The Ultimate Romana Mors the Death of Cato and the Resulting Paradigmatic Shift in Roman Suicide
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Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Pharsalus 48 BC So SI SHEPPARD Is a Former Journalist Currently Enrolled As a Ph.D
Campaign OSPREY Pharsalus 48 BC so SI SHEPPARD is a former journalist currently enrolled as a Ph.D. student in International Relations at Johns Hopkins University. He graduated with an MA with Distinction from Victoria University and was winner of the Sir Desmond Todd Award for best thesis in a political subject. Si Sheppard has published a number of books and has contributed numerous articles on political and historical topics to leading journals, magazines and newspapers. This is his first title for Osprey. He lives in Baltimore, Maryland, USA. ADAM HOOK studied graphic design, and began his work as an illustrator in 1983. He specializes in detailed historical reconstructions, and has illustrated Osprey titles on the Aztecs, the Greeks, the American Civil War and the American Revolution. His work features in exhibitions and publications throughout the world. He lives in East Sussex, UK. Pharsalus 48 BC Caesar and Pompey - Clash of the Titans Campaign • 174 Pharsalus 48 BC Caesar and Pompey - Clash of the Titans Si Sheppard • Illustrated by Adam Hook ACKNOWLEDGEMENTS Dedicated to Stephen Levine: mentor, colleague and friend. CONTENTS INTRODUCTION 7 CHRONOLOGY 17 OPPOSING COMMANDERS 21 The Caesareans • The Republicans THE LEGIONS OF THE LATE REPUBLIC 29 THE CAMPAIGN 33 The Rubicon to Brundisium • Brundisium to Dyrrachium • Dyrrachium to Pharsalus THE BATTLE 54 Opposing plans • Opposing armies • The clash of arms AFTERMATH 83 THE BATTLEFIELD TODAY 92 BIBLIOGRAPHY 93 INDEX 95 INTRODUCTION: TO THE RUBICON he legend SPQR - Senatus Populusque Romanus, the Senate and People of Rome - emblazoned on the standards of the city's all- conquering legions in the last few centuries before Christ was both a potent symbol of the source of the republic's power and a reflection of the smouldering tension inherent in its system of government. -
Aristocratic Identities in the Roman Senate from the Social War to the Flavian Dynasty
Aristocratic Identities in the Roman Senate From the Social War to the Flavian Dynasty By Jessica J. Stephens A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Greek and Roman History) in the University of Michigan 2016 Doctoral Committee: Professor David Potter, chair Professor Bruce W. Frier Professor Richard Janko Professor Nicola Terrenato [Type text] [Type text] © Jessica J. Stephens 2016 Dedication To those of us who do not hesitate to take the long and winding road, who are stars in someone else’s sky, and who walk the hillside in the sweet summer sun. ii [Type text] [Type text] Acknowledgements I owe my deep gratitude to many people whose intellectual, emotional, and financial support made my journey possible. Without Dr. T., Eric, Jay, and Maryanne, my academic career would have never begun and I will forever be grateful for the opportunities they gave me. At Michigan, guidance in negotiating the administrative side of the PhD given by Kathleen and Michelle has been invaluable, and I have treasured the conversations I have had with them and Terre, Diana, and Molly about gardening and travelling. The network of gardeners at Project Grow has provided me with hundreds of hours of joy and a respite from the stress of the academy. I owe many thanks to my fellow graduate students, not only for attending the brown bags and Three Field Talks I gave that helped shape this project, but also for their astute feedback, wonderful camaraderie, and constant support over our many years together. Due particular recognition for reading chapters, lengthy discussions, office friendships, and hours of good company are the following: Michael McOsker, Karen Acton, Beth Platte, Trevor Kilgore, Patrick Parker, Anna Whittington, Gene Cassedy, Ryan Hughes, Ananda Burra, Tim Hart, Matt Naglak, Garrett Ryan, and Ellen Cole Lee. -
Alana Phelan Fictional Rome March 10, 2008 First Paper
