupa) putting on display the belly you came from, noble-born Britannicus. She welcomed her customers seductively as they came in and asked for their money. Later, when the pimp was already dismissing his girls, she left reluctantly, waiting till the last possible moment to shut her cubicle, still burning with her clitoris inflamed and stiff. She went away, exhausted by the men but not yet satisfied, and, a disgusting creature, with her cheeks filthy, dirty from the smoke of the lamp, she took back to the emperor’s couch the stench of the brothel.

*Juvenal = c.55 or 60–c.130 CE, Roman verse satirist.

Tacitus (Ann. 11.38.3): His forgetfulness was assisted by the senate, which decreed that the name and statues of the empress should be removed from private and public places.

Varner (2004: 96): “As a direct result of her damnatio memoriae and the virulence of the feeling against her, Messalina is the first empress for whom there is extant physical evidence for the deliberate mutilation of her images.”

Agrippina (14-59 CE); married her uncle Claudius in 49 CE

  • b. Nov. 15 CE, she married Cn. Domitius Ahenobarbus in 28 CE; Nero was born from this marriage in 37 CE
  • Agrippina was banished by Caligula (39 CE) because of a conspiracy (Dio Cassius 59.22); recalled by Claudius, she married again (Passienus Crispus)
  • 49 CE: Agrippina married her uncle Claudius; she used her influence to recall Seneca from exile 
  • 50 CE: made Claudius adopt Nero, privileging him over his own biological son, Britannicus
  • she founded the Colonia Agrippinensium (modern Cologne: Tac. Ann. 12.25-27)
  • after Claudius’ death in 54 CE, she dominated politics; but she was killed by Nero in 59 CE

Imperial reliefs from the Sebasteion of Aphrodisias (modern Turkey). The Sebasteion, excavated 1979-1981, = a grandiose temple complex dedicated to Aphrodite and the Julio-Claudian emperors. Its construction stretched over two generations, from c. 20 to 60 CE, from the reign of Tiberius to that of Nero. Left: Claudius with Agrippina and a personification of the Roman Senate or people (?); and right: Agrippina crowning her son Nero with a laurel wreath. Image, left: Egesto Sani (CC BY-NC-SA 2.0via Flickr; right: Carlos Delgado (CC BY-SA 3.0) via Wikimedia.

Suetonius (Life of Claudius 44): That Claudius was poisoned is the general belief, but when it was done and by whom is disputed. Some say that it was his taster, the eunuch Halotus, as he was banqueting with the priests;  others that at a family dinner Agrippina served the drug to him with her own hand in mushrooms, a dish of which he was extravagantly fond. Reports also differ as to what followed. Many say that as soon as he swallowed the poison he became speechless, and after suffering excruciating pain all night, died just before dawn. Some say that he first fell into a stupor, then vomited up the whole contents of his overloaded stomach, and was given a second dose, perhaps in a gruel, under pretence that he must be refreshed with food after his exhaustion, or administered in a syringe, as if he were suffering from a surfeit and required relief by that form of evacuation as well.

Dio Cassius (61.35.2, 4): Agrippina and Nero pretended to grieve for the man whom they had killed, and elevated to heaven him whom they had carried out on a litter from the banquet…[4] Nero, too, has left us a remark not unworthy of record. He declared mushrooms to be the food of the gods, since Claudius by means of the mushroom had become a god.

Reign of Nero (54-68 CE)

  • after death of Claudius 54 CE, Claudius is deified by senatorial decree, Agrippina becomes priestess of Divine Claudius, as Livia had been of Divine Augustus (Dio 61.35.2)
  • Nero (nearly 17 yo) was named emperor by the praetorian guard; senate bestowed tribunicia potestas + imperium proconsulare
  • at Nero’s accession, he read speeches written for him by Seneca to the praetorians and to the senate (Dio Cassius 61.3.1)
  • Nero was consul in 55, 57, 58, 60, and 68 CE
  • Agrippina wanted to be in control — Agrippina is reported to have had a sexual relationship with her son in order to control him (Tac. Ann. 14.2.1, Dio 61.11.3)
  • 55 CE: Nero’s brother Britannicus died (poisoned by Nero, acc. to Tac. Ann. 13.15-17 and Suet. Nero 33)
  • 59 CE: Nero had his mother, Agrippina, killed (Tac. Ann. 14.1-9)

Killing Agrippina (59 CE)

Tacitus (Ann. 14.3, 5): Nero began to avoid private meetings with his mother; when she left for her gardens or the estates at Tusculum and Antium, he commended her intention of resting; finally, convinced that, wherever she might be kept, she was still an burden,he decided to kill her, debating only whether by poison, the dagger, or some other form of violence…Anicetus the freedman pointed out that it was possible to construct a ship, part of which could be artificially detached, well out at sea, and throw the unsuspecting passenger overboard:— “Nowhere had accident such scope as on salt water; and, if the lady should be cut off by shipwreck, who so captious as to read murder into the delinquency of wind and wave? The sovereign, naturally, would assign the deceased a temple and the other displays of filial piety.” …[5] . Suddenly the signal was given: the canopy above them, which had been heavily weighted with lead, dropped, and Crepereius was crushed and killed on the spot. Agrippina and Acerronia were saved by the height of the couch-sides, which, as it happened, were too solid to give way under the impact. Nor did the break-up of the vessel follow: for confusion was universal, and even the men accessory to the plot were impeded by the large numbers of the ignorant. The crew then decided to throw their weight on one side and so capsize the ship; but, even on their own part, agreement came too slowly for a sudden emergency, and a counter-effort by others allowed the victims a gentler fall into the waves. Acerronia, however, incautious enough to raise the cry that she was Agrippina, and to demand aid for the emperor’s mother, was despatched with poles, oars, and every nautical weapon that came to hand. Agrippina, silent and so not generally recognised, though she received one wound in the shoulder, swam until she was met by a few fishing-smacks, and so reached the Lucrine lake, whence she was carried into her own villa.

Tacitus (Ann. 14.8): The centurion was drawing his sword to make an end, when she gave her womb to the blow. “Strike here,”* she exclaimed, and was despatched with repeated wounds.

*”Strike here!” = in Seneca’s Oedipus (1036-1039) Jocasta (mother/wife of Oedipus) kills herself by stabbing her womb.

440px-Nero_Glyptothek_Munich_321.jpgPortrait of Nero from the Munich Glyptothek. Image: public domain via Wikimedia. Paul Zanker (2008: 76): “In his last years, Nero increasingly saw himself as an artist of rival talent. This subjective view comes across strongly in his final portrait type. Unlike his predecessors, Nero is not depicted with idealized features and a Classical hairstyle but rather with his own full, rather fleshy face and a hairstyle that could only have been made with a curling iron.”

 

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Lecture

Lecture 21: Seneca Thyestes.

Lecture 21, Thursday April 19th 2018

Seneca the younger (betw 4 BCE and 1 CE — 65 CE)

  • L. Annaeus Seneca born in Spain at Corduba; of equestrian wealth
  • his father was Seneca the elder (c. 55 BCE – c. 40 CE), Latin rhetorical theorist and historian; Seneca’s the younger’s nephew, Lucan (39 – 65 CE), wrote an epic poem, the Bellum Civile (“Civil War”) on the conflict of Julius Caesar and the senate
  • as a young man he studied philosophy with the Stoic Attalus of Pergamum (Ep. 108.3) and Papirius Fabianus (Ep. 100.12), a rhetorical theorist who was close to a Stoic-Pythagorean school with ascetic tendencies + interest in natural science
  • c. 26 CE: Seneca is thought to have spent some time in Egypt while his aunt’s husband (Gaius Galerius) was prefect there (16 – 31 CE); he returned to Rome in 31 CE, having survived a shipwreck in which his uncle died
  • 31 CE: Seneca began career in law courts + politics (Ep. 49.2); his aunt helped him attain the quaestorship (Dialogue 12.19.2)
  • the emperor Caligula (37 – 41 CE) hated Seneca personally (Dio Cassius 59.19.7) and hated his oratorical style (Suet. Gaius. 53.2: “Caligula hated a polished and elegant style that he used to say that Seneca, who was very popular then, composed ‘mere school exercises’ and that he was ‘sand without lime'”)

Dio Cassius (59.19.7-8): Lucius Annaeus Seneca, who was superior in wisdom to all the Romans of his day and to many others as well, came near being destroyed, though he had neither done any wrong nor had the appearance of doing so, but merely because he pleaded a case well in the senate while the emperor was present. [8[ Caligula ordered him to be put to death, but afterwards let him off because he believed the statement of one of his female lovers, to the effect that Seneca had consumption in an advanced stage and would die soon.

