1. Cicero, On The Nature of The Gods, 3.57 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 216 | 3.57. of the various Aesculapii the first is the son of Apollo, and is worshipped by the Arcadians; he is reputed to have invented the probe and to have been the first surgeon to employ splints. The second is the brother of the second Mercury; he is said to have been struck by lightning and buried at Cynosura. The third is the son of Arsippus and Arsinoë, and is said to have first invented the use of purges and the extraction of teeth; his tomb and grove are shown in Arcadia, not far from the river Lusius. The most ancient of the Apollos is the one whom I stated just before to be the son of Vulcan and the guardian of Athens. The second is the son of Corybas, and was born in Crete; tradition says that he fought with Jupiter himself for the possession of that island. The third is the son of the third Jupiter and of Latona, and is reputed to have come to Delphi from the Hyperboreans. The fourth belongs to Arcadia, and is called by the Arcadians Nomios, as being their traditional lawgiver. |
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| 2. Sallust, Historiae, 2.28, 2.70 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 225 |
3. Ovid, Fasti, 6.650-6.700 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 18| 6.650. Idibus Invicto sunt data templa Iovi. 6.651. et iam Quinquatrus iubeor narrare minores. 6.652. nunc ades o coeptis, flava Minerva, meis. 6.653. ‘cur vagus incedit tota tibicen in urbe? 6.654. quid sibi personae, quid stola longa volunt?’ 6.655. sic ego. sic posita Tritonia cuspide dixit: ( 6.656. possim utinam doctae verba referre deae!) 6.657. ‘temporibus veterum tibicinis usus avorum 6.658. magnus et in magno semper honore fuit. 6.659. cantabat fanis, cantabat tibia ludis, 6.660. cantabat maestis tibia funeribus: 6.661. dulcis erat mercede labor, tempusque secutum, 6.662. quod subito gratae frangeret artis opus ...1 6.663. adde quod aedilis, pompam qui funeris irent, 6.664. artifices solos iusserat esse decem. 6.665. exilio mutant urbem Tiburque recedunt. 6.666. exilium quodam tempore Tibur erat! 6.667. quaeritur in scaena cava tibia, quaeritur aris: 6.668. ducit supremos naenia nulla toros, 6.669. servierat quidam, quantolibet ordine dignus, 6.670. Tibure, sed longo tempore liber erat. 6.671. rure dapes parat ille suo turbamque canoram 6.672. convocat; ad festas convenit illa dapes. 6.673. nox erat, et vinis oculique animique natabant, 6.674. cum praecomposito nuntius ore venit, 6.675. atque ita quid cessas convivia solvere? dixit 6.676. auctor vindictae nam venit ecce tuae.’ 6.677. nec mora, convivae valido titubantia vino 6.678. membra movent: dubii stantque labantque pedes, 6.679. at dominus 1 discedite ‘ait plaustroque morantes 6.680. sustulit: in plaustro scirpea lata fuit. 6.681. alliciunt somnos tempus motusque merumque, 6.682. potaque se Tibur turba redire putat. 6.683. iamque per Esquilias Romanam intraverat urbem. 6.684. et mane in medio plaustra fuere foro. 6.685. Plautius, ut posset specie numeroque senatum 6.686. fallere, personis imperat ora tegi, 6.687. admiscetque alios et, ut hunc tibicina coetum 6.688. augeat, in longis vestibus esse iubet; 6.689. sic reduces bene posse tegi, ne forte notentur 6.690. contra collegae iussa redisse sui. 6.691. res placuit, cultuque novo licet Idibus uti 6.692. et canere ad veteres verba iocosa modos.’ 6.693. haec ubi perdocuit, superest mihi discere dixi 6.694. cur sit Quinquatrus illa vocata dies. 6.695. Martius inquit ‘agit tali mea nomine festa, 6.696. estque sub inventis haec quoque turba meis. 6.697. prima, terebrato per rara foramina buxo 6.698. ut daret, effeci, tibia longa sonos, 6.699. vox placuit: faciem liquidis referentibus undis 6.700. vidi virgineas intumuisse genas. | 6.650. When the adviser himself does as he advises. 6.651. The next day has no features worth your noting. 6.652. On the Ides a temple was dedicated to Unconquered Jove. 6.653. Now I must tell of the lesser Quinquatrus. 6.654. Help my efforts, yellow-haired Minerva. 6.655. ‘Why does the flautist wander widely through the City? 6.656. Why the masks? Why the long robes?’ So I spoke, 6.657. And so Tritonia, laying down her spear, answered me. 6.658. (Would I could relay the learned goddess’ very words!): 6.659. ‘Flautists were much employed in your fathers’ days, 6.660. And they were always held in high honour. 6.661. The flute was played in shrines, and at the games, 6.662. And it was played at mournful funerals too: 6.663. The effort was sweetened by reward. But a time came 6.664. That suddenly ended the practice of that pleasant art. 6.665. The aedile ordered there should be no more than ten 6.666. Musicians accompanying funeral processions. 