Kitabı oku: «The History of Rome, Book III», sayfa 32

 
-Sperne mores transmarinos, mille habent offucias.
Cive Romano per orbem nemo vivit rectius.
Quippe malim unum Catonem, quam trecentos Socratas.– ¹⁷⁵
 

Such judgments will not be absolutely adopted by history; but every one who carefully considers the revolution which the degenerate Hellenism of this age accomplished in the modes of life and thought among the Romans, will be inclined to heighten rather than to lessen that condemnation of the foreign manners.

New Manners

The ties of family life became relaxed with fearful rapidity. The evil of grisettes and boy-favourites spread like a pestilence, and, as matters stood, it was not possible to take any material steps in the way of legislation against it. The high tax, which Cato as censor (570) laid on this most abominable species of slaves kept for luxury, would not be of much moment, and besides fell practically into disuse a year or two afterwards along with the property-tax generally. Celibacy—as to which grave complaints were made as early as 520—and divorces naturally increased in proportion. Horrible crimes were perpetrated in the bosom of families of the highest rank; for instance, the consul Gaius Calpurnius Piso was poisoned by his wife and his stepson, in order to occasion a supplementary election to the consulship and so to procure the supreme magistracy for the latter —a plot which was successful (574)Moreover the emancipation of women began. According to old custom the married woman was subject in law to the marital power which was parallel with the paternal, and the unmarried woman to the guardianship of her nearest male -agnati-, which fell little short of the paternal power; the wife had no property of her own, the fatherless virgin and the widow had at any rate no right of management. But now women began to aspire to independence in respect to property, and, getting quit of the guardianship of their -agnati- by evasive lawyers' expedients —particularly through mock marriages—they took the management of their property into their own hands, or, in the event of being married, sought by means not much better to withdraw themselves from the marital power, which under the strict letter of the law was necessary. The mass of capital which was collected in the hands of women appeared to the statesmen of the time so dangerous, that they resorted to the extravagant expedient of prohibiting by law the testamentary nomination of women as heirs (585), and even sought by a highly arbitrary practice to deprive women for the most part of the collateral inheritances which fell to them without testament. In like manner the exercise of family jurisdiction over women, which was connected with that marital and tutorial power, became practically more and more antiquated. Even in public matters women already began to have a will of their own and occasionally, as Cato thought, "to rule the rulers of the world;" their influence was to be traced in the burgess-assembly, and already statues were erected in the provinces to Roman ladies.

Luxury

Luxury prevailed more and more in dress, ornaments, and furniture, in buildings and at table. Especially after the expedition to Asia Minor in 564 Asiatico-Hellenic luxury, such as prevailed at Ephesus and Alexandria, transferred its empty refinement and its dealing in trifles, destructive alike of money, time, and pleasure, to Rome. Here too women took the lead: in spite of the zealous invective of Cato they managed to procure the abolition, after the peace with Cartilage (559), of the decree of the people passed soon after the battle of Cannae (539), which forbade them to use gold ornaments, variegated dresses, or chariots; no course was left to their zealous antagonist but to impose a high tax on those articles (570)A multitude of new and for the most part frivolous articles—silver plate elegantly figured, table-couches with bronze mounting, Attalic dresses as they were called, and carpets of rich gold brocade—now found their way to Rome. Above all, this new luxury appeared in the appliances of the table. Hitherto without exception the Romans had only partaken of hot dishes once a day; now hot dishes were not unfrequently produced at the second meal (-prandium-), and for the principal meal the two courses formerly in use no longer sufficed. Hitherto the women of the household had themselves attended to the baking of bread and cooking; and it was only on occasion of entertainments that a professional cook was specially hired, who in that case superintended alike the cooking and the baking. Now, on the other hand, a scientific cookery began to prevail. In the better houses a special cook was kept The division of labour became necessary, and the trade of baking bread and cakes branched off from that of cooking—the first bakers' shops in Rome appeared about 583. Poems on the art of good eating, with long lists of the most palatable fishes and other marine products, found their readers: and the theory was reduced to practice. Foreign delicacies—anchovies from Pontus, wine from Greece—began to be esteemed in Rome, and Cato's receipt for giving to the ordinary wine of the country the flavour of Coan by means of brine would hardly inflict any considerable injury on the Roman vintners. The old decorous singing and reciting of the guests and their boys were supplanted by Asiatic -sambucistriae-. Hitherto the Romans had perhaps drunk pretty deeply at supper, but drinking- banquets in the strict sense were unknown; now formal revels came into vogue, on which occasions the wine was little or not at all diluted and was drunk out of large cups, and the drink-pledging, in which each was bound to follow his neighbour in regular succession, formed the leading feature—"drinking after the Greek style" (-Graeco more bibere-) or "playing the Greek" (-pergraecari-, -congraecare-) as the Romans called it. In consequence of this debauchery dice-playing, which had doubtless long been in use among the Romans, reached such proportions that it was necessary for legislation to interfere. The aversion to labour and the habit of idle lounging were visibly on the increase.¹⁷⁶ Cato proposed to have the market paved with pointed stones, in order to put a stop to the habit of idling; the Romans laughed at the jest and went on to enjoy the pleasure of loitering and gazing all around them.