  • 41 CE: under the emperor Claudius (41 – 54 CE), Seneca was exiled to Corsica for alleged adultery with Julia Livilla, a sister of Caligula; the charge against him was made by Claudius’ wife, Messalina (Dio Cassius 60.8.4-5)

Dio Cassius (60.8.4-5): The acts I have named, now, were the acts of Claudius himself, and they were praised by everybody; but certain other things were done at this time of quite a different nature by his freedmen and by his wife Messalina[5] Messalina became enraged at her niece Julia Livilla because she neither paid her honour nor flattered her; and she was also jealous because  the girl was extremely beautiful and was often alone with Claudius. Accordingly, she secured her banishment by trumping up various charges against her, including that of adultery (for which Seneca was also exiled), and not long afterward even arranged her death.

  • Seneca stayed in exile till 49 CE (after death of Messalina), when he was recalled under the influence of Agrippina (the younger, Claudius’ niece and now wife; Seneca would later be accused of being her lover — Tac. Ann. 13.42.5, Dio Cassius 61.10.1), made praetor, made tutor of the future emperor Nero (12yo) — Tac. Ann. 12.8
  • Seneca drew up a program of ‘clemency’ (clementia) for the young emperor (Tac. Ann. 13.11); Seneca’s On Clemency (De Clementia) tried to make Nero embrace this philosophical program
  • Seneca augmented his already large fortune during this period via a combination of business savvy and gifts from emperor, attracting envy and hatred (Tac. Ann. 13.42; 14.52)

Suetonius (Life of Nero 7): When Nero was twelve years old he was adopted by Claudius and consigned to the training of Seneca, who was then already a senator. They say that on the following night Seneca dreamed that he was teaching Caligula, and Nero soon proved the dream prophetic by revealing the cruelty of his disposition at the earliest possible opportunity.

Tacitus (Annales 13.11): There followed, in fact, a display of leniency towards Plautius Lateranus [see Tac. Ann. 11.36], demoted from his rank as senator for adultery with Messalina, but now restored to the senate by the emperor Nero, who pledged himself to clemency (clementia) in a series of speeches, which Seneca, either to attest the exalted qualities of his teaching or to advertise his ingenuity, kept presenting to the public by the lips of the sovereign.

Seneca (De Clementia 1.1): I have determined to write a book upon clemency, Nero Caesar, in order that I may as it were serve as a mirror to you, and let you see yourself arriving at the greatest of all pleasures. For although the true enjoyment of good deeds consists in the performance of them, and virtues have no adequate reward beyond themselves, still it is worth your while to consider and investigate a good conscience from every point of view, and afterwards to cast your eyes upon this enormous mass of mankind — quarrelsome, factious, and passionate as they are…

  • Seneca + the praetorian commander Afranius Burrus controlled the behaviour of Nero + his mother Agrippina in the early part of the Nero’s reign, beginning in 54 CE (Tac. Ann. 13.2)
  • Seneca was suffect consul (for 6 months) in 56 or 55 CE (Griffin 1976: 73-74)

Tacitus (Annales 13.2): “The tendency, in fact, was towards murder, had not Afranius Burrus and Seneca intervened.”

Seneca’s works

  • Stoic philosophical works (prose):
    • 12 books of Dialogues = treatises on ethical and psychological questions: 1: ‘On Providence’ (De Providentia), 2: ‘On the Firmness of the Wise Man’ (De Constantia Sapientis); 3-5: ‘On Anger’ (De Ira), 6: ‘To Marcia On Consolation’ (ad Marciam de consolatione); 7: ‘On a Happy Life’ (De Vita Beata); 8: ‘On Leisure’ (De Otio); 9: ‘On Peace of Mind’ (De Tranquillitate Animi); 10: ‘On the Shortness of Life’ (De Brevitate Vitae); 11: ‘To Polybius On Consolation’ (ad Polybium de consolatione); 12: ‘To Helvia, On Consolation’ (ad Helviam Matrem de Consolatione).
    • We also have: On Benefits’ (De Beneficiis — 7 bks); ‘On Clemency’ (De Clementia — to Nero, originally 3 bks);
    • and 124 ‘Letters to Lucilius’ (Epistulae Morales ad Lucilium in 20 bks); ‘Natural Questions’ (Naturales Questiones — in 7 bks).
    • Also a prose-verse Menippean satire, the ‘Pumpkinification of Claudius’ (Apocolocyntosis), parodying the deification of the emperor Claudius.

Stoicism has entered the modern popular consciousness. Left: Seneca’s ‘On the Shortness of Life’ (De Brevitate Vitae) in the Penguin Books “Great Ideas” series. Right: The Daily Stoic Journal by Ryan Holiday + Stephen Hanselman of dailystoic.com.

A. J. Boyle (2017: xvii): “The prose works are infused to a greater or lesser extent with Stoic ideas concerning fate, god, virtue, wisdom, reason, endurance, self-sufficiency, and true friendship, and are filled with condemnation of the world of wealth and power (to which Seneca belonged) and contempt for the fear of death. Central to their conception of the world is the Stoic belief in divine reason/ratio as ‘the governing principle of the rational, living and providentially ordained universe,’ in which ‘only the Stoic sage (sapiens)…can achieve virtue…and live the truly happy life.’ (Williams 2003: 4) They cover a considerable period of time — from the 30s CE to Seneca’s death. Among the earliest to be written was the Consolatio ad Marciam, composed under Caligula (37-41 CE); among the lasat were Naturales Quaestiones and Epistulae Morales, written during the years of Seneca’s ‘retirement’ (62-5 CE).”

  • tragedies (verse): 10 plays are attributed to Seneca, 8 of which are considered genuine: Hercules, Trojan Women, Phoenician Women, Medea, Phaedra, Oedipus, Agamemnon, Thyestes. The 2 which are (probably) not by Seneca: Hercules Oetaeus (twice as long as most Senecan plays); Octavia (Seneca appears in it as a character + events after his death are described)
  • the chronology of Seneca’s tragedies is not known for certain, but based on style Thyestes is considered to be one of the last (Boyle 2017: xix)

Were Seneca’s plays performed on stage?

A. J. Boyle (2017: xl): “It is not known and may never be known whether Seneca’s plays were performed on stage or otherwise during their author’s life. But it is certainly the case that they were and are performable: they have been and are performed.”

Seneca’s Thyestes

Precursor plays: several plays by 4th c. BCE Greek playwrights that we don’t know much about (see Boyle 2017: lxxii); EnniusThyestes, Accius‘ Atreus.

Themes: hunger and satiety, power and powerlessness, anger and revenge, tyranny, brotherly conflict, paranoia and suspicion, ancestral bloodguilt, fatherhood and paternity, perverse pietas.

