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Drawn from the Life: Literary Techniques and the Representation

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Drawn from the Life: Literary Techniques and the Representation Drawn from the Life: Literary Techniques and the Representation of Complex Characters in Suetonius’ De vita Caesarum Oliver O’Sullivan B.A., M.A. A major thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Ancient Classics Maynooth University August 2019 Head of Department: Dr. Kieran McGroarty Supervisor: Dr. Michael Williams CONTENTS Abstract iv Acknowledgements v Editions and Abbreviations vi Introduction: The Fox and His Fur 1 Part 1 1 Part 2 18 Section I: 1. Shadow and Substance: Three Dimensions of Characterization in Ancient Writing 30 1.1 Introduction 30 1.2 One-Dimensional Characterization 32 1.2.1 Reading and Writing Character 32 1.2.2 Character Sketches 38 1.2.3 Titus 42 1.3 Two-Dimensional Characterization 48 1.4 Three-Dimensional Characterization 55 1.5 We Need to Talk About Claudius 63 2. A Not-So-Obsolete Man: The Complex Characterization of Claudius 64 2.1 Introduction 64 2.2 That Fool Claudius 66 2.2.1 Unfinished by Nature 66 2.2.2 Freedmen & Wives 75 2.2.3 A Hopeless Joke 80 2.3 Claudius the Emperor 83 2.4 I, Claudius 95 2.5 Partem Pro Toto 106 Section II: 3. All the Pieces Matter: Describing Complex Character in De vita Caesarum 109 3.1 Introduction 109 3.2 Species Caesarum 111 3.2.1 One-Dimensional Depictions 111 3.2.2 Two-Dimensional Depictions 119 3.2.3 Three-Dimensional Depictions 128 i 3.3 Hair Today Gone Tomorrow 133 3.4 Dress 136 3.5 Nomina Caesarum 140 3.6 If it’s in a Word 151 4. Caesar Says: Speech and Characterization of the Caesars 153 4.1 Introduction 153 4.2 Speechmaking and Oratory 155 4.3 Epigrams 166 4.4 Jokes 179 4.5 Skinning Caesar 188 5. Imperial Bedrooms: Sex Lives of the Caesars 190 5.1 Introduction 190 5.2 Claudius and Galba 192 5.3 Julius 195 5.4 Augustus 201 5.5 Caligula, Nero, and Domitian 209 5.6 Tiberius – Perspectives on a Monster 220 5.7 To End is to Begin 229 Section III: 6. In My End Is My Beginning: Ancestry and Death in Suetonius’ Caesars 233 6.1 Introduction 233 6.2 Ancestry 234 6.2.1 Two Sides of the Same Caesar 234 6.2.2 Downward Spiral 245 6.2.3 Fathers and Sons 250 6.2.4 Caesar by Association 255 6.3 Death 261 6.3.1 Augustus and Vespasian 261 6.3.2 Otho 264 6.3.3 Tiberius and Domitian 268 6.3.4 Nero 272 6.4 Across the Caesars 277 7. Crossing the Lives 278 7.1 Introduction 278 7.2 Cameos 279 7.3 Augustus and Tiberius 284 7.4 Germanicus 290 ii 7.5 Women as Supporting Characters 294 7.6 The Wives of Claudius 303 7.7 Livia 310 7.8 Behind Every Caesar 321 Conclusion 323 Appendix - A Boy Named Sue: On the Life and Works of Gaius Suetonius Tranquillus 339 Bibliography 342 iii Abstract This thesis explores the ways in which Suetonius’ De vita Caesarum represents complex characters beyond simple ciphers of virtue and vice. The first chapter maps out three dimensions of characterization demonstrated in ancient writing (baseline, dissonant, and realistic). The second chapter applies this tripartite perspective to the emperor Claudius, in an isolated case study, as a means of reading his complex character construction. The nature of biography only achieves a complete portrait of a person through selective topics and as such the third chapter examines how external descriptions (i.e. physical appearance, dress, and names) create complex characterization. Speech is often the mirror of a man and the fourth chapter observes the ways in which Suetonius makes use of oratory, epigrams, and humour. The fifth chapter looks at how the sexual episodes and escapades of the Caesars provide intimate insights into their personalities beyond being emblems of virtue and vice. All three of these chapters reveal how characters are reinforced, subverted, or imbued with realism in line with the three dimensions initially outlined. Finally, this thesis shows how the very structure of Suetonius’ collection aids his characterizations. The sixth chapter shows how two stock elements of biographical writing, ancestry and death, act to confirm, develop, or complicate the personalities of his Caesars. The seventh chapter treats the collection as a macro-text to show how characterization is informed by appearances across the Lives and how Suetonius creates characters, such as Germanicus and Livia, through extended cameos. iv Acknowledgements The only perfect opening lines are those written in gratitude. First and foremost, I am profoundly grateful to my supervisor, Dr. Michael Williams. He is a mentor and friend whose constant guidance, keen insights, and extraordinary generosity with his time have helped shape this thesis all for the better. The advice and feedback given by Dr. Gordon Campbell was also greatly appreciated. Many thanks are due to Dr. Kieran McGroarty, Professor David