Increase of Amusements

We have already noticed the alarming extension of the popular amusements during this epoch. At the beginning of it, apart from some unimportant foot and chariot races which should rather be ranked with religious ceremonies, only a single general festival was held in the month of September, lasting four days and having a definitely fixed maximum of cost.¹⁷⁷ At the close of the epoch, this popular festival had a duration of at least six days; and besides this there were celebrated at the beginning of April the festival of the Mother of the Gods or the so-called Megalensia, towards the end of April that of Ceres and that of Flora, in June that of Apollo, in November the Plebeian games—all of them probably occupying already more days than one. To these fell to be added the numerous cases where the games were celebrated afresh—in which pious scruples presumably often served as a mere pretext—and the incessant extraordinary festivals. Among these the already-mentioned banquets furnished from the dedicated tenths¹⁷⁸ the feasts of the gods, the triumphal and funeral festivities, were conspicuous; and above all the festal games which were celebrated—for the first time in 505—at the close of one of those longer periods which were marked off by the Etrusco-Roman religion, the -saecula-, as they were called. At the same time domestic festivals were multiplied. During the second Punic war there were introduced, among people of quality, the already-mentioned banquetings on the anniversary of the entrance of the Mother of the Gods (after 550), and, among the lower orders, the similar Saturnalia (after 537), both under the influence of the powers henceforth closely allied—the foreign priest and the foreign cook. A very near approach was made to that ideal condition in which every idler should know where he might kill time every day; and this in a commonwealth where formerly action had been with all and sundry the very object of existence, and idle enjoyment had been proscribed by custom as well as by law! The bad and demoralizing elements in these festal observances, moreover, daily acquired greater ascendency. It is true that still as formerly the chariot races formed the brilliant finale of the national festivals; and a poet of this period describes very vividly the straining expectancy with which the eyes of the multitude were fastened on the consul, when he was on the point of giving the signal for the chariots to start. But the former amusements no longer sufficed; there was a craving for new and more varied spectacles. Greek athletes now made their appearance (for the first time in 568) alongside of the native wrestlers and boxers. Of the dramatic exhibitions we shall speak hereafter: the transplanting of Greek comedy and tragedy to Rome was a gain perhaps of doubtful value, but it formed at any rate the best of the acquisitions made at this time. The Romans had probably long indulged in the sport of coursing hares and hunting foxes in presence of the public; now these innocent hunts were converted into formal baitings of wild animals, and the wild beasts of Africa—lions and panthers—were (first so far as can be proved in 568) transported at great cost to Rome, in order that by killing or being killed they might serve to glut the eyes of the gazers of the capital. The still more revolting gladiatorial games, which prevailed in Campania and Etruria, now gained admission to Rome; human blood was first shed for sport in the Roman forum in 490. Of course these demoralizing amusements encountered severe censure: the consul of 486, Publius Sempronius Sophus, sent a divorce to his wife, because she had attended funeral games; the government carried a decree of the people prohibiting the bringing over of wild beasts to Rome, and strictly insisted that no gladiators should appear at the public festivals. But here too it wanted either the requisite power or the requisite energy: it succeeded, apparently, in checking the practice of baiting animals, but the appearance of sets of gladiators at private festivals, particularly at funeral celebrations, was not suppressed. Still less could the public be prevented from preferring the comedian to the tragedian, the rope-dancer to the comedian, the gladiator to the rope-dancer; or the stage be prevented from revelling by choice amidst the pollution of Hellenic life. Whatever elements of culture were contained in the scenic and artistic entertainments were from the first thrown aside; it was by no means the object of the givers of the Roman festivals to elevate—though it should be but temporarily—the whole body of spectators through the power of poetry to the level of feeling of the best, as the Greek stage did in the period of its prime, or to prepare an artistic pleasure for a select circle, as our theatres endeavour to do. The character of the managers and spectators in Rome is illustrated by a scene at the triumphal games in 587, where the first Greek flute-players, on their melodies failing to please, were instructed by the director to box with one another instead of playing, upon which the delight would know no bounds.