Alana Phelan Fictional Rome March 10, 2008 First Paper Who Can It Be Now? The first season of HBO’s Rome plays fast and loose with its story. Historical events are fudged, timelines are iffy, and some of the characters become quite problematic. Certain well-known characters are accurate enough sketches of either their historical counterparts or their popular literary portrayals: Cicero, for instance, is sufficiently snarky; Brutus is, as always, terribly conflicted and tragic. And the show portrays Caesar at his most ambiguous, hiding his true intentions behind a placid face. Perhaps the writers, in the midst of their research, read A History of Rome, which states, “In the end, it must be admitted that there is really no way to know what Caesar had in mind” (140). The audience is left to decide for themselves whether Caesar wanted power and took it, or whether he wanted to “fix” the Republic, having its best interests at heart. Other characters, however, do not receive such subtle treatment. Atia, Caesar’s niece, is written as the villain of the show. Cato is played by an actor considerably older than the historical figure would have been. And, strangely, Octavia’s husband’s name is changed. Where these discrepancies occur, there seems to be one consistent factor: in some way, the character becomes a composite of historical figures. This is seen straightforwardly in the character of Cato. The casting choice of Karl Johnson cannot be due to his considerable talents alone. After all, the historical Cato “the Younger” was only forty-nine years old at the time of his death, almost a decade younger than Johnson in 2005 when his final episode “Utica” aired (imdb.com). -
Etruscan Identity and Self-Representation in the Late Republic and Early Principate
Etruscan Identity and Self-Representation in the Late Republic and Early Principate Chiara Strazzulla Supervisors: Cardiff University Dr Guy Bradley (Cardiff University) Prof. Elena Isayev (University of Exeter) Presented for the degree of Doctor of Philosophy in Ancient History 2018 Acknowledgements Research might often be portrayed as a solo enterprise, but no work of research is ever truly done alone. This work would most certainly not have been possible without the help and support of many others beside me, who gave their own precious insights, directed my investigation to unexpected corners of the subject topic, and generously gave assistance when assistance was needed. My heartfelt thanks go therefore to: My supervisors, Dr Guy Bradley and Prof. Elena Isayev, who have been present at every stage, providing fundamental clarifications, encouraging me to push my limits and find my strengths, helping me shape what was a disconnected bunch of ideas about Romans and Etruscans into something concrete. Their dedication to this work cannot be understated and without it none of it would have been possible. All at AHRC and the South, West and Wales Doctoral Training Partnership, for generously funding my PhD and providing invaluable occasions for personal and professional development, debate, and sharing. The discussions had at cohort days organised by the DTP have helped guide the direction my research was taking, provided me with additional tools and given me interdisciplinary insights. My thanks in particular to Chantelle Payne and Rose Jones, for their tireless organisational work; and to all the fellow DTP students with whom I exchanged opinions and ideas, most importantly Beatrice Hitchman, Sophie Payne, Maria Tomlinson, Anna Field, James Thomas Lloyd, and Jo Bryant. -
The Historical Background
APPENDIX THE HISTORICAL BACKGROUND All dates are B. C. I 06 Birth of Pompey and Cicero. 100 Sixth consulate of Marius. Birth of Julius Caesar. Ca. 100: publication of Meleager's Garland. ca. 97 Birth of Lucretius. 91-89 Social or Marsic War: Rome v. Italian Allies. 89-85 First Mithridatic War. 88 Sulla's march on Rome. Flight of Marius. 88-83 Sulla in the east. 86 Seventh consulate and death of Marius. Athens sacked by Sulla. Mithridates defeated. ca. 84 Birth of Catullus. 83-82 Civil War. 82-79 Dictatorship of Sulla. 73-71 Slave-revolt of Spartacus. Crushed by Crassus and Pompey. 70 First consulate of Pompey and Crassus. Birth of Virgil (Oct. 15) at Andes near Mantua. Ca. 70: arrival at Rome of the Callimachean Parthenius of Nicaea. ca. 69 Birth of Gallus. 67 Defeat of pirates by Pompey. 66 Lex Manilia confers on Pompey the command against Mithridates. 66-63 Pompey in the east. 65 Birth of Horace at Venusia. 63 Consulate of Cicero. Catilinarian conspiracy. Pompey's settlement of the east. Birth of Octavian, later Augustus (63 B.C.-A.D. 14). 60 Formation of first triumvirate: Caesar, Pompey, Crassus. 59 First consulate of Caesar. Birth of Livy at Padua. 58-49 Caesar in Gaul. 56 Conference at Luca: triumvirate renewed. 55 Second consulate of Pompey and Crassus. Ca. 55: birth of Tibullus. 54 Crassus sets out for Parthia. Death of Julia, Caesar's daughter and Pompey's wife. Ca. 54: deaths of Catullus and Lucretius; publication of De Rerum Natura. Birth of Livy. -
The Mosaic of Neptune and the Seasons from La Chebba Is of Interest Not Only Because of Its Fine Workmanship but Also for Its Unique Combination of Familiar Motifs