  • Ghost of Tantalus: dead grandfather of Atreus + Thyestes. He had served his own son, Pelops, as a meal to the gods. For his crime he was punished with eternal hunger and eternal thirst — surrounded by a bounty of food and water, these things always recede from him when he tries to grasp them (Thy. 148-175).
  • Fury: female infernal spirit of vengeance and retribution. Compare the Fury Allecto in Vergil’s Aeneid (7.323ff.). Furies are often described as clothed in black, coiled with snakes. In Greek contexts they torment the sinful; in Vergil, Seneca, they are weaponized psychology.
  • Atreus: Grandson of Tantalus, son of Pelops, brother of Thyestes, father of Agamemnon and Menelaus. King of Argos. Thyestes had seduced his wife, Aerope, to whom she secretly gave the golden ram which allowed him to claim the throne (Thy. 220-243). After a sign from Jupiter(/Zeus: Euripides’ Electra 699-746, the reversal of the path of the sun) leads to the discovery of adultery, Thyestes is exiled.
  • Courtier (satelles = in Wilson, “servant”): representative of the member of court who must abide by a tyrant’s commands. To some extent reflective of Seneca’s own role in the court of Nero.
  • Thyestes: Brother of Atreus. Lured back from exile to Argos by Atreus’ promises of reconciliation (Thy. 295-304)
  • Tantalus Junior: older son of Thyestes.
  • Plisthenes: younger son of Thyestes (silent part). A third son is mentioned at line 731, but he is unnamed and also silent.
  • Messenger.
  • Chorus of Argives.

A Fury emerges from beneath the ground in a vase depicting a lost Euripidean tragedy (perhaps the Oineus) 340s BCE. Note how she is depicted as inversion, void. Discovered in Paestum, Italy. Image: British Museum.

ACT ONE (1-121): Ghost of Tantalus and the Fury with snake whip (see: 96-100)

1st CHORAL ODE (122-175) — THE ‘TANTALUS’ ODE: Chorus of Argives sing.

144-176: the Chorus describes Tantalus’ crime (serving his son Pelops as a meal to the gods) and his punishment (‘tantalized‘ by eternal hunger and thirst).

ACT TWO (176-335): Atreus and the Courtier (satelles = in Wilson, “servant”).

Compare Tacitus’ (Ann. 14.53-56) dramatization of Seneca asking Nero if he can retired from public life. In the Octavia (435-592), a debate between “Seneca” and “Nero” is based on this scene of the Thyestes.

2nd CHORAL ODE (336-403) — THE KINGSHIP ODE: Chorus of Argives sing.

ACT THREE (404-545): Fake reconciliation between Thyestes and Atreus. Does Thyestes want to be king or not?

3rd CHORAL ODE (546-622) — THE PIETAS ODE: Chorus of Argives sing.

ACT FOUR (623-788): The messenger describes Atreus’ murder of Thyestes’ sons.

4th CHORAL ODE (789-884) — THE STAR ODE: Chorus of Argives sing.

ACT FIVE (885-919): Atreus rejoices.

THE DRINKING SONG (920-969): Thyestes’ solo song.

ACT FIVE cont. (970-1112): The crime is revealed.

 

Further reading:

  • A. J. Boyle (2017) Seneca. Thyestes. 
  • A. J. Boyle (2006) Roman Tragedy.
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Lecture

Lecture 20: The Post-Augustan Julio-Claudian Emperors (14-41 CE).

Lecture 20, Tuesday April 17th 2018

Julio-Claudian Emperors

Augustus 27 BCE – 14 CE
Tiberius 14 – 37 CE
Gaius ‘Caligula’ 37 – 41 CE
Claudius 41 – 54 CE
Nero 54 – 68 CE

Murder of Augustus?

Tacitus* (Annales 1.5): …the illness of Augustus began to take a graver turn; and some suspected foul play on the part of his wife.

*Tacitus (c. 56 – 120 CE): senator and Roman historian. His Annales, published c. 110-120 CE (during reign of Trajan, 98 – 117 CE), examined the reigns of the Julio-Claudians up till death of Nero in 68 CE.

Dio Cassius (56.30): So Augustus fell sick and died. Livia incurred some suspicion in connexion with his death, in view of the fact that he had secretly sailed over to the  island to see Agrippa and seemed about to become completely reconciled with him.  For she was afraid, some say, that Augustus would bring him back to make him sovereign, and so smeared with poison some figs that were still on trees from which Augustus was used to gather the fruit with his own hands; then she ate those that had not been smeared, offering the poisoned ones to him At any rate, from this or some other cause he became ill, and sending for his associates, he told them all his wishes, adding finally: “I found Rome of clay; I leave it to you of marble.”  He did not thereby refer literally to the appearance of its buildings, but rather to the strength of the empire. And by asking them for their applause, after the manner of the comic actors, as if at the close of a mime, he ridiculed most tellingly the whole life of man.

Screen Shot 2018-04-15 at 11.37.45 AM.pngScreen Shot 2018-04-15 at 11.40.13 AMScreenshots of I, Clavdivs ep 4 “Poison is Queen”. Livia, played by Siân Phillips, contemplates the figs (38:38); Augustus, played by Brian Blessed, on his death bed looks at Livia (39:07).

Apotheosis of Augustus (14 CE)

Dio Cassius (56.42): Such was the eulogy read by Tiberius. Afterwards the same men as before took up the couch and carried it through the triumphal gateway, according to a decree of the senate. Present and taking part in the funeral procession were the senate and the  equestrian order, their wives, the praetorian guard, and practically all the others who were in the city at the time. When the body had been placed on the pyre in the Campus Martius, all the priests marched round it first; and then the knights, not only those belonging to the equestrian order but the others as well, and the infantry from the garrison ran round it; and they cast upon it all the triumphal decorations that any of them had ever received from him for any deed of valour.  Next the centurions took torches, conformably to a decree of the senate, and lighted the pyre from beneath. So it was consumed, and an eagle released from it flew aloft, appearing to bear his spirit to heaven. When these ceremonies had been performed, all the other people departed; but Livia remained on the spot for five days in company with the most prominent knights, and then gathered up his bones and placed them in his tomb…[46] At the time they declared Augustus immortal, assigned to him priests and sacred rites, and made Livia, who was already called Julia and Augusta, his priestess; they also permitted her to employ a lictor when she exercised her sacred office. On her part, she bestowed a million sesterces upon a certain Numerius Atticus, a senator and ex-praetor, because he swore that he had seen Augustus ascending to heaven after the manner of which tradition tells concerning Proculus and Romulus [see lecture 3 for apotheosis of Romulus].  A shrine voted by the senate and built by Livia and Tiberius was erected to the dead emperor in Rome, and others in many different places, some of the communities voluntarily building them and others unwillingly. Also the house at Nola where he passed away was dedicated to him as a precinct. While his shrine was being erected in Rome, they placed a golden image of him on a couch in the temple of Mars Ultor, and to this they paid all the honours that they were afterwards to give to his statue.

Imperial succession

Gemma_Augustea.jpg

The Gemma Augustea (‘Augustan gem-stone’) depicts the transfer of power from Augustus to Tiberius in 14 CE. Early 1st c. CE. Carved from a piece of onyx, 7½ x 9 inches. Below: erection of a trophy by Roman soldiers; bottom left and bottom right: human captives, slaves of war. Representation of the erection of a trophy for Tiberius in 12 CE in victory over the Germans. This motif was represented again and again on public and private monuments, stressing military strength. Above: crowning of Augustus, in the guise of Jupiter (eagle at his feet). Roma sits next to him. Between Augustus and Roma, sign of zodiac, Capricorn; referring (?) to the date he was called Augustus (Jan. 16 27 BCE). Upper left: Tiberius arrives on a chariot, already designated as next emperor. Image: James Steakley (CC BY-SA 3.0) via Wikimedia. Watch this short video (4 mins) from the Getty Villa which shows how ancient craftsmen carved gemstones.

