The Story of Rome From the Earliest Times to the End of the Republic by Arthur Gilman (story read aloud .txt) 📕

exhibitions were known in early times, for, in reality, they were mostly the fruit of the increased love of pleasure that characterized the close of the period of the republic, and reached their greatest extravagance only under the emperors.

 

The departure of a Roman from this world was considered an event of great importance, and was attended by peculiar ceremonies, some of which have been imitated in later times. At the solemn moment the nearest relative present tried to catch in his mouth the last expiring breath, and as soon as life had passed away, he called out the name of the departed and exclaimed “Vale!” (farewell). The ring had been previously taken from the finger, and now the body was washed and anointed by undertakers, who had been called from a place near the temple of Venus Libitina, where the names of all who died were registered, and where articles needed for funerals were hired and sold.

[Footnote: Libitina was an ancient Italian divinity about whom little is known. She has been identified with both Proserpina (the infernal goddess of death and queen of the domain of Pluto her husband) and with Venus.]

 

A small coin was placed in the mouth of the deceased to pay Charon the ferryman who was to take it across the rivers of the lower world, the body was laid out in the vestibule, with its feet toward the door, wearing the simple toga, in the case of an ordinary citizen, or the toga prætexta in case of a magistrate, and flowers and leaves were used for decorations as they are at present. If the deceased had received a crown for any act of heroism in life, it was placed upon his head at death. We have already seen that cypress was put at the door to express to the passer-by the bereavement of the dwellers in the house.

If the person had been of importance, the funeral was public, and probably it would be found that he had left money for the purpose; but if he had omitted to do that, the expenses of burial would devolve on those who were to inherit his property. These charges in case of a poor person would be but slight, the funeral being celebrated; as in the olden times of the republic, at night and in a very modest style.

 

The master of the funeral, as he was called, attended by lictors dressed in black, directed the ceremonies in the case of a person of importance. On the eighth day the body would be taken to its cremation or burial, accompanied by persons wearing masks, representing the ancestors of the deceased and dressed in the official costumes that had been theirs, while before it would be borne the military and civic rewards that the deceased had won.

 

Musicians playing doleful strains headed the procession, followed by hired mourners who united lamentations with songs in praise of the virtue of the departed. Players, buffoons, and liberated slaves followed, and of the actors one represented the deceased, imitating his words and actions. The couch on which the body rested as it was carried was often of ivory adorned with gold, and was borne by the near relatives or freedmen, though Julius Cæsar was carried by magistrates and Augustus by senators.

 

Behind the body the relatives walked in mourning, which was black or dark blue, the sons having their heads veiled, and the daughters wearing their hair dishevelled, and both uttering loud lamentations, the women frantically tearing their cheeks and beating their breasts.

As the procession passed through the forum it stopped, and an oration was delivered celebrating the praises of the deceased, after which it went on through the city to some place beyond the walls where the body was burned or buried. We have seen that burial was the early mode of disposing of the dead, and that Sulla was the first of his gens to be burned. [Footnote: See page 197.] In case of burning, the body was placed on a square, altar-like pile of wood, still resting on the couch, and the nearest relative, with averted face, applied the torch.

As the flames rose, perfumes, oil, articles of apparel, and dishes of food were cast into them. Sometimes animals, captives, or slaves were slaughtered on the occasion, and, as we have seen, gladiators were hired to fight around the flaming pile. [Footnote: See pages 158 and 210]

 

When the fire had accomplished its work, and the whole was burned down, wine was thrown over the ashes to extinguish the expiring embers, and the remains were sympathetically gathered up and placed in an urn of marble or less costly material. A priest then sprinkled the ashes with pure water, using a branch of olive or laurel, the urn was placed in a niche of the family tomb, and the mourning relatives and friends withdrew, saying as they went Vale, vale! When they reached their homes they underwent a process of purification, the houses themselves were swept with a broom of prescribed pattern, and for nine days the mourning exercises, which included a funeral feast, were continued. In the case of a great man this feast was a public banquet, and gladiatorial shows and games were added in some instances, and they were also repeated on anniversaries of the funeral.

 

[Illustration: A COLUMBARIUM.]