Scourfield, Dr. Maeve O’Brien, and Dr. William Desmond for their years of inspirational teaching. A special thanks is also reserved for Breege Lynch. I am a wiser and better person for having known them all. My gratitude also goes to both my examiners, Dr. Ellen O’Gorman and Professor Roy Gibson, for making the viva a pleasant and intellectually rewarding experience, and whose incisive comments and suggestions have been invaluable. Thanks are due, and in no small part, to David Keating, Stephen McCarthy, Kate Sanborn, and to my fellow Suetonian, Phoebe Garrett, for all her advice and encouragement. I am also grateful to Kerry Gallagher. The pillars of my life are my family and no words can ever truly express all that I owe to them. Sarah and Bryan Hogan have helped me weather many a stormy day. To my parents, Kay and Ollie Sr., I owe everything. Without their unwavering love and support, I never would or could have made it this far. Finally, this work is dedicated to my daughter, Holly – my joy and inspiration. v Editions and Abbreviations The abbreviations of Greek and Latin sources follow those of the fourth edition of The Oxford Classical Dictionary, edited by Simon Hornblower, Antony Spawforth, and Esther Eidinow, or otherwise standard practice. The preferred editions and translations are that of the Loeb unless otherwise stated. References to Suetonius’ De vita Caesarum follow the Teubner: M. Ihm (Ed.), C. Suetoni Tranquilli Opera Volumen 1 De Vita Caesarum Libri VIII (Leipzig, 1908). The preferred translation is Rolfe’s Loeb. De vita Caesarum references are made using only the title and are as follows: - Jul. - Galb. - Aug. - Oth. - Tib. - Vit. - Calig. - Vesp. - Claud. - Tit. - Ner. - Dom. Miscellanea: The commentary on Terence by the Late Antique author Aelius Donatus, the short essay within attributed to Evanthius, and the Rhethorica ad Herennium are referenced thus: - Donatus ad Ter. - Evanth. Ex. De Com. - [Cic.] Rhet. Her. For modern works with a possibly misleading discrepancy between the date of the edition I have cited and the date of first publication, both are initially cited, where necessary, in the following way: Wallace-Hadrill 1995 [1983]. Thereafter, I simply cite the edition used. vi Introduction Part 1 The Fox and His Fur According to Suetonius ‘the fox changes his fur, but not his nature’.1 This epigram, attributed to an old herdsman, comes from an anecdote in the Vespasian and relates how even though said emperor rose to the purple he still possessed the trait of greed. It does, however, carry a greater significance. This passing witticism may offer us an insight into how character and characterization can be viewed in Suetonius’ Lives. On the one hand, a superficial reading of the phrase would suggest that all character is inherent and ingrained with anything else being a mere pretence. On the other hand, a more imaginative reading might suggest that individuals, including Caesars, have an established baseline characterization; but that they also have dissonant moments of characterization which add complexity to their portraits. After all, the fox does change his fur. We may use this as a starting point to suggest, not that Suetonius’ work expresses any dogmatic view of character creation, but rather that his collection, De vita Caesarum, builds, from the structural foundation of basic virtue and vice, distinctly nuanced personalities. As we shall see, the Roman biographer par excellence employs various methods to create his Caesars, with the result that his characters are frequently and surprisingly complex. It is of course necessary for Suetonius’ Lives to first establish the Caesars as recognizable figures. After doing so, they can perhaps be subverted. This is easily seen in the Titus. The eponymous emperor is presented overall in a manner akin to panegyric, best summed up in the opening lines which style him as ‘the delight and darling of human 1 ‘uulpem pilum mutare, non mores’ (Vesp. 16.3.4-5, trans. Rolfe). 1 kind’.2 The chiaroscuro structure of virtue and vice attempts to subvert this idealized figure with salacious gossip, especially regarding an affair with Berenice. However, while Suetonius is ready to acknowledge such rumour and innuendo, he dismisses it just as quickly in a move which further strengthens the previously established depiction.3 The complication does not hold, but the gesture towards complexity neatly illustrates a technique which is put to more useful ends elsewhere. For the most part, the Caesars have simpler baselines. Hence, Suetonius points to Domitian’s early abuse of power as being indicative of the man he will become.4 Similarly, Caligula is most familiar as an unrepentant monster throughout his life.5 These are only baselines, though, and Suetonius will provide a broader palette of personality for most if not all his Caesars.
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