Ramage & Ramage (2015: 145): “The gem, slightly trimmed since antiquity and remounted in a modern setting, was cut from a piece that had two veins: a dark bluish colour below and white on the upper layer. By controlling the depth of carving, the artist cut the figures out of a white vein, and removed the stone down to the blue layer to make the background.”

Tiberius: Rome’s dark prince (14 – 37 CE)

CL 102 Spring 2018-career of Tiberius[CL 102 Spring 2018-career of Tiberius printable pdf]

Tiberius’ voluntary exile to Rhodes (6 BCE – 2 CE)

Suetonius (Life of Tiberius 10, 13): …though in the prime of life and health, he suddenly decided to go into retirement and to withdraw as far as possible from the centre of the stage; perhaps from disgust at his wife, whom he dared neither accuse nor put away, though he could no longer endure her; or perhaps, avoiding the contempt born of familiarity, to keep up his prestige by absence, or even add to it, in case his country should ever need him. Some think that, since the children of Augustus were now of age, he voluntarily gave up the position and the virtual assumption of the second rank which he had long held, thus following the example of Marcus Agrippa [see Suet. Aug. 66], who withdrew to Mytilene when Marcellus began his public career, so that he might not seem either to oppose or belittle him by his presence. This was, in fact, the reason which Tiberius himself gave, but afterwards. At the time he asked for leave of absence on the ground of weariness of office and a desire to rest; and he would not give way either to his mother’s urgent entreaties or to the complaint which his step-father openly made in the senate, that he was being forsaken. [13]…With Augustus’ consent therefore Tiberius was recalled, but on the understanding that he should take no part or active interest in public affairs.

Tiberius becomes emperor (14 CE)

Suetonius (Life of Tiberius 24): Though Tiberius did not hesitate at once to assume and to exercise the imperial authority, surrounding himself with a guard of soldiers, that is, with the actual power and the outward sign of sovereignty, yet he refused the title for a long time, with barefaced hypocrisy now upbraiding his friends who urged him to accept it, saying that they did not realise what a monster the empire was, and now by evasive answers and calculating hesitancy keeping  the senators in suspense when they implored him to yield, and fell at his feet. Finally, some lost patience, and one man cried out in the confusion: “Let him take it or leave it.” Another openly voiced the taunt that others were slow in doing what they promised, but that he was slow to promise what he was already doing. At last, as though on compulsion, and complaining that a wretched and burdensome slavery was being forced upon him, he accepted the empire, but in such fashion as to suggest the hope that he would one day lay it down. His own words are: “Until I come to the time when it may seem right to you to grant an old man some repose.”

  • 14 CE: two mutinies by Roman legions stationed on the Rhine and Danube (Tac. Ann. 1.16-23), put down by Drusus (bio son) and Germanicus (adopted son)
  • 15-16 CE: campaigns in Germania by Germanicus inconclusive and expensive
  • 16 CE: conspiracy against Tiberius by M. Scribonius Drusus Libo = first treason trial conducted by the senate; Tacitus describes it at length (Annales 2.27-32) to demonstrate an evil that would dominate political life
  • 17-24 CE: revolts in Africa under Tacfarinas
  • 21 CE: revolt of Gallic Treveri and Aedui who were in heavy debt
  • 19 CE: death of Germanicus in Syria — suspicion that he had been poisoned by Gnaeus Calpurnius Piso (gov. of Syria; cos. with Tiberius in 7 BCE) by Tiberius’ command so that Tiberius’ bio son, Drusus, could be emperor; extraordinary funeral honours granted to Germanicus by senate (Tacitus, Annales 2.83)

The trial of Piso de maiestate (20 CE)

Beth Severy (2000: 319): “Tacitus provides in the Annales the specific historical background. Gnaeus Calpurnius Piso, appointed governor of Syria by Tiberius in 17 CE, quarreled with Tiberius’ adopted son Germanicus, who had been given supervisory command of Roman forces in the east (Ann. 2.43, 2.55, 2.57, 2.69). When Piso was replaced as governor, he briefly left his province, only to return in armed conflict against his gubernatorial successor (2.74.2, 2.80-81). At about the same time, in 19 CE, Germanicus died, and rumors accused Piso of poisoning him (2.69-71, 2.73.5-6). The death of an imperial heir, the procession of his widow [Agrippina] and children to Rome (2.75), an outbreak of armed civil conflict, and ongoing rumors created quite a public stir (2.82; cf. Suet. Calig. 5).”

Tacitus (Annales 2.69): After this, Piso left for Seleucia, awaiting the outcome of the sickness which had again attacked Germanicus. The cruel virulence of the disease was intensified by the patient’s belief that Piso had given him poison; and it is a fact that explorations in the floor and walls brought to light the remains of human bodies, spells, curses, leaden tablets engraved with the name GERMANICUS, charred and blood-smeared ashes, and others of the implements of witchcraft by which it is believed the living soul can be devoted to the powers of the grave. At the same time, emissaries from Piso were accused of keeping a too inquisitive watch upon the ravages of the disease.

An example of a Roman lead curse tablet (1st c. BCE) now in the Johns Hopkins Archaeological Museum. Curses could be inscribed on almost any material, but lead is the most common. The tablet (left: JHUAM 2011.01) was rolled together with four others and pierced through with an iron nail (right: JHUAM 2011.06). A Latin name for a curse is defixio which means ‘to pin down’. For more details, see Johns Hopkins. Image: Johns Hopkins. 130 curse tablets have been found at Bath (England).

Definition of maiestas (Oxford Classical Dictionary): “maiestas: used as an abbreviation for the crime maiestas minuta populi Romani, ‘the diminution of the majesty of the Roman people’…By Tiberius’ reign prosecutions for maiestas might be brought before not only the quaestio maiestatis (see quaestiones) but either the senate, sitting under the presidency of the emperor or consuls, or the emperor himself (Tacitus Annales 3. 10–12). Condemned persons were increasingly liable to the death sentence with no opportunity given to retire into exile; their property was confiscated for the imperial state treasury and their names were obliterated from public record (damnatio memoriae). Since it was even permitted to prosecute those who were dead, one could not be sure of escaping the last two consequences by committing suicide…Information was laid and prosecutions brought by individuals (senators, where the senate was the court used). Certain men came to make a profession of this, being rewarded with at least a quarter of the accused man’s property, if they secured condemnation, and were labelled delatores. Charges of maiestas were increasingly frequent under Tiberius and after 23 CE disfigured his reign.”

s c de pisone patre.jpgSenatus consultum de Cn. Pisone patre. Bronze tablet inscribed with the decree of the senate condemning Gnaeus Calpurnius Piso (December 10th 20 CE). Piso had been accused of the murder by poisoning of Germanicus and of maiestas and took his own life on 8 December 20 CE. CIL II², 5, n. 900. Found near Seville, Spain. Six copies of these transcripts have been found in southern Spain in recent years. We also have the Tabula Hebana (found in Italy, 1947) and Tabula Siarensis (found in 1982, Spain) containing decrees enumerating honours for Germanicus. The trial of Piso is dramatized by the historian, Tacitus (Ann. 3.11-18). Image: The Roman Law Library, by Y. Lassard & A. Koptev. For the Latin and English of this text, see Potter-Damon 1999.

Screen Shot 2018-04-15 at 6.08.35 PM.pngScreenshots of I, Clavdivs ep 5 “Some Justice”. Sejanus, played by Patrick Stewart, confronts Piso (30:33).