Nor was the evil confined to the corruption of Roman manners by Hellenic contagion; conversely the scholars began to demoralize their instructors. Gladiatorial games, which were unknown in Greece, were first introduced by king Antiochus Epiphanes (579-590), a professed imitator of the Romans, at the Syrian court, and, although they excited at first greater horror than pleasure in the Greek public, which was more humane and had more sense of art than the Romans, yet they held their ground likewise there, and gradually came more and more into vogue.

As a matter of course, this revolution in life and manners brought an economic revolution in its train. Residence in the capital became more and more coveted as well as more costly. Rents rose to an unexampled height. Extravagant prices were paid for the new articles of luxury; a barrel of anchovies from the Black Sea cost 1600 sesterces (16 pounds)—more than the price of a rural slave; a beautiful boy cost 24,000 sesterces (240 pounds)—more than many a farmer's homestead. Money therefore, and nothing but money, became the watchword with high and low. In Greece it had long been the case that nobody did anything for nothing, as the Greeks themselves with discreditable candour allowed: after the second Macedonian war the Romans began in this respect also to imitate the Greeks. Respectability had to provide itself with legal buttresses; pleaders, for instance, had to be prohibited by decree of the people from taking money for their services; the jurisconsults alone formed a noble exception, and needed no decree of the people to compel their adherence to the honourable custom of giving good advice gratuitously. Men did not, if possible, steal outright; but all shifts seemed allowable in order to attain rapidly to riches—plundering and begging, cheating on the part of contractors and swindling on the part of speculators, usurious trading in money and in grain, even the turning of purely moral relations such as friendship and marriage to economic account. Marriage especially became on both sides an object of mercantile speculation; marriages for money were common, and it appeared necessary to refuse legal validity to the' presents which the spouses made to each other. That, under such a state of things, plans for setting fire on all sides to the capital came to the knowledge of the authorities, need excite no surprise. When man no longer finds enjoyment in work, and works merely in order to attain as quickly as possible to enjoyment, it is a mere accident that he does not become a criminal. Destiny had lavished all the glories of power and riches with liberal hand on the Romans; but, in truth, the Pandora's box was a gift of doubtful value.

Chapter XIV
Literature and Art

The influences which stimulated the growth of Roman literature were of a character altogether peculiar and hardly paralleled in any other nation. To estimate them correctly, it is necessary in the first place that we should glance at the instruction of the people and its recreations during this period.