 

The public buried the illustrious citizens of the nation, and those whose estates were too poor to pay such expenses; the former being for a long time laid away in the Campus Martius, until the site became unhealthy, when it was given to Mæcenas, who built a costly house on it. The rich often erected expensive vaults and tombs during their own lives, and some of the streets for a long distance from the city gate were bordered with ornamental but funereal structures, which must have made the traveller feel that he was passing through unending burial-places. If a tomb was fitted up to contain many funeral ash-urns, it was known as a columbarium, or dove-cote (_columba_, a dove), the ashes of the freedmen and even slaves being placed in niches covered by lids and bearing inscriptions. The Romans ornamented their tombs in a variety of ways, but did not care to represent death in a direct manner. The place of burial of a person, even a slave, was sacred, and one who desecrated it was liable to grave punishment—even to death,—

if the bodies or bones were removed. Oblations of flowers, wine, and milk were often brought to the tombs by relatives, and sometimes they were illuminated.

 

Almost every country lying under a southern sun is accustomed to rejoice at the annual return of flowers, and ancient Rome was not without its May-day. Festivals of the sort are apt to degenerate morally, and that, also, was true of the Floralia, as these feasts were called at Rome. It is said that in the early age of the republic there was found in the Sibylline books a precept commanding the institution of a celebration in honor of the goddess Flora, who presided over flowers and spring-time, in order to obtain protection for the blossoms. The last three days of April and the first two of May were set apart for this purpose, and then, under the direction of the ædiles, the people gave themselves up to all the delights and, it must be confessed, to many of the dissipations of the opening spring. The amusements were of a varied character, including scenic and other theatrical shows, great merriment, feasting, and drinking. Dance and song added to the gay pleasures, and flowers adorned the scenes that met the eye on every hand. Probably no particular deity was honored at these festivals at first. They were simply the unbending of the rustics after the cold of winter, the rejoicings natural to man in spring; but finally the personal genius of the flowers was developed and her name given to the gay festival.

 

The rustic simplicity represented well the primal homeliness of the nation during the heroic ages; the orgies of the crowded city may be put for the growing decay of the later period when, enriched and intoxicated by foreign conquest and maddened by civil war, the republic fell, and the way was made plain for the great material growth of the empire, as well as for the final fall of the vast power that had for so many centuries been invincible among the nations of the earth;—a power which still stands forth in monumental grandeur, and is to-day studied for the lessons it teaches and the warnings its history utters to mankind.

 

*** END OF THE PROJECT GUTENBERG EBOOK, THE STORY OF ROME FROM THE EARLIEST TIMES TO THE END OF THE REPUBLIC ***

 

This file should be named tsrfe10.txt or tsrfe10.zip Corrected EDITIONS of our eBooks get a new NUMBER, tsrfe11.txt VERSIONS based on separate sources get new LETTER, tsrfe10a.txt Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the US

unless a copyright notice is included. Thus, we usually do not keep eBooks in compliance with any particular paper edition.

 

We are now trying to release all our eBooks one year in advance of the official release dates, leaving time for better editing.

Please be encouraged to tell us about any error or corrections, even years after the official publication date.

 

Please note neither this listing nor its contents are final til midnight of the last day of the month of any such announcement.

The official release date of all Project Gutenberg eBooks is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so.

 

Most people start at our Web sites at:

http://gutenberg.net or

http://promo.net/pg

 

These Web sites include award-winning information about Project Gutenberg, including how to donate, how to help produce our new eBooks, and how to subscribe to our email newsletter (free!).

 

Those of you who want to download any eBook before announcement can get to them as follows, and just download by date. This is also a good way to get them instantly upon announcement, as the indexes our cataloguers produce obviously take a while after an announcement goes out in the Project Gutenberg Newsletter.

 

http://www.ibiblio.org/gutenberg/etext04 or ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext04

 

Or /etext03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

 

Just search by the first five letters of the filename you want, as it appears in our Newsletters.

 

Information about Project Gutenberg (one page) We produce about two million dollars for each hour we work. The time it takes us, a rather conservative estimate, is fifty hours to get any eBook selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. Our projected audience is one hundred million readers. If the value per text is nominally estimated at one dollar then we produce $2

million dollars per hour in 2002 as we release over 100 new text files per month: 1240 more eBooks in 2001 for a total of 4000+

We are already on our way to trying for 2000 more eBooks in 2002

If they reach just 1-2% of the world’s population then the total will reach over half a trillion eBooks given away by year’s end.

 

The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!

This is ten thousand titles each to one hundred million readers, which is only about 4% of the present number of computer users.

 

Here is the briefest record of our progress (* means estimated): eBooks Year Month

 

1 1971 July

10 1991 January

100 1994 January

1000 1997 August

1500 1998 October

2000 1999