6.667. The flute-players went into exile at Tibur. 6.668. Once Tibur itself was a place of exile! 6.669. The hollow flute was missed in the theatre, at the altars: 6.670. No dirge accompanied the funeral bier. 6.671. There was one who had been a slave, at Tibur, 6.672. But had long been freed, worthy of any rank. 6.673. He prepared a rural banquet and invited the tuneful 6.674. Throng: they gathered to the festive table. 6.675. It was night: their minds and vision were thick with wine, 6.676. When a messenger arrived with a concocted tale, 6.677. Saying to the freedman: “Dissolve the feast, quickly! 6.678. See, here’s your old master coming with his rod.” 6.679. The guests rapidly stirred their limbs, reeling about 6.680. With strong wine, staggering on shaky legs. 6.681. But the master cried: “Away with you!” and packed 6.682. The laggards into a wagon lined with rushes. 6.683. The hour, the motion, and the wine, brought on sleep, 6.684. And the drunken crowd dreamed they were off to Tibur. 6.685. Now they re-entered Rome through the Esquiline, 6.686. And at dawn the cart stood in the middle of the Forum. 6.687. To deceive the Senate as to their class and number, 6.688. Plautius ordered their faces covered with masks: 6.689. And introduced others, wearing long garments, 6.690. So that female flautists could be added to the crew: 6.691. And their return best hidden, in case they were censured 6.692. For coming back contrary to their guilds’ orders. 6.693. The ruse succeeded, and they’re allowed their new costume, 6.694. On the Ides, singing merry words to the ancient tunes.’ 6.695. When she’d instructed me, I said: ‘It only remain 6.696. For me to learn why the day’s called the Quinquatrus.’ 6.697. She replied: ‘There’s my festival of that name in March, 6.698. And that guild is one of my creations. 6.699. I first produced the music of the long flute, 6.700. By piercing boxwood with spaced holes. |
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| 4. Livy, History, 9.30.5 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 18 |
5. Dionysius of Halycarnassus, Roman Antiquities, 7.72 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 225 | 7.72. 1. Before beginning the games the principal magistrates conducted a procession in honour of the gods from the Capitol through the Forum to the Circus Maximus. Those who led the procession were, first, the Romans' sons who were nearing manhood and were of an age to bear a part in this ceremony, who rode on horseback if their fathers were entitled by their fortunes to be knights, while the others, who were destined to serve in the infantry, went on foot, the former in squadrons and troops, and the latter in divisions and companies, as if they were going to school; this was done in order that strangers might see the number and beauty of the youths of the commonwealth who were approaching manhood.,2. These were followed by charioteers, some of whom drove four horses abreast, some two, and others rode unyoked horses. After them came the contestants in both the light and the heavy games, their whole bodies naked except their loins. This custom continued even to my time at Rome, as it was originally practised by the Greeks; but it is now abolished in Greece, the Lacedaemonians having put an end to it.,3. The first man who undertook to strip and ran naked at Olympia, at the fifteenth Olympiad, was Acanthus the Lacedaemonian. Before that time, it seems, all the Greeks had been ashamed to appear entirely naked in the games, as Homer, the most credible and the most ancient of all witnesses, shows when he represents the heroes as girding up their loins. At any rate, when he is describing the wrestling-match of Aias and Odysseus at the funeral of Patroclus, he says: And then the twain with loins well girt stepped forth Into the lists. ,4. And he makes this still plainer in the Odyssey upon the occasion of the boxing-match between Irus and Odysseus, in these verses: He spake, and all approved; Odysseus then His rags girt round his loins, and showed his thighs So fair and stout; broad shoulders too and chest And brawny arms there stood revealed. And when he introduces the beggar as no longer willing to engage but declining the combat through fear, he says: They spake, and Irus' heart was sorely stirred; Yet even so the suitors girt his loins By force and led him forward. Thus it is plain that the Romans, who preserve this ancient Greek custom to this day, did not learn it from us afterwards nor even change it in the course of time, as we have