The rise and fall of Sejanus (23-31 CE)

  • Lucius Aelius Sejanus: an equestrian with family ties to prefects of Egypt and consuls, became commander of the praetorian guard by 15 CE
  • 23 CE: concentrated the praetorian guard in barracks at the porta Viminalis, Rome; brought together into the same camp all of the urban cohorts which had previously been dispersed througout the city
  • 23 CE: after the death of Tiberius’ son, Drusus (by Sejanus’ poison: Tac. Ann. 4.8; Dio Cassius 57.22), Sejanus gained great influence with Tiberius, who was so attached to him that he referred to him publicly as the “partner” of his toils (socius laborum, Tac. Ann. 4.2)
  • 25 CE: Sejanus asked to marry the widow of Tiberius’ son (Drusus), Livilla; Tiberius refused because of Sejanus’ low birth (Tac. Ann. 4.3, 4.8-11; Dio Cassius 57.22.2)
  • 26 CE: Tiberius retires to Campania, shutting himself away on the island of Capri, which he would virtually never leave again 
  • 29 CE: Sejanus arranged for the exile of Agrippina (the elder — daughter of Julia + Agrippa; widow of Germanicus) and her children; she starved to death in 33 CE on the island of Pandateria — she was survived by one son, the future emperor Gaius ‘Caligula’; and three daughters: Agrippina the younger, Julia Drusilla, Julia Livilla
  • 31 CE: Sejanus is appointed consul with Tiberius. Tiberius, from Capri, brings about Sejanus’ downfall. In Tiberius’ autobiography (Suet. Tib. 61), he claims that he punished Sejanus for plotting against children of Germanicus. Dio Cassius (58.4) says that Tiberius realized Sejanus could declare himself emperor at any moment. Sejanus is executed, as are his followers, and his young children. Sejanus suffers a damnatio memoriae (Varner 2004: 92)

Capri.netView from the ruins of Tiberiu’s villa (Villa Iovis) on modern Capri, an island off the south side of the Gulf of Naples in the Campanian region of Italy. Image: capri.net.

Retreat from public life

  • 31-37 CE: Tiberius governs from Capri, encouraging the practices of informers (delatores) in maiestas cases — many maiestas trials take place
  • Tiberius dies March 37 CE at Misenum. He is not deified, but cremated and placed in the Mausoleum (Suet. Gaius 13). There is no clear plan for succession.

1024px-Caligula_Rekonstruktion_Polychromie.JPG
Marble portrait bust of Caligula with paint residue (left), 1st c. CE. Plaster replica (right) trying to reconstruct ancient paint. Ny Carlsberg Glyptotek, Copenhagen. Image: public domain via Wikimedia.

Rise of Emperor Gaius ‘Caligula’ (37-41 CE) 

Suetonius (Life of Gaius 9): His surname Caligula* he derived from a joke of the troops, because he was brought up in their  midst in the dress of a common soldier. To what extent besides he won their love and devotion by being reared in fellowship with them is especially evident from the fact that when they threatened mutiny after the death of Augustus and were ready for any act of madness, the mere sight of Gaius unquestionably calmed them.

*Caligula = “Little Boots” (though singular in number, i.e. “little boot”). Caliga = half-boot worn by soldiers.

  • Caligula = son of Agrippina the elder + Germanicus; since Agrippina was granddaughter of Augustus + Germanicus son of Antonia the younger, Caligula was related by blood to both Augustus + Mark Antony
  • Suetonius (Gaius 51) attributes his behaviour to mental illness: “He was sound neither of body nor mind” (Suet. Gaius 50).
  • Caligula made his horse a priest (Dio Cassius 59.28.6); Suetonius (Gaius 55) tells us that this horse was called “Swifty” (Incitatus), that Caligula built Swifty a house, gave him slaves, and planned to make him consul
  • Tiberius “Gemellus“, son of Drusus (Tiberius’ son) was in Tiberius’ will made heir jointly with Caligula. The senate annulled the will, Caligula adopted Tiberius Gemellus and had him hailed as princeps iuuentutis (Suet. Gaius 15), but Caligula had him killed in the first year of his reign
  • Caligula drew up a battle line on the shore of the English Channel, ‘and when no one knew or could imagine what he was going to do, he suddenly bade them gather sea-shells and fill their helmets and the folds of their gowns, calling them “spoils from the Ocean, due to the Capitol and Palatine.”‘ (Suet. Gaius 46)
  • According to Suetonius (Gaius 24), “he lived in habitual incest with all his sisters”, especially Drusilla

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Screenshots of I, Clavdivs ep 8 “Zeus, by Jove!”. Caligula, played by John Hurt (aka Ollivander in Harry Potter films), prepares to remove the fetus from the womb of Drusilla, played by Beth Morris (48:23; 48:33). Mary Beard on this scene: “the most shockingly memorable scene of the whole series is the appearance of Caligula’s bloody face in full screen – having just (off screen!) ripped the foetus of his own child out of his pregnant sister’s body and eaten it, in imitation of the god Jupiter, who in Roman myth had done much the same. This incident was a complete figment of the screenwriter’s imagination, but it captures horribly well the image of this ghastly emperor.”

Assassination (January 24, 41 CE)

Suetonius (Life of Gaius 58): From this point there are two versions of the story: some say that as he was talking with the boys, Chaerea came up behind, and gave him a deep cut in the neck, having first cried, “Take that,” and that then the tribune Cornelius Sabinus, who was the other conspirator and faced Gaius, stabbed him in the breast. Others say that Sabinus, after getting rid of the crowd through centurions who were in the plot, asked for the watchword, as soldiers do, and that when Gaius gave him “Jupiter,” he cried “So be it,” and as Gaius looked around, he split his jawbone with a blow of his sword.  As he lay upon the ground and with writhing limbs called out that he still lived, the others dispatched him with thirty wounds; for the general signal was “Strike again.”

Finding Claudius (41 CE)

Suetonius (Life of Claudius 10): When the assassins of Gaius shut out the crowd under pretence that the emperor wished to be alone, Claudius was ousted with the rest and withdrew to an apartment called the Hermaeum; and a little later, in great terror at the news of the murder, he stole away to a balcony hard by and hid among the curtains which hung before the door.  As he cowered there, a common soldier, who was prowling about at random, saw his feet, intending to ask who he was, pulled him out and recognized him; and when Claudius fell at his feet in terror, he hailed him as emperor.

Further reading: 

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Lecture

Lecture 19: The Augustan family.

Lecture 19, Thursday 12th April 2018

Via Labicana Augustus (after 12 BCE)

Marble statue of veiled Augustus as pontifex maximus, from the Via Labicana, Rome. 1st c. CE.  Augustus became pontifex maximus in 12 BCE (Augustus, Res Gestae 10). Images: public domain via wikimedia.

Ramage & Ramage (2015: 126): “Whenever a Roman is shown with his toga drawn over his head, it signifies that he is represented in the role of a priest. In this case, Augustus is shown as the pontifex maximus, the most important priest, a position held for life. This had been an elected post in the Republic, but under his rule, and henceforth, it was a position taken on by the emperor, and it became a standard part of his titles. Eventually, in the 5th century CE, the title passed to the popes.”

The Ara Pacis (13-9 BCE)

Ara_Pacis_(SW).jpgThe Ara Pacis Augustae — “Altar of Augustan Peace” — in its modern setting in the Museo dell’Ara Pacis in Rome designed by the American architect Richard Meier. The altar, made of Carrara/Luna marble, was erected in the northern Campus Martius, voted in 4th July 13 BCE by the senate (according to Augustus’ Res Gestae 12) to commemorate his safe return from Gaul and Spain, and dedicated 30th January 9 BCE, the birthday of Augustus’ wife, Livia (Ovid Fasti 1.709-722). An acanthus frieze binds the whole design in unity. Image: “Rabax63” (CC BY-SA 4.0) via Wikimedia.

ara pacis plan.jpgAerial plan of the Ara Pacis. Text overlay by Čulík-Baird based on Pollini ap. Tuck 2016: 121; base image: “Augusta 89” (CC BY-SA 3.0) via Wikimedia.