Knowledge of Languages

Language lies at the root of all mental culture; and this was especially the case in Rome. In a community where so much importance was attached to speeches and documents, and where the burgess, at an age which is still according to modern ideas regarded as boyhood, was already entrusted with the uncontrolled management of his property and might perhaps find it necessary to make formal speeches to the assembled community, not only was great value set all along on the fluent and polished use of the mother-tongue, but efforts were early made to acquire a command of it in the years of boyhood. The Greek language also was already generally diffused in Italy in the time of Hannibal. In the higher circles a knowledge of that language, which was the general medium of intercourse for ancient civilization, had long been a far from uncommon accomplishment; and now, when the change of Rome's position in the world had so enormously increased the intercourse with foreigners and the foreign traffic, such a knowledge was, if not necessary, yet presumably of very material importance to the merchant as well as the statesman. By means of the Italian slaves and freedmen, a very large portion of whom were Greek or half-Greek by birth the Greek language and Greek knowledge to a certain extent reached even the lower ranks of the population, especially in the capital. The comedies of this period may convince us that even the humbler classes of the capital were familiar with a sort of Latin, which could no more be properly understood without a knowledge of Greek than the English of Sterne or the German of Wieland without a knowledge of French.¹⁷⁹ Men of senatorial families, however, not only addressed a Greek audience in Greek, but even published their speeches—Tiberius Gracchus (consul in 577 and 591) so published a speech which he had given at Rhodes—and in the time of Hannibal wrote their chronicles in Greek, as we shall have occasion to mention more particularly in the sequel. Individuals went still farther. The Greeks honoured Flamininus by complimentary demonstrations in the Roman language,¹⁸⁰ and he returned the compliment; the "great general of the Aeneiades" dedicated his votive gifts to the Greek gods after the Greek fashion in Greek distichs.¹⁸¹ Cato reproached another senator with the fact, that he had the effrontery to deliver Greek recitations with the due modulation at Greek revels.

Under the influence of such circumstances Roman instruction developed itself. It is a mistaken opinion, that antiquity was materially inferior to our own times in the general diffusion of elementary attainments. Even among the lower classes and slaves there was much reading, writing, and counting: in the case of a slave steward, for instance, Cato, following the example of Mago, takes for granted the ability to read and write. Elementary instruction, as well as instruction in Greek, must have been long before this period imparted to a very considerable extent in Rome. But the epoch now before us initiated an education, the aim of which was to communicate not merely an outward expertness, but a real mental culture. Hitherto in Rome a knowledge of Greek had conferred on its possessor as little superiority in civil or social life, as a knowledge of French perhaps confers at the present day in a hamlet of German Switzerland; and the earliest writers of Greek chronicles may have held a position among the other senators similar to that of the farmer in the fens of Holstein who has been a student and in the evening, when he comes home from the plough, takes down his Virgil from the shelf. A man who assumed airs of greater importance by reason of his Greek, was reckoned a bad patriot and a fool; and certainly even in Cato's time one who spoke Greek ill or not at all might still be a man of rank and become senator and consul. But a change was already taking place. The internal decomposition of Italian nationality had already, particularly in the aristocracy, advanced so far as to render the substitution of a general humane culture for that nationality inevitable: and the craving after a more advanced civilization was already powerfully stirring the minds of men. Instruction in the Greek language as it were spontaneously met this craving. The classical literature of Greece, the Iliad and still more the Odyssey, had all along formed the basis of that instruction; the overflowing treasures of Hellenic art and science were already by this means spread before the eyes of the Italians. Without any outward revolution, strictly speaking, in the character of the instruction the natural result was, that the empirical study of the language became converted into a higher study of the literature; that the general culture connected with such literary studies was communicated in increased measure to the scholars; and that these availed themselves of the knowledge thus acquired to dive into that Greek literature which most powerfully influenced the spirit of the age —the tragedies of Euripides and the comedies of Menander.

In a similar way greater importance came to be attached to instruction in Latin. The higher society of Rome began to feel the need, if not of exchanging their mother-tongue for Greek, at least of refining it and adapting it to the changed state of culture; and for this purpose too they found themselves in every respect dependent on the Greeks. The economic arrangements of the Romans placed the work of elementary instruction in the mother-tongue—like every other work held in little estimation and performed for hire—chiefly in the hands of slaves, freedmen, or foreigners, or in other words chiefly in the hands of Greeks or half-Greeks;¹⁸² which was attended with the less difficulty, because the Latin alphabet was almost identical with the Greek and the two languages possessed a close and striking affinity. But this was the least part of the matter; the importance of the study of Greek in a formal point of view exercised a far deeper influence over the study of Latin. Any one who knows how singularly difficult it is to find suitable matter and suitable forms for the higher intellectual culture of youth, and how much more difficult it is to set aside the matter and forms once found, will understand how it was that the Romans knew no mode of supplying the desideratum of a more advanced Latin instruction except that of simply transferring the solution of this problem, which instruction in the Greek language and literature furnished, to instruction in Latin. In the present day a process entirely analogous goes on under our own eyes in the transference of the methods of instruction from the dead to the living languages.