done.,5. The contestants were followed by numerous bands of dancers arranged in three divisions, the first consisting of men, the second of youths, and the third of boys. These were accompanied by flute-players, who used ancient flutes that were small and short, as is done even to this day, and by lyre-players, who plucked ivory lyres of seven strings and the instruments called barbita. The use of these has ceased in my time among the Greeks, though traditional with them, but is preserved by the Romans in all their ancient sacrificial ceremonies. ,6. The dancers were dressed in scarlet tunics girded with bronze cinctures, wore swords suspended at their sides, and carried spears of shorter than average length; the men also had bronze helmets adorned with conspicuous crests and plumes. Each group was led by one man who gave the figures of the dance to the rest, taking the lead in representing their warlike and rapid movements, usually in the proceleusmatic rhythms.,7. This also was in fact a very ancient Greek institution â I mean the armed dance called the Pyrrhic â whether it was Athena who first began to lead bands of dancers and to dance in arms over the destruction of the Titans in order to celebrate the victory by this manifestation of her joy, or whether it was the Curetes who introduced it still earlier when, acting as nurses to Zeus, they strove to amuse him by the clashing of arms and the rhythmic movements of their limbs, as the legend has it.,8. The antiquity of this dance also, as one native to the Greeks, is made clear by Homer, not only in many other places, but particularly in describing the fashioning of the shield which he says Hephaestus presented to Achilles. For, having represented on it two cities, one blessed with peace, the other suffering from war, in the one on which he bestows the happier fate, describing festivals, marriages, and merriment, as one would naturally expect, he says among other things: Youths whirled around in joyous dance, with sound of flute and harp; and, standing at their doors, Admiring women on the pageant gazed. ,9. And again, in describing another Cretan band of dancers, consisting of youths and maidens, with which the shield was adorned, he speaks in this manner: And on it, too, the famous craftsman wrought, With cunning workmanship, a dancing-floor, Like that which Daedalus in Cnossus wide For fair-haired Ariadnê shaped. And there Bright youths and many-suitored maidens danced While laying each on other's wrists their hands. And in describing the dress of these dancers, in order to show us that the males danced in arms, he says: The maidens garlands wore, the striplings swords of gold, which proudly hung from silver belts. And when he introduces the leaders of the dance who gave the rhythm to the rest and began it, he writes: And great the throng which stood about the dance, Enjoying it; and tumblers twain did whirl Amid the throng as prelude to the song. ,10. But it is not alone from the warlike and serious dance of these bands which the Romans employed in their sacrificial ceremonies and processions that one may observe their kinship to the Greeks, but also from that which is of a mocking and ribald nature. For after the armed dancers others marched in procession impersonating satyrs and portraying the Greek dance called sicinnis. Those who represented Sileni were dressed in shaggy tunics, called by some chortaioi, and in mantles of flowers of every sort; and those who represented satyrs wore girdles and goatskins, and on their heads manes that stood upright, with other things of like nature. These mocked and mimicked the serious movements of the others, turning them into laughter-provoking performances.,11. The triumphal entrances also show that raillery and fun-making in the manner of satyrs were an ancient practice native to the Romans; for the soldiers who take part in the triumphs are allowed to satirise and ridicule the most distinguished men, including even the generals, in the same manner as those who ride in procession in carts at Athens; the soldiers once jested in prose as they clowned, but now they sing improvised verses.,12. And even at the funerals of illustrious persons I have seen, along with the other participants, bands of dancers impersonating satyrs who preceded the bier and imitated in their motions the dance called sicinnis, and particularly at the funerals of the rich. This jesting and dancing in the manner of satyrs, then, was not the invention either of the Ligurians, of the Umbrians, or of any other barbarians who dwelt in Italy, but of the Greeks; but I fear I should prove tiresome to some of my readers if I