1024px-Ara_Pacis_Relief_Pax.jpg
Detail of frieze on the east side of Ara Pacis. A seated female figure, variously interpreted as Mother Earth (tellus), Peace (pax), Venus, Ceres, or Italy, with two babies in her lap. Sheep and cow rest beneath her. Representations of fresh water, air, and sea (indicated by tipped over water jug left, billowing drapery, and waves at right). Image: Manfred Hedye (CC BY-SA 3.0) via Wikimedia.

Ara_Pacis_Aeneas-Numa_(14727962756)Detail of frieze on the west side of the Ara Pacis. Numa Pompilius or Aeneas sacrificing a sow. The white sow with 30 piglets is a sign that shows Aeneas that he has found the site of Rome in Vergil’s Aeneid 8. A small shrine in the rocky hill in the background with two seated male divinities. Numa/Aeneas wears a Greek cloak (himation) drawn over his head like a toga to indcate him acting as a priest; two wreathed youths assist him in the sacrifice. Image: “Amphipolis” (CC-BY-SA-2.0) via Wikimedia.

Ara_Pacis_relieve_Roma_01Detail of frieze on the south side of the Ara Pacis, showing individuals believed to be Agrippa, Livia, and Tiberius. Strong visual connection to the 5th c. BCE Parthenon frieze at Athens. Unlike the so-called Altar of Ahenobarbus, this relief shows women and children. Image: Miguel Hermoso Cuesta (CC BY-SA 3.0) via Wikimedia.

“I Colori dell’Ara Pacis”, published by Musei in Comune Roma 2010. Colour reconstructions are projected onto the surface of the Ara Pacis.

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3D model of the Ara Pacis by Matthew Brennan.

Livia, wife of Augustus (b. 58 BCE, d. 29 CE)

  • Octavian marries Livia in 38 BCE while she’s 6 months pregnant with Nero Drusus, the second child of Tiberius Claudius Nero (d. 33 BCE), whom Octavian made divorce Livia. They never have a biological child together. 

Suetonius (Life of Augustus 62-63): Shortly after that he married Scribonia, who had been wedded before to two ex-consuls, and was a mother by one of them. He divorced her also, “unable to put up with her shrewish disposition,” as he himself writes, and at once took Livia Drusilla from her husband Tiberius Nero, although she was with child at the time; and he loved and esteemed her to the end without a rival. [63] By Scribonia he had a daughter Julia, by Livia no children at all, although he earnestly desired issue. One baby was conceived, but was prematurely born.

Dio Cassius (48.34): he was already beginning to be enamoured of Livia also, and for this reason divorced Scribonia the very day she bore him a daughter.

Dio Cassius (48.43-44): Caesar married Livia. [44] She was the daughter of Livius Drusus, who had been among those proscribed on the tablet and had committed suicide after the defeat in Macedonia, and the wife of Nero, whom she had accompanied in his flight, as has been related. And it seems that she was in the sixth month with child by him. At any rate, when Caesar was in doubt and enquired of the pontifices whether it was permissible to wed her while pregnant, they answered that if there was any doubt whether conception had taken place the marriage should be put off, but if this was admitted, there was nothing to prevent its taking place immediately. Perhaps they really found this among the ordinances of the forefathers, but certainly they would have said so, even had they not found it. Her husband himself gave the woman in marriage just as a father would… Later, when the woman was now living with Caesar, she gave birth to Claudius Drusus Nero. Caesar both acknowledged him and sent him to his real father, making his entry in his memoranda: “Caesar returned to its father Nero the child borne by Livia, his wife.” Nero died not long afterward and left Caesar himself as guardian to the boy and to Tiberius. Now the populace gossiped a great deal about this and said, among other things, “The lucky have children in three months”; and this saying passed into a proverb.

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Portraits of Livia. 1) mid to late 30s BCE, marble. Livia is represented with “a new coiffure with no precursors in the ancient world — the nodus hairstyle — in which a section of hair is arranged in a nodus or roll over the forehead. The rest of the hair is brushed back in loose waves over the ears and fastened in a bun at the back of the head” (Diana Kleiner I, Claudia 1996: 53). Image: Baltimore, Walters Art Gallery. 2) onyx cameo, height: 2.5 inches. Late 1st c. BCE/1st c. CE. Image: Rijksmuseum. 3) early 1st c. CE, marble. Arsinoe, Egypt. Ny Carlsberg Glyptothek, Copenhagen. Image: Flickr. 4) Livia (?) on the south wall of the Ara Pacis, which mirrors the image of Tellus/Pax. 5) Siân Phillips as Livia in the 1976 BBC television adaptation of I, Claudius.

Diana Kleiner (I, Claudia 1996: 53): “In these portraits, Livia is depicted as a serene beauty with almond-shaped eyes and a small rounded mouth. Her prominent aquiline nose is also accentuated. There is in these portraits little indication, even in Livia’s later years, of the aging process. This was in keeping with the Augustan ideal of an eternal youthfulness for portraiture of men and women that was based on the images of youthful male athletes and goddesses.”

  • Livia was called princeps femina — “the female princeps” by Ovid (Letters from the Black Sea 3.1.125)
  • from 35 BCE, Livia (and Octavia) received sacrosanctitas (inviolability) — gave the women independence, the ability to act without a male guardian, and the protection as though of public office (Dio Cassius 49.38.1)
  • Livia occupied a special place in the theater as though she were a Vestal Virgin (Tac. Ann. 4.16) and was granted a ceremonial carriage (carpentum)
  • 9 BCE on death of son Drusus she was granted right of ius trium liberorum, rights given to mother of at least three children (Dio Cassius 55.2.5-6)
  • as priestess of the deified Augustus (after his death), she was given a lictor (special attendants of magistrates with imperium) — Dio Cassius 56.46.1-2
  • named mater patriae — “mother of the country” at her death (Dio Cassius 58.2.3); Augustus had been called pater patriae in 2 BCE (Suet. Aug. 58); she was deified in 41 CE

 

Augustus: man or god?

  • 30 BCE: Octavian’s name inserted into the hymn of the Salii (Augustus, Res Gestae 10)

  • 30 BCE: libations are made to his genius at public and private banquets by senatorial decree (Dio Cassius 51.19.7)

  • 30 BCE: Octavian appears as Pharoah in Egypt. Temple of Dendur to Isis, Osiris, Pediese, Pihor (15 BCE) which is now in the Metropolitan Museum in New York, shows Augustus in the traditional iconography of Egyptian Pharoah. Augustus is depicted making offerings to Isis, Osiris, Horus.

  • 30/29 BCE: in response to requests from Greek cities, Octavian agrees that Roman citizens will worship the Goddess Rome (Dea Roma) and the deified Caesar; the Greeks will worship Octavian and Rome at Pergamum, Nicomedia, Ephesus, Nicaea (Dio Cassius 51.20.6-8)

  • 28 BCE: Temple of Apollo on the Palatine (Suet. Aug. 29.1), attached to his house (Suet. Aug. 29.3) — in its portico there was a statue of Octavian; cf. many explicit connections between Augustus and Apollo: dinner party of the 12 gods where Aug. dressed up as Apollo (Suet. Aug. 70)

  • 27 BCE: Mytilene (Greek island of Lesbos) votes a whole series of honours for Augustus: temple, priests, games, statues, monthly sacrifices on the day of Augustus’ birth — decrees announcing all this set up at Rome and all around the mediterranean, at Pergamum, Actium, Brundisium, Tarraco, Massilia, and Antioch in Syria (IGR IV 39, see Zanker 1990: 304)

  • 26-25 BCE: altar to Augustus at Tarraco (Tarragona), Spain (Zanker 1990: 304); a palm tree miraculously grew from this altar (Quintilian 6.3.77); a temple to Augustus was built there in 15 CE after his death (Tacitus Annales 1.78)

  • 25 BCE: Augustus refuses to have Agrippa’s Pantheon at Rome dedicated to him (Dio Cassius 53.27.2)

  • 19 BCE: altar of Fortuna Redux (‘Fortune who brings home’) at Porta Capena, Rome, in honour of Augustus’ return (Augustus, Res Gestae 11; recorded in the Fasti Amiternini and Oppiani under 12 Oct)

  • 12 BCE: Pledge by Drusus (Aug.’s stepson) of an altar at Lugdunum (Lyons) to Rome and Augustus; consecrated 10 BCE (Dio Cassius 54.32.1, Livy Per. 139)

  • 8 BCE: the Roman month ‘Sextilis’ is renamed ‘Augustus’ because this is the month in which he made his greatest victories (Suet. Aug. 31.2, Dio Cassius 55.6.6)
  • 2 BCE: evidence of the flamines Augustales (‘priests of Augustus’) appear in inscriptions

 

Dendur 15 BCE.jpg

Temple of Dendur to Isis, Osiris, Pediese, Pihor (15 BCE) which is now in the Metropolitan Museum in New York, shows Augustus in the traditional iconography of Egyptian Pharoah. Augustus is depicted making offerings to Isis, Osiris, Horus. Image: Metropolitan Museum in New York.