But unfortunately the chief requisite for such a transference was wanting. The Romans could, no doubt, learn to read and write Latin by means of the Twelve Tables; but a Latin culture presupposed a literature, and no such literature existed in Rome.

The Stage under Greek Influence

To this defect was added a second. We have already described the multiplication of the amusements of the Roman people. The stage had long played an important part in these recreations; the chariot-races formed strictly the principal amusement in all of them, but these races uniformly took place only on one, viz. the concluding, day, while the earlier days were substantially devoted to stage- entertainments. But for long these stage-representations consisted chiefly of dances and jugglers' feats; the improvised chants, which were produced on these occasions, had neither dialogue nor plot.¹⁸³ It was only now that the Romans looked around them for a real drama. The Roman popular festivals were throughout under the influence of the Greeks, whose talent for amusing and for killing time naturally rendered them purveyors of pleasure for the Romans. Now no national amusement was a greater favourite in Greece, and none was more varied, than the theatre; it could not but speedily attract the attention of those who provided the Roman festivals and their staff of assistants. The earlier Roman stage-chant contained within it a dramatic germ capable perhaps of development; but to develop the drama from that germ required on the part of the poet and the public a genial power of giving and receiving, such as was not to be found among the Romans at all, and least of all at this period; and, had it been possible to find it, the impatience of those entrusted with the amusement of the multitude would hardly have allowed to the noble fruit peace and leisure to ripen. In this case too there was an outward want, which the nation was unable to satisfy; the Romans desired a theatre, but the pieces were wanting.

Rise of a Roman Literature

On these elements Roman literature was based; and its defective character was from the first and necessarily the result of such an origin. All real art has its root in individual freedom and a cheerful enjoyment of life, and the germs of such an art were not wanting in Italy; but, when Roman training substituted for freedom and joyousness the sense of belonging to the community and the consciousness of duty, art was stifled and, instead of growing, could not but pine away. The culminating point of Roman development was the period which had no literature. It was not till Roman nationality began to give way and Hellenico-cosmopolite tendencies began to prevail, that literature made its appearance at Rome in their train. Accordingly from the beginning, and by stringent internal necessity, it took its stand on Greek ground and in broad antagonism to the distinctively Roman national spirit. Roman poetry above all had its immediate origin not from the inward impulse of the poets, but from the outward demands of the school, which needed Latin manuals, and of the stage, which needed Latin dramas. Now both institutions—the school and the stage—were thoroughly anti-Roman and revolutionary. The gaping and staring idleness of the theatre was an abomination to the sober earnestness and the spirit of activity which animated the Roman of the olden type; and—inasmuch as it was the deepest and noblest conception lying at the root of the Roman commonwealth, that within the circle of Roman burgesses there should be neither master nor slave, neither millionnaire nor beggar, but that above all a like faith and a like culture should characterize all Romans—the school and the necessarily exclusive school-culture were far more dangerous still, and were in fact utterly destructive of the sense of equality. The school and the theatre became the most effective levers in the hands of the new spirit of the age, and all the more so that they used the Latin tongue. Men might perhaps speak and write Greek and yet not cease to be Romans; but in this case they accustomed themselves to speak in the Roman language, while the whole inward being and life were Greek. It is not one of the most pleasing, but it is one of the most remarkable and in a historical point of view most instructive, facts in this brilliant era of Roman conservatism, that during its course Hellenism struck root in the whole field of intellect not immediately political, and that the -maitre de plaisir- of the great public and the schoolmaster in close alliance created a Roman literature.

