The History of Rome by Theodor Mommsen (highly recommended books TXT) 📖

might not be singed; now," it is said in another satire, "the daughter begs her father for a pound of precious stones, and the wife her husband for a bushel of pearls.—Formerly a newly-married husband was silent and bashful; now the wife surrenders herself to the first coachman that comes.— Formerly the blessing of children was woman's pride; now if her husband desires for himseli children, she replies: Knowest thou not what Ennius says?

"'-Ter sub armis malim vitam cernere Quam semel modo parere—.—'

"Formerly the wife was quite content, when the husband once or twice in the year gave her a trip to the country in the uncushioned waggon;" now, he could add (comp. Cicero, Pro Mil. 21, 55), "the wife sulks if her husband goes to his country estate without her, and the travelling lady is attended to the villa by the fashionable host of Greek menials and the choir." —In a treatise of a graver kind, "Catus or the Training of Children," Varro not only instructs the friend who had asked him for advice on that point, regarding the gods who were according to old usage to be sacrificed to for the children's welfare, but, referring to the more judicious mode of rearing children among the Persians and to his own strictly spent youth, he warns against over-feeding and over-sleeping, against sweet bread and fine fare—the whelps, the old man thinks, are now fed more judiciously than the children—and likewise against the enchantresses' charms and blessings, which in cases of sickness so often take the place of the physician's counsel. He advises to keep the girls at embroidery, that they may afterwards understand how to judge properly of embroidered and textile work, and not to allow them to put off the child's dress too early; he warns against carrying boys to the gladiatorial games, in which the heart is early hardened and cruelty learned.—In the "Man of Sixty Years" Varro appears as a Roman Epimenides who had fallen asleep when a boy of ten and waked up again after half a century. He is astonished to find instead of his smooth-shorn boy's head an old bald pate with an ugly snout and savage bristles like a hedgehog; but he is still more astonished at the change in Rome. Lucrine oysters, formerly a wedding dish, are now everyday fare; for which, accordingly, the bankrupt glutton silently prepares the incendiary torch. While formerly the father disposed of his boy, now the disposal is transferred to the latter: he disposes, forsooth, of his father by poison. The Comitium had become an exchange, the criminal trial a mine of gold for the jurymen. No law is any longer obeyed save only this one, that nothing is given for nothing. All virtues have vanished; in their stead the awakened man is saluted by impiety, perfidy, lewdness, as new denizens. "Alas for thee, Marcus, with such a sleep and such an awakening!"— The sketch resembles the Catilinarian epoch, shortly after which (about 697) the old man must have written it, and there lay a truth in the bitter turn at the close; where Marcus, properly reproved for his unseasonable accusations and antiquarian reminiscences, is— with a mock application of a primitive Roman custom—dragged as a useless old man to the bridge and thrown into the Tiber. There was certainly no longer room for such men in Rome.

28. "The innocent," so ran a speech, "thou draggest forth, trembling in every limb, and on the high margin of the river's bank in the dawn of the morning" [thou causest them to be slaughtered]. Several such phrases, that might be inserted without difficulty in a commonplace novel, occur.

29. V. XII. Poems in Prose

30. V. XII. Catullus

31. V. XII. Greek Literati in Rome

32. That the treatise on the Gallic war was published all at once, has been long conjectured; the distinct proof that it was so, is furnished by the mention of the equalization of the Boii and the Haedui already in the first book (c. 28) whereas the Boii still occur in the seventh (c. 10) as tributary subjects of the Haedui, and evidently only obtained equal rights with their former masters on account of their conduct and that of the Haedui in the war against Vercingetorix. On the other hand any one who attentively follows the history of the time will find in the expression as to the Milonian crisis (vii. 6) a proof that the treatise was published before the outbreak of the civil war; not because Pompeius is there praised, but because Caesar there approves the exceptional laws of 702.(p. 146) This he might and could not but do, so long as he sought to bring about a peaceful accommodation with Pompeius,( p. 175) but not after the rupture, when he reversed the condemnations that took place on the basis of those laws injurious for him.(p. 316) Accordingly the publication of this treatise has been quite rightly placed in 703.