 

R.6294 Lugdunum

12 BCE: Pledge by Drusus (Aug.’s stepson) of an altar at Lugdunum (Lyons) to Rome and Augustus; consecrated 10 BCE (Dio Cassius 54.32.1, Livy Per. 139). Dupondius (copper alloy coin), 12-14 CE. RIC I (2) Augustus 237. Obverse (left): head of Tiberius, laureate. Text: TI.CAESAR.AVGVST.F.IMPERAT.VII. Reverse (right): front of the Altar of Lugdunum decorated with the corona civica between two laurels, flanked by nude male figures. Victories on columns, facing each other. On the altar itself two shrines for Roma and Augustus; alongside, perhaps, busts of the imperial family. This coin type was minted in large quantities for an unusually long time. Image: British Museum.

Problems in the family

CL 102 Spring 2018-Augustus' heirs.jpg

[CL 102 Spring 2018 Augustus’ heirs printable pdf] 

1024px-MaisonCarrée.jpegThe Maison Carrée, a limestone temple in ancient Nemausus, modern Nîmes, begun late 1st c. BCE. Image: public domain via Wikimedia.  

Ramage & Ramage (2015: 116): “It was begun in the late first century BCE. The inscription across the front dedicates the building to Augustus’ grandsons, Gaius and Lucius Caesar, called the ‘princes of youth.’ The letters are gone but Jean François Séguier, an 18th-century scholar reconstructed the words from the holes where the pins to hold the bronze letters had been inserted. It is today one of the best surviving Roman buildings anywhere, and has been highly influential on later architecture. Once again we find the Etruscan tradition in the high podium, frontal stairs, front porch, and engaged columns on the sides and back. Here the capitals are Corinthian.”

Julia and Julia

  • Augustus’ marriage laws (18 BCE + 9 CE) criminalized adultery
  • Julia the Elder (daughter of Augustus) in 2 BCE was charged with multiple adulteries and sent into exile (Velleius Paterculus 2.100.3; Pliny NH 7.149) — Velleius gives a list of five adulterers, all with noble Republican names, including Iullus Antonius (son of Mark Antony); Julia was initially sent to the island of Pandateria (Tacitus Annales 1.53, Dio Cassius 55.10.14)
  • Julia the Younger (daughter of Julia) was also exiled for adultery in 8 CE, suspected of an affair with D. Silanus (Tacitus Annales 3.24.5); Augustus refused to allow Julia’s child, born in exile, to be raised (Suet. Aug. 65). The poet, Ovid, who was also exiled in 8 CE, writes that it was because of carmen (poem) and error (a mistake), Tristia 2.207. Tristia 2.103ff. claims he saw something unwittingly.

Suetonius (Life of Augustus 65): But at the height of his happiness and his confidence in his family and its training, fortune proved fickle. He found the two Julias, his daughter and granddaughter, guilty of every form of vice, and banished them. He lost Gaius and Lucius within the span of eighteen months, for the former died in Lycia and the latter at Massilia. He then publicly adopted his third grandson Agrippa and at the same time his stepson Tiberius by a bill passed in the assembly of the curiae; but he soon disowned Agrippa because of his low tastes and violent temper, and sent him off to Surrentum. He bore the death of his kin with far more resignation than their misconduct. For he was not greatly broken by the fate of Gaius and Lucius, but he informed the senate of his daughter’s fall through a letter read in his absence by a quaestor, and for very shame would meet no one for a long time, and even thought of putting her to death. At all events, when one of her confidantes, a freedwoman called Phoebe, hanged herself at about that same time, he said: “I would rather have been Phoebe’s father.” After Julia was banished, he denied her the use of wine and every form of luxury, and would not allow any man, bond or free, to come near her without his permission, and then not without being informed of his stature, complexion, and even of any marks or scars upon his body. It was not until five years later that he moved her from the island to the mainland and treated her with somewhat less rigour. But he could not by any means be prevailed on to recall her altogether, and when the Roman people several times interceded for her and urgently pressed their suit, he in open assembly called upon the gods to curse them with like daughters and like wives. He would not allow the child born to his granddaughter Julia after her sentence to be recognized or reared. As Agrippa grew no more manageable, but on the contrary became madder from day to day, he transferred him to an island and set a guard of soldiers over him besides. He also provided by a decree of  the senate that he should be confined there for all time, and at every mention of him and of the Julias he would sigh deeply and even cry out: Would that I ne’er had wedded and would I had died without offspring”* and he never alluded to them except as his three boils and his three ulcers.

*adaptation of Homer, Iliad 3.40, where Hector says to Paris that it would have been better if Paris had never been born or had died unmarried

Suetonius (Life of Augustus 101): He gave orders that his daughter and his granddaughter Julia should not be put in his Mausoleum, if anything befell them.

Macrobius (Saturnalia 2.5.9): Julia the elder — “I never take on a passenger unless the ship is full” (trans. A. Richlin)

Death of Augustus: 19 August 14 CE

Suetonius (Life of Augustus 99): …calling for a mirror, he had his hair combed and his falling jaws set straight. After that, calling in his friends and asking whether it seemed to them that he had played the comedy of life fitly, he added the tag:

Since well I’ve played my part, all clap your hands
And from the stage dismiss me with applause.”

Then he sent them all off, and while he was asking some newcomers from the city about the daughter of Drusus, who was ill, he suddenly passed away as he was kissing Livia, uttering these last words: “Live mindful of our wedlock, Livia, and farewell,” thus blessed with an easy death and such a one as he had always longed for. For almost always on hearing that anyone had died swiftly and painlessly, he prayed that he and his might have a like euthanasia, for that was the term he was wont to use. He gave but one single sign of wandering before he breathed his last, calling out in sudden terror that forty men were carrying him off. And even this was rather a premonition than a delusion, since it was that very number of soldiers of the praetorian guard that carried him forth to lie in state. [100] He died in the same room as his father Octavius, in the consulship of two Sextuses, Pompeius and  Appuleius, on the fourteenth day before the Kalends of September at the ninth hour, just thirty-five days before his seventy-sixth birthday.

 

Further Reading:

  • Amy Richlin (2014) “Julia’s Jokes, Galla Placidia, and the Roman Use of Women as Political Icons,” in Arguments with Silence: Writing the History of Roman Women. pp 81-109. Available online via BU library.
  • Diana Kleiner (1996) “Imperial Women as Patrons of the Arts in the Early Empire,” in I, Claudia. Women in Ancient Rome. pp28-41. [Mugar library: N5763 .I25 1996]
  • Gwynaeth McIntyre (2016) A Family of Gods: The Worship of the Imperial Family in the Latin West. Available online via jstor.
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Lecture

Lecture 18: Vergil Aeneid. 10-12.