THE MOSAIC OF NEPTUNE AND THE SEASONS FRO:M LA CHEBBA THE, MOSAIC OF NEPTUNE AND THE SEASONS FR01VI LA CHEBBA by GIFTY AKO-ADOUNVO SUQmitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Gifty Ako-Adounvo, April 1991. MASTER OF ARmS McMASTER UNIVERSIT}: (Classical Studies) Hamilton, Ontario TITLE: The Mosaic of Neptun1e and the Seasons from La Chebba. AUTHOR: Gifty Ako-Adounvo, B.A. (Hons.) (University of Ghana). SUPERVISOR: Rrofessor KM.D. Dunbabin NUMBER OF PA@ES: xiii,. 1 ~,2 11 ABSTRACT This thesis analyses the Roman mosaic of Neptune and the Seasons from La Chebba in Nortk Africa (Africa Proconsularis). The mosaic was exeavated in 1902 in a seaside', villa at La Chebba which is about 10 km. south of El Alia. The mosaic has rec~ived but brief mention in publications since the beginning of the century, in s}i>ite, of its fascinating subject matter. Chapter 1 gives a detailed description of the mosaic, which depicts in a central medallion, Neptune standing in a frontal chariot attended by two members of the marine thiasos. ]:;'our female Seasons appear iin the corner diagonals of the pa"fvement. They are flanked by seasonal animals and little scenes of seasonal activity. These seasonal vignettes and the combination of Neptune with Seasqns are unique features of this mosaic. Chapter 2 deals with the subject of the "triumph"; its modern art historical terminology, its symbolism, and the iconography of Neptune's "triumph". Some very interesting parallels appear. -
Cato Under the Principate: Stoic Saint Or Radical Republican
Cato under the Principate: Stoic Saint or Radical Republican In the spring of 46 B.C.E., Julius Caesar (100–44 B.C.E.) was in haste to reach the city of Utica. He had already defeated his republican foes in the battle of Thapsus, so his urgency was not dictated by military exigency. Rather he sought to save the life of Cato the Younger (95–46 B.C.E.), who had stationed himself in Utica during the North African phase of the civil wars. This is one of ancient history’s ironies, as Caesar and Cato had been bitter enemies for nearly twenty years dating back to the conspiracy of Catiline. Cato adhered to the Stoic school of philosophy, which taught that virtue was the highest good, and had been a staunch defender of the republican constitution. In the face of defeat, Cato’s Stoicism and political loyalties compelled him to commit suicide rather than surrender to Caesar. Caesar presumed that Cato would take this course of action, which explains his race to Utica. But it was political expediency, not goodwill, that drove on the dictator; Caesar wanted to exchange Cato’s life for his political subservience. Cato would have none of it, and after reading Plato’s discourse on the soul, the Phaedo, he stabbed himself in the chest. Caesar arrived too late. Thus ended the physical life of Cato the Younger, but it was also the birth of Cato the political symbol, representing in turn philosophical resolve, treason, and impassioned resistance against tyranny. These are the three predominant stories the Romans told about Cato in the immediate aftermath of his death in the midst of the civil wars that ended the Roman Republic. -
Cleopatra Vii, Livia Augusta, Servilia Caepionis and the Three
CINEMATIC PORTRAYALS OF ANCIENT WOMEN: CLEOPATRA VII, LIVIA AUGUSTA, SERVILIA CAEPIONIS AND THE THREE WAVES OF FEMINISM by Andrea Schwab A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2016 Copyright 2016 by Andrea Schwab ii ACKNOWLEDGEMENTS This project could not have been completed without the assistance and support of so many, and my words alone cannot express my thanks to all those involved. The academic environment that Florida Atlantic University’s Department of History established facilitated my curiosity, allowing me to realize and pursue my passion in film history. I would like to express my deepest gratitude towards Dr. Jeffrey Buller, whose constant support and academic guidance gave me the confidence to challenge myself, pushing my intellectual boundaries to new levels. Our enlightening discussions over various lunches were some of my favorite parts of this entire process, and have given way to a long-lasting friendship I am honored to have. I would also like to thank my other committee members: Dr. Boyd Breslow, whose revisions and careful feedback advanced my research into unfamiliar territory, and Dr. Ilaria Serra, who sparked my interest in film analysis and allowed me to audit her Italian History through Film course. My committee members were not the only faculty to have supported me in this endeavor, and while it would be difficult to name the entire esteemed faculty at the FAU History Department, they have enriched my time here in such profound ways. -
