The Story of Rome from the Earliest Times to the End of the Republic Part 13

A variety of different games were celebrated in the circus. The races may be mentioned first. Sometimes two chariots, drawn by two horses or four each (the _biga_ or the _quadriga_), entered for the trial of speed. Each had two hors.e.m.e.n, one of whom, standing in the car with the reins behind his back to enable him to throw his entire weight on them, drove, while the other urged the beasts forward, cleared the way, or a.s.sisted in managing the reins. Before the race lists of the horses were handed about and bets made on them, the utmost enthusiasm being excited, and the factions sometimes even coming to blows and blood. The time having arrived, the horses were brought from stalls at the end of the course, and ranged in line, a trumpet sounded, or a handkerchief was dropped, and the drivers and animals put forth every exertion to win the prize. Seven times they whirled around the course, the applause of the excited spectators constantly sounding in their ears. Now and then a biga would be overturned, or a driver, unable to control his fiery steeds, would be thrown to the ground, and, not quick enough to cut the reins that encircled him with the bill-hook that he carried for the purpose, would be dragged to his death. Such an accident would not stop the onrushing of the other compet.i.tors, and at last the victor would step from his car, mount the _spina_, and receive the sum of money that had been offered as the prize.

[Ill.u.s.tration: RUINS OF THE COLOSSEUM SEEN FROM THE PALATINE HILL]

Another game was the Play of Troy, fabled to have been invented by aeneas, in which young men of rank on horses performed a sham fight. On another occasion the circus would be turned into a camp, and equestrians and infantry would give a realistic exhibition of battle.

Again, there would be athletic games, running, boxing, wrestling, throwing the discus or the spear, and other exercises testing the entire physical system with much thoroughness. One day the amphitheatre would be filled with huge trees, and savage animals would be brought to be hunted down by criminals, captives, or men especially trained for the desperate work, who made it their profession.

For the purposes of these combats the circus was found not to be the best, and the amphitheatre was invented by Curio for the celebration of his father's funeral games. It differed from a theatre in permitting the audience to see on both sides (Greek _amphi_, both), but the distinctive name was first applied to a structure built by Caesar, B.C.

46. The Flavian Amphitheatre, better known as the Colosseum, of which the ruins now stand in Rome, was the culmination of this sort of building, and affords a good idea of the general arrangement of those that were not so grand. That of Caesar was, however, of wood, which material was used in constructing theatres also; the first one of stone was not erected until 30 B.C., when Augustus was consul. [Footnote: History gives an account of one edifice of this kind made of wood that fell down owing to imperfect construction, killing many thousand spectators, and of another that was destroyed by fire. Pompey's theatre of stone, built B.C. 55, has already been mentioned (page 231).]

Variety was given to the exhibitions of the amphitheatre by introducing sufficient water to float ships, and by causing the same wretched cla.s.s that fought the wild beasts to represent two rival nations, and to fight until one party was actually killed, unless preserved by the clemency of the ruler.

It must not be supposed that all these 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 pa.s.sed 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 G.o.ddess 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 _praetexta_ 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 pa.s.ser-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 Caesar 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 b.r.e.a.s.t.s.

As the procession pa.s.sed 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.

[Ill.u.s.tration: A COLUMBARIUM.]

The public buried the ill.u.s.trious 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 Maecenas, 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 pa.s.sing 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 inst.i.tution of a celebration in honor of the G.o.ddess 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 aediles, the people gave themselves up to all the delights and, it must be confessed, to many of the dissipations of the opening spring. The amus.e.m.e.nts 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.