Livius Andronicus

In the very earliest Roman author the later development appears, as it were, in embryo. The Greek Andronikos (from before 482, till after 547), afterwards as a Roman burgess called Lucius¹⁸⁴ Livius Andronicus, came to Rome at an early age in 482 among the other captives taken at Tarentum¹⁸⁵ and passed into the possession of the conqueror of Sena¹⁸⁶ Marcus Livius Salinator (consul 535, 547). He was employed as a slave, partly in acting and copying texts, partly in giving instruction in the Latin and Greek languages, which he taught both to the children of his master and to other boys of wealthy parents in and out of the house. He distinguished himself so much in this way that his master gave him freedom, and even the authorities, who not unfrequently availed themselves of his services—commissioning him, for instance, to prepare a thanksgiving-chant after the fortunate turn taken by the Hannibalic war in 547—out of regard for him conceded to the guild of poets and actors a place for their common worship in the temple of Minerva on the Aventine. His authorship arose out of his double occupation. As schoolmaster he translated the Odyssey into Latin, in order that the Latin text might form the basis of his Latin, as the Greek text was the basis of his Greek, instruction; and this earliest of Roman school-books maintained its place in education for centuries. As an actor, he not only like every other wrote for himself the texts themselves, but he also published them as books, that is, he read them in public and diffused them by copies. What was still more important, he substituted the Greek drama for the old essentially lyrical stage poetry. It was in 514, a year after the close of the first Punic war, that the first play was exhibited on the Roman stage. This creation of an epos, a tragedy, and a comedy in the Roman language, and that by a man who was more Roman than Greek, was historically an event; but we cannot speak of his labours as having any artistic value. They make no sort of claim to originality; viewed as translations, they are characterized by a barbarism which is only the more perceptible, that this poetry does not naively display its own native simplicity, but strives, after a pedantic and stammering fashion, to imitate the high artistic culture of the neighbouring people. The wide deviations from the original have arisen not from the freedom, but from the rudeness of the imitation; the treatment is sometimes insipid, sometimes turgid, the language harsh and quaint.¹⁸⁷ We have no difficulty in believing the statement of the old critics of art, that, apart from the compulsory reading at school, none of the poems of Livius were taken up a second time. Yet these labours were in various respects norms for succeeding times. They began the Roman translated literature, and naturalized the Greek metres in Latium. The reason why these were adopted only in the dramas, while the Odyssey of Livius was written in the national Saturnian measure, evidently was that the iambuses and trochees of tragedy and comedy far more easily admitted of imitation in Latin than the epic dactyls.

But this preliminary stage of literary development was soon passed. The epics and dramas of Livius were regarded by posterity, and undoubtedly with perfect justice, as resembling the rigid statues of Daedalus destitute of emotion or expression—curiosities rather than works of art.

But in the following generation, now that the foundations were once laid, there arose a lyric, epic, and dramatic art; and it is of great importance, even in a historical point of view, to trace this poetical development.

Drama

Theatre

Both as respects extent of production and influence over the public, the drama stood at the head of the poetry thus developed in Rome. In antiquity there was no permanent theatre with fixed admission-money; in Greece as in Rome the drama made its appearance only as an element in the annually-recurring or extraordinary amusements of the citizens. Among the measures by which the government counteracted or imagined that they counteracted that extension of the popular festivals which they justly regarded with anxiety, they refused to permit the erection of a stone building for a theatre.¹⁸⁸ Instead of this there was erected for each festival a scaffolding of boards with a stage for the actors (-proscaenium-, -pulpitum-) and a decorated background (-scaena-); and in a semicircle in front of it was staked off the space for the spectators (-cavea-), which was merely sloped without steps or seats, so that, if the spectators had not chairs brought along with them, they squatted, reclined, or stood.¹⁸⁹ The women were probably separated at an early period, and were restricted to the uppermost and worst places; otherwise there was no distinction of places in law till 560, after which, as already mentioned,¹⁹⁰ the lowest and best positions were reserved for the senators.