Osu1099344529.Pdf (455.37
ETHNOGRAPHIC CHARACTERIZATION IN LUCAN’S BELLUM CIVILE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Gregory W.Q. Hodges, B.A., M.A. * * * * * The Ohio State University 2004 Dissertation Committee: Approved by Professor Erik Gunderson, Adviser Professor Frank Coulson _________________________ Professor Gifty Ako-Adounvo Adviser Department of Greek and Latin Copyright by Gregory W.Q. Hodges 2004 ABSTRACT Lucan’s Bellum Civile is a commentary upon and criticism of the Neronian principate and the deteriorated Roman character of the first century. The poet’s success would be marked initially by imperial censorship, followed by his avowed involvement in the Pisonian conspiracy, the inevitable result of which was Lucan’s death sentence in 65 A.D. In his epic Lucan laments the state of Roman citizenship that has precipitated the fall of the Republic. The true Roman, the hero that would sacrifice all for the state, is absent from the poem. Instead the promotion of the individual, effected by military and political successes among foreign peoples at and beyond the edges of empire, has dismantled simultaneously the ethnic construct of the Roman. To underscore this loss of native Roman identity Lucan employs various non-Roman ethnic models when developing the characters of Caesar, Pompey, and Cato. The stereotypical traits of the European Gaul, the Asiatic despot, and the North African nomad, as generated by such sources as Polybius and Cato the Elder, structure the character of Lucan’s protagonists. They have divested themselves of their Roman aspects and assumed rather those of the peoples among whom they produced their public strength. -
"Caesar: Slain with Daggers but Stabbed with Words" Or "Cicero As a Failure and Fraud"
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Fall 12-1998 "Caesar: Slain with Daggers but Stabbed with Words" or "Cicero as a Failure and Fraud" Brandtly Neal Jones University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Jones, Brandtly Neal, ""Caesar: Slain with Daggers but Stabbed with Words" or "Cicero as a Failure and Fraud"" (1998). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/259 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. UNIVERSITY HONORS PROGRAM SENIOR PROJECT • APPROVAL Name: J3..I:£I3J-I-1-- _l.f!.2.e_~ ----------------: ----------------- College: _11..!YLf.f:!..~:!-=.!'_'L__ Depa rtm en t: ___(!~fJ'..! __ C,[ __________ _ ---------------------------------------------------------- I have reviewed this completed senior honors thesis with this student and certify that it is a project com~urate with honors level undergraduate research in this field. 1-) 7 Signed: -~--~::ift;I.-~,------~-'-------------------, Fa cui ty M en to r Date: ------:-1.Y-1J1-3~---::- I Comments (Optional): Brandtly Jones Senior Honors Thesis Advisor: Dr. Christopher Craig CAESAR: SLAIN WITH DAGGERS BUT STABBED WITH WORDS OR CICERO AS A FAILURE AND FRAUD Of all the figures of the ancient world, none has left to posterity so much of himself in writing as Marcus Tullius Cicero. -
The Destruction of Rome in Lucan's
REFRACTIONS OF ROME: THE DESTRUCTION OF ROME IN LUCAN’S PHARSALIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Tobias Peter Torgerson May 2011 ©2011 Tobias Peter Torgerson REFRACTIONS OF ROME: THE DESTRUCTION OF ROME IN LUCAN’S PHARSALIA Tobias Peter Torgerson, Ph.D. Cornell University 2011 Lucan repeatedly uses images, metaphors, rhetoric, and historical, mythological, literary, and geographical allusions that evoke the physical destruction of cities. He even implies at the beginning of the Pharsalia that Caesar’s armies may annihilate the city of Rome itself. Nevertheless, Caesar enters the city in Book 3 without spilling blood and no conflicts occur at Rome during the remainder of the epic’s narrative. It is tempting but simplistic to interpret Lucan’s portrayal of the civil war as the destruction of Rome as mere metaphor, pathos-imbued hyperbole, or development of the traditional epic topos of the urbs capta (captured city). In this dissertation, I argue that the theme of Rome’s self-destruction must be understood in light of the progressive separation of the Roman civitas (polity) as embodied in Pompey’s republican army from the Urbs (physical city of Rome) over the course of the poem. Pompey leads his army away from Rome in order to save the city from Caesarian violence, but this choice tragically results in the destruction of the republic at Pharsalus. First, I establish that Lucan characterizes the Caesarians as ready and willing to destroy the Urbs .