VARRO, LIVY AND TERTULLIAN ON THE

HISTORY OF ROMAN DRAMATIC ART

BY

J. H. WASZINK

At first sight the readers of this review may be surprised to find an article here which primarily deals with one off the most-1discussed subjects of the history of early Roman literature. Still the author hopes that they will accept it as one more proof of the profit to be drawn from the interpretation of Christian authors for the i.n vestigation of problems of classic literature. In the discussion concerning the authority followed by Livy in his famous account of the evolution of Roman drama, and on the reality of the data mentioned in that account, 1 two passages from Tertullian's De spectaculis are frequently q,uoted: however, no attempt has yet been made 2 for a more thorough investigations of the entire digression on the origing of the ludi which comprehends eight chapters (5-12) of this monograph. Hence it will be our aim, firstly, to examine the contents of this digression and to try to indicate its source, secondly, to apply the results attained at to the discussion of the sources of Livij 7,2 and of similar passages from Vergil (Georg. 2, 380) and Valerius Maximus (2, 4, 4). The 'antiquarian' contents of Tertullian's account may be summed up in the following way (I omit all 'purely Christian' digressions which without exception are due to Tertulli.an's to prove that the ludi are nothing but a form of d:doIatry). 225

I. The origin of the ludi (both ludi scenici and ludi circenses) (ch. 5). The derivation of ludius f rom Lydius, which has sprung from the idea that Roman dramatic art owes its existence to Etruria. Varro's derivation of ludius irom ludus (lusus iuvenum). Liberalia originally used as a common naime for all ludi. II. Chronological list of ludi instituted afterwards : the Con- suak,a (perhaps by ; digression on Con.sus) ; the Ecum-ia (by Romulus); the ludi Tarpei 01 Capitolini in honour of Iupiter Feretrius (by Romulus); the ludi in honour of Robigo (by Numa ) ; other ludi in-stiituted by Tullus Hostilius, Ancus , etc. For further evidence, the readers are referred to and his authorities. -- Ludi instituted afterwards (I.e., after the ex- pulsion of the kings) (ch. 6): the ludi Megalenses, Apollinares, Cereales, Neptunales, Latiares, and Floreales. Ludi originating de natalibus et sollemnibus regum et publicis prosperitatibus et muni- cipalibus f estis. Ludi funebres. III. Ludi scenici and ludi circenses also have a common ap- paratus, though the latter have a paulo pompatior suggestus. IV. The places in which the lud,i are held (ch. 8). The circus consecrated to . The derivation ot circus from the name of Circe, Sol's daughter. Further details: Ova honori Castorum adscribunt ... delphines Neptuno vomunt, columnae Sessias (1. Seias, cf. p. 230) a sementationibus, Messias a messibus, Tutulinas a tutela fructuum sustinent; ante eas tres arae trinis deis parent, Magnis Potentibus Valentibus, eosdem Samothracas existimant. obelisci enormitas, ut Hermateles affirm at, Soli prostituta ... frigebat deorum concilium sine sua Matre Magna: itaque illic praesidet euripo. , ut diximus, apud metas sub delitescit Murcias... Murciam... deam amoris volunt, cui in illa parte aedem voverunt. V. a) The evolution of the res equestris, I.e. of the ludi cir- censes (ch. 9). The Dioscures, and also Neptunus, its patrons. seiugas vero Iovi, quadrigas Soli, bigas Lunae sanxerunt. Digression on Erichthonius. The four colores. b) The res scenicae (ah. 10). The theatre a sacrarium Veneris; the connection of bhe theatre of Pampeius with a temple of Venus. Liberalia a general name for the ludi scenici. c) The agones (ch. 11). Their original connection with the ludi. Agones musici and gymnici.