Look out for the following motifs/symbols: FLAME/FIRE, FURY, GOLD, WOUND, SNAKE. How do these motifs signal the dark side of empire?

Synopsis of Vergil’s Aeneid Books 6-9 from Williams (1996: xviii-xix):

“Book 10. Aeneas returns with Pallas and the fighting continues. Turnus seeks out Pallas and kills him, arrogantly boasting over him and stripping off his sword-belt. Aeneas in violent anger and guilt rages over the battlefield, and kills many of his opponents, including Lausus, young son of Mezentius, and Mezentius himself.

“Book 11. The funeral for Pallas is described; a truce is made for burial of the dead, but shortly the fighting is resumed, and the heroic deeds and death of the Italian warrior-maiden Camilla are described.

“Book 12. A single combat is arranged between Turnus and Aeneas; but the truce is broken and Aeneas is wounded. The scene shifts to Olympus where the discord is settled on the divine plane when Juno accepts defeat on condition that the Italians shall be the dominant partners in the Trojan-Italian stock from which the Romans will be born. Aeneas pursues Turnus as Achilles had pursued Hector, and wounds him. Turnus begs for mercy, but Aeneas, seeing the sword-belt of Pallas on Turnus’ shoulder, kills him in vengeance.”

Aeneid 10:

10.1-117: Mount Olympus. Jupiter wants to end the conflict. Venus and Juno each make their case.

10.11-13: Jupiter —  “The time will come for battle. Don’t invoke it.
Wild Carthage will one day send devastation
Through shattered Alps against the Roman walls.”

10.96-117: Jupiter refuses to take a side. The fates will find a way.

10.146-307: Return of Aeneas, accompanied by Etruscan forces, led by Tarchon, and Evander’s son, Pallas. 10.163-213: Invocation of muses for catalogue of Etruscan allies.

10.160-162: “…Close at his left side
Pallas asked about the stars, guides of that dim voyage,
And Aeneas’ sufferings on land and sea.”

10.215-259: Aeneas encounters the nymphs that were once ships.

10.260-286: Aeneas lifts his shield high and Trojans shout in joy. Light flashes from his shield like a comet or Sirius, the dog-star.

10.308-361: Battle begins. Both sides see success.

10.362-438: Pallas kills the enemy. Lausus and Pallas are kept from each other by fate.

10.439-509: Turnus and Pallas fight in single combat. Pallas is killed. Turnus takes the armour. Vergil predicts Turnus’ regret.

10.510-605: Aeneas’ rage, violence, ruthfulness.

10.606-688: Mount Olympus. Juno is allowed to protect Turnus, temporarily. Phantom Aeneas. Angry Turnus on a boat.

10.689-768: Mezentius enters battle.

10.769-832: Aeneas and Mezentius fight in single combat. Aeneas wounds Mezentius. Aeneas kills Lausus, Mezentius’ son, then Mezentius.

10.812: fallit te incautum pietas tua — “your PIETAS deceives you without you knowing”

Aeneid 11:

11.1-99: Aeneas dedicates spoils of Mezentius to Mars. Funeral procession for Pallas’ body.

1.78-82: “He heaped up spoils from the Laurentian battle
And had them taken in a long procession,
Along with spears and mounts the boy had plundered.
He’d bound the hands of captives — offerings
To the dead, for blood to sprinkle on the flames.”

11.100-138: Twelve day truce between Trojans and Latins.

11.139-181: Pallas’ body reaches Pallanteum. Evander’s grief.

11.182-224: The dead are buried on both sides. Debate both for and against Turnus.

11.225-295: An embassy sent to Diomedes by the Latins (in book 8) receives a negative response.

11.296-335: Latin council. Latinus proposes peace.

11.336-375: Latin council. Drances supports Latinus’ peace proposal. Highly rhetorical.

11.376-444: Latin council. Turnus calls Drances a coward, proposes single combat with Aeneas.

11.445-497: Aeneas moves to attack. Turnus arms himself for battle.

11.498-531: Camilla warrior queen of Volsci offers to help Turnus. Camilla is part mythical being (protected by Diana, 11.532; able to skim over fields of growing corn without bruising the shoots, 7.808), part ferocious warrior, closely linked to Turnus in her power and her impetuosity (11.502, 11.507, 11.648, 11.664, 11.709, 11.762). The line which describes her death (11.831) will be repeated as the last line of the Aeneid (12.952).

11.507-509: “Turnus stared at the formidable girl:
‘You’re Italy’s glory! Could I ever thank you
Or decently repay you?”

11.532-596: Goddess Diana speaks to nymph Opis, telling the folkstory of Camilla’s life and lamenting Camilla’s imminent death. Opis is to avenge Camilla’s coming death.

11.597-647: Cavalry battle.

11.648-724: Camilla is described as an Amazon (11.648). Camilla kills her enemies expertly.

11.725-67: Tarchon rallies Etruscans. Arruns the Ligurian stalks Camilla.

11.768-835: Camilla is transfixed by gorgeous armour of a Trojan priest. 11.782: “On fire with a woman’s love of plunder.” Arruns kills Camilla. Camilla tells Acca that Turnus should take her place in the battle.

11.836-915: Camilla is avenged. The Latins are besieged. Nightfall ends the battle.

Aeneid 12:

12.1-112: Latins are defeated. Turnus tells Latinus he will fight Aeneas in single combat. Amata begs him not to. Turnus arms himself. Aeneas arms himself.

12.113-215: Both sides line up to watch the fight. Juno tells Juturna, nymph and sister of Turnus, that she can do no more herself, but authorizes Juturna to do what she can.

12.216-310: Juturna disguised, makes the Rutulians uneasy. A bird omen convinces them to intervene and attack. Fighting breaks out.

12.311-382: Aeneas tries to stop his men but is wounded by an arrow from an unknown source. Turnus leads the Rutulians, fighting resumes.

12.383-440: Aeneas, wounded, is brought to camp. The physician Iapyx can’t remove the arrow head. Venus intervenes with potions, the wound heals. Aeneas arms for battle.

12.441-499: Rutulians are terrified of Aeneas, who pursues Turnus and only Turnus. Juturna disguises herself as Turnus’ charioteer and keeps Turnus away from Aeneas. Aeneas attacks enemies indiscriminately.

12.500-553: Both Aeneas and Turnus deal death around them.

12.554-592: Venus inspires Aeneas to attack the Latin capital. The city panics.

12.593-613: Amata despairs at the attack and kills herself.

12.614-96: Turnus hears the city’s lament. Juturna tries to make him stay away from Aeneas. Turnus is resolved to fight Aeneas. News is brought about Amata.

12.697-790: Aeneas and Turnus fight. They each lose a weapon which is restored by Juturna and Venus respectively.

12.791-842: Olympus. Jupiter tells Juno to stop. She agrees but wants the Latins to keep their language and dress, not become Trojans. Jupiter agrees, and says that the Romans will worship Juno especially.

12.843-886: Jupiter sends a fury as an owl to terrify Turnus. Turnus is helpless, as though in a dream. Juturna laments and leaves battlefield.

12.887-952: Aeneas threatens Turnus. Turnus fears only the gods. Aeneas wounds Turnus, who begs for mercy. Aeneas is about to grant mercy when he sees Pallas’ belt. Aeneas furiously kills his suppliant enemy.

fresco with wounded Aeneas, House of Siricus in Pompeii, first century CE.Roman wall painting with wounded Aeneas, House of Siricus in Pompeii (VII.1.47), 1st century CE. Replica of fresco with wounded Aeneas. Based on Aeneid 12.398. Ascanius weeps next to Aeneas while Iapyx tries to pull the arrow head from his thigh with a forceps. Venus appears with healing herbs in her left hand. Image: Barbara McManus, Vroma.

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