endeavoured to confirm by more arguments a thing that is generally conceded. ,13. After these bands of dancers came a throng of lyre-players and many flute-players, and after them the persons who carried the censers in which perfumes and frankincense were burned along the whole route of the procession, also the men who bore the show-vessels made of silver and gold, both those that were sacred owing to the gods and those that belonged to the state. Last of all in the procession came the images of the gods, borne on men's shoulders, showing the same likenesses as those made by the Greeks and having the same dress, the same symbols, and the same gifts which tradition says each of them invented and bestowed on mankind. These were the images not only of Jupiter, Juno, Minerva, Neptune, and of the rest whom the Greeks reckon among the twelve gods, but also of those still more ancient from whom legend says the twelve were sprung, namely, Saturn, Ops, Themis, Latona, the Parcae, Mnemosynê, and all the rest to whom temples and holy places are dedicated among the Greeks; and also of those whom legend represents as living later, after Jupiter took over the sovereignty, such as Proserpina, Lucina, the Nymphs, the Muses, the Seasons, the Graces, Liber, and the demigods whose souls after they had left their mortal bodies are said to have ascended to Heaven and to have obtained the same honours as the gods, such as Hercules, Aesculapius, Castor and Pollux, Helen, Pan, and countless others.,14. Yet if those who founded Rome and instituted this festival were barbarians, how could they properly worship all the gods and other divinities of the Greeks and scorn their own ancestral gods? Or let someone show us any other people besides the Greeks among whom these rites are traditional, and then let him censure this demonstration as unsound.,15. After the procession was ended the consuls and the priests whose function it was presently sacrificed oxen; and the manner of performing the sacrifices was the same as with us. For after washing their hands they purified the victims with clear water and sprinkled corn on their heads, after which they prayed and then gave orders to their assistants to sacrifice them. Some of these assistants, while the victim was still standing, struck it on the temple with a club, and others received it upon the sacrificial knives as it fell. After this they flayed it and cut it up, taking off a piece from each of the inwards and also from every limb as a first-offering, which they sprinkled with grits of spelt and carried in baskets to the officiating priests. These placed them on the altars, and making a fire under them, poured wine over them while they were burning.,16. It is easy to see from Homer's poems that every one of these ceremonies was performed according to the customs established by the Greeks with reference to sacrifices. For he introduces the heroes washing their hands and using barley grits, where he said: Then washed their hands and took up barley-grains. And also cutting off the hair from the head of the victim and placing it on the fire, writing thus: And he, the rite beginning, cast some hairs, Plucked from the victim's head, upon the fire. He also represents them as striking the foreheads of the victims with clubs and stabbing them when they had fallen, as at the sacrifice of Eumaeus: Beginning then the rite, with limb of oak â One he had left when cleaving wood â he smote The boar, which straightway yielded up his life; And next his throat they cut and singed his hide. ,17. And also at taking the first offerings from the inwards and from the limbs as well and sprinkling them with barley-meal and burning them upon the altars, as at that same sacrifice: Then made the swineherd slices of raw meat, Beginning with a cut from every limb, And wrapping them in rich fat, cast them all Upon the fire, first sprinkling barley-meal. ,18. These rites I am acquainted with from having seen the Romans perform them at their sacrifices even in my time; and contented with this single proof, I have become convinced that the founders of Rome were not barbarians, but Greeks who had come together out of many places. It is possible, indeed, that some barbarians also may observe a few customs relating to sacrifices and festivals in the same manner as the Greeks, but that they should do everything in the same way is hard to believe. It now remains for me to give a brief account of the games which the Romans performed after the procession. The first was a race of four-horse chariots, two-horse chariots, and of unyoked horses, as has been the custom among the Greeks, both anciently at Olympia and down to the present. |