The tendency of the work we discern most distinctly in the constant, often—most decidedly, doubtless, in the case of the Aquitanian expedition (III. XI. The Censorship A Prop of the Nobility)— not successful, justification of every single act of war as a defensive measure which the state of things had rendered inevitable. That the adversaries of Caesar censured his attacks on the Celts and Germans above all as unprovoked, is well known (Sueton. Caes. 24).

33. V. XI. Amnesty

34. V. XII. The New Roman Poetry

35. V. XI. Caelius and Milo

36. V. IX. Curio, V. X. Death of Curio

37. IV. XIII. Sciences

38. A remarkable example is the general exposition regarding cattle in the treatise on Husbandry (ii. 1) with the nine times nine subdivisions of the doctrine of cattle-rearing, with the "incredible but true" fact that the mares at Olisipo (Lisbon) become pregnant by the wind, and generally with its singular mixture of philosophical, historical, and agricultural notices.

39. Thus Varro derives -facere- from -facies-, because he who makes anything gives to it an appearance, -volpes-, the fox, after Stilo from -volare pedibus- as the flying-footed; Gaius Trebatius, a philosophical jurist of this age, derives -sacellum- from -sacra cella-, Figulus -frater- from -fere alter- and so forth. This practice, which appears not merely in isolated instances but as a main element of the philological literature of this age, presents a very great resemblance to the mode in which till recently comparative philology was prosecuted, before insight into the organism of language put a stop to the occupation of the empirics.

40. V. XII. Grammatical Science

41. V. XI. Sciences of General Culture at This Period

42. V. XI. Reform of the Calendar

43. V. XII. Dramatic Spectacles

44. Such "Greek entertainments" were very frequent not merely in the Greek cities of Italy, especially in Naples (Cic. pro Arch. 5, 10; Plut. Brut. 21), but even now also in Rome (iv. 192; Cic. Ad Fam. vii. 1, 3; Ad Att. xvi. 5, 1; Sueton. Caes. 39; Plut. Brut. 21). When the well-known epitaph of Licinia Eucharis fourteen years of age, which probably belongs to the end of this period, makes this "girl well instructed and taught in all arts by the Muses themselves" shine as a dancer in the private exhibitions of noble houses and appear first in public on the Greek stage (-modo nobilium ludos decoravi choro, et Graeca in scaena prima populo apparui-), this doubtless can only mean that she was the first girl that appeared on the public Greek stage in Rome; as generally indeed it was not till this epoch that women began to come forward publicly in Rome (p. 469).

These "Greek entertainments" in Rome seem not to have been properly scenic, but rather to have belonged to the category of composite exhibitions—primarily musical and declamatory—such as were not of rare occurrence in subsequent times also in Greece (Welcker, Griech. Trag., p. 1277). This view is supported by the prominence of flute-playing in Polybius (xxx. 13) and of dancing in the account of Suetonius regarding the armed dances from Asia Minor performed at Caesar's games and in the epitaph of Eucharis; the description also of the -citharoedus- (Ad Her. iv. 47, 60; comp. Vitruv. v. 5, 7) must have been derived from such "Greek entertainments." The combinations of these representations in Rome with Greek athletic combats is significant (Polyb. l. c.; Liv. xxxix. 22). Dramatic recitations were by no means excluded from these mixed entertainments, since among the players whom Lucius Anicius caused to appear in 587 in Rome, tragedians are expressly mentioned; there was however no exhibition of plays in the strict sense, but either whole dramas, or perhaps still more frequently pieces taken from them, were declaimed or sung to the flute by single artists. This must accordingly have been done also in Rome; but to all appearance for the Roman public the main matter in these Greek games was the music and dancing, and the text probably had little more significance for them than the texts of the Italian opera for the Londoners and Parisians of the present day. Those composite entertainments with their confused medley were far better suited for the Ionian public, and especially for exhibitions in private houses, than proper scenic performances in the Greek language; the view that the latter also took place in Rome cannot be refuted, but can as little be proved.

45. V. XI. Sciences of General Culture at This Period

End of Book IV

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TABLE OF CALENDAR EQUIVALENTS

A.U.C.* B.C. B.C. A.U.C. ——————————————————————————— 000 753 753 000 025 728 750 003 050 703 725 028 075 678 700 053 100 653 675 078 125 628 650 103 150 603 625 128 175 578 600 153 200 553 575 178 225 528 550 203 250 503