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| 6. Pliny The Elder, Natural History, 18.331, 28.3.11, 36.38, 36.72-36.73 (1st cent. CE - 1st cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 18, 212 |
| 7. Martial, Epigrams, 10.3, 11.30, 12.85 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 17 |
| 8. Plutarch, Roman Questions, 55 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 18 |
9. Plutarch, Sertorius, 22.2-22.3 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 225| 22.2. ἔτι δὲ νικήσας ποτὲ μάχῃ τὸν Σερτώριον οὕτως ἐπήρθη καὶ τὴν εὐτυχίαν ἠγάπησεν ὥστε αὐτοκράτωρ ἀναγορευθῆναι, θυσίαις δʼ αὐτὸν αἱ πόλεις ἐπιφοιτῶντα καὶ βωμοῖς ἐδέχοντο. λέγεται δὲ καὶ στεφάνων ἀναδέσεις προσίεσθαι καὶ δείπνων σοβαρωτέρων ὑποδοχάς, ἐν οἷς ἐσθῆτα θριαμβικὴν ἔχων ἔπινε, καὶ Νῖκαι πεποιημέναι διʼ ὀργάνων ἐπιδρόμων χρύσεα τρόπαια καὶ στεφάνους διαφέρουσαι κατήγοντο, καὶ χοροὶ παίδων καὶ γυναικῶν ἐπινικίους ὕμνους ᾖδον εἰς αὐτόν. 22.3. ἐφʼ οἷς εἰκότως ἦν καταγέλαστος, εἰ δραπέτην Σύλλα καὶ λείψανον τῆς Κάρβωνος φυγῆς ἀποκαλῶν τὸν Σερτώριον οὕτω κεχαύνωται καὶ περιχαρὴς γέγονεν, ὑποχωρήσαντος αὐτοῦ περιγενόμενος. μεγαλοφροσύνης δὲ τοῦ Σερτωρίου πρῶτον μὲν τὸ τοὺς φεύγοντας ἀπὸ Ῥώμης βουλευτὰς καὶ παρʼ αὐτῷ διατρίβοντας σύγκλητον ἀναγορεῦσαι, | 22.2. 22.3. |
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| 10. Seneca The Younger, Oedipus, 300-321, 323-350, 322 (1st cent. CE - 1st cent. CE) Tagged with subjects: •nan Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 225 |
| 11. Suetonius, Augustus, 58.1 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 226 |
| 12. Athenaeus, The Learned Banquet, 6.274 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 18 |
13. Cassius Dio, Roman History, 53.16.6-53.16.8, 53.27.2-53.27.3 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 212, 226 | 53.16.6. Hence, even if the emperor resides somewhere else, his dwelling retains the name of Palatium. And when Caesar had actually carried out his promises, the name Augustus was at length bestowed upon him by the senate and by the people. 53.16.7. For when they wished to call him by some distinctive title, and men were proposing one title and another and urging its selection, Caesar was exceedingly desirous of being called Romulus, but when he perceived that this caused him to be suspected of desiring the kingship, 53.16.8. he desisted from his efforts to obtain it, and took the title of "Augustus," signifying that he was more than human; for all the most precious and sacred objects are termed augusta. Therefore they addressed him also in Greek as Sebastos, meaning an august personage, from the passive of the verb sebazo, "to revere." 53.27.2. Also he completed the building called the (Opens in another window)')" onMouseOut="nd();" Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens. 53.27.3. Agrippa, for his part, wished to place a statue of Augustus there also and to bestow upon him the honour of having the structure named after him; but when the emperor wouldn't accept either honour, he placed in the temple itself a statue of the former Caesar and in the ante-room statues of Augustus and himself. |
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| 14. Macrobius, Saturnalia, 1.16.44, 1.18.23 (4th cent. CE - 5th cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 212 |
| 15. Isidore of Seville, Etymologies, 15.14 (6th cent. CE - 7th cent. CE) Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 212 |
| 16. Valerius Maximus, Memorable Deeds And Sayings, 2.5.4 Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 18 |
| 17. Manilius, Astronomica, 1.922-1.926 Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 227 |
| 18. Velleius Paterculus, Roman History, 2.91.1 Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 226 |
| 21. Hyg. Gr., Const. Lim., 131.3-132.12, 146.9-147.16 Tagged with subjects: •nan Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 212 |
| 22. Frontin., De Limit., 11.9-11.14 Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 212 |
23. Vergil, Georgics, 1.5-1.7 Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 212| 1.5. hinc canere incipiam. Vos, o clarissima mundi 1.6. lumina, labentem caelo quae ducitis annum, 1.7. Liber et alma Ceres, vestro si munere tellus | |
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| 25. Epigraphy, Monumentum Ancynarum, 12, 34 Tagged with subjects: •nan Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 226 |
| 26. Epigraphy, Ogis, 458 Tagged with subjects: •senses, and power structures Found in books: Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 225, 226, 227, 228, 229 |
