My current holiday reading is Emily Wilson’s recent biography of Seneca, the first century AD Roman philosopher, writer and statesman and – in his later years – tutor to the young emperor Nero. Wilson reconstructs a fascinating picture, in particular, of the pressures and family relationships which shaped the young Seneca, as he was growing to maturity. In doing so, she manages to get a lot of interesting traction out of the somewhat patchy surviving source materials.
One area she dwells on at length is the nature of the personal tuition that was provided for Seneca during his teenage years by a succession of tutors. Eminent Roman citizens like Seneca the Elder, Seneca’s father, would rely on these individuals to prepare their sons for public careers at Rome, where the capacity to speak convincingly and hold your own in front of an audience was highly prized.
A training in rhetoric, which in practice took the form of building competence in declamatory argument, was – in the estimation of Seneca the Elder – of particular value. But the younger Seneca gravitated more toward the study of philosophy, something he says his father ‘hated’, and his interest in this discipline seems to have been captured particularly by a tutor for whom he had high respect: Sotion.
Sotion was an exponent of the Sextian school of philosophy, a school about which – by comparison with some of the major schools of ancient philosophy whose adherents were active in Rome in the first century – not much is known. In Seneca’s own view, Sotion was a kind of Stoic, but Wilson makes clear that this is not really accurate: unlike the Stoics, the Sextians favoured withdrawal from political life; unlike the Stoics, they did not place any weight on logic or abstract thinking; and they rejected the Stoic view that a perfect wise man can never exist.*
It is of course not uncommon for young people to be influenced in important ways by their teachers and Seneca was no exception in this regard. The clearest evidence of Sotion’s impact on his most famous pupil is Seneca’s youthful experiment with vegetarianism, the diet preferred by Sotion himself as part of his commitment to Sextian philosophy.
Perhaps the best known group to embrace vegetarianism in classical antiquity were the followers of Pythagoras, the Pythagoreans, and there were many such followers present in Rome (and elsewhere) at this very time, several centuries after Pythagoras’ own heyday. Some scholars describe Sotion himself as a neo-Pythagorean. But for the Pythagoreans, the justification for vegetarianism hinged on one very simple notion that was not widely shared, either among philosophers or by the population at large: the doctrine of the transmigration of souls between animals and humans.
Sotion did not reject this line of reasoning, but he combined it with additional arguments to make the case for vegetarianism. Eating meat, he taught the young Seneca, encourages a habit of cruelty, since it trains a person to consider unimportant the suffering and death of other living beings. Avoiding meat therefore allows individuals to cultivate personal purity. Furthermore, eating meat is expensive: the wise man should be frugal and avoid it. The conclusion of Sotion’s argument is that meat is eaten by other (less sophisticated) creatures, vultures and lions: seeing that this is the case, is it really much of a loss to give it up?
These arguments impressed Seneca. Their impact on him can be seen, as Wilson notes, not just over the course of his year-long adolescent experiment with vegetarianism. They mattered also in the context of his adult career as a philosopher, where it was central to his ethics to argue that avoiding cruelty is of fundamental importance for human psychological health.
One of the things I like about Sotion’s arguments, as presented by Seneca, is that they retain some cogency today. Admittedly, for a modern person considering the case for vegetarianism, the ancient Sextian arguments in favour of it might not seem as forceful as some of the arguments that can now be made for it. There is no ancient argument for vegetarianism based on observations about the state of the environment or the harm that is done to it by mass-breeding of cattle, for example; nor are the Sextians able to excoriate specific cruel features of modern-day factory farming, though I’m sure they would have done so.
Despite this, the principle that it is important to avoid causing pain or suffering to other living beings remains a central point of principle for many philosophers in the field of animal ethics (as well as in other areas of philosophy). And the economic argument against meat consumption that was voiced by Sotion still holds for much of the meat that is on the shelves of modern supermarkets.
The ancient arguments of Sotion, in other words, continue to resonate – and this is just one example of where ancient ethical thinkers reached positions that still demand our respect and careful consideration.
The end of the school term last week has meant the beginning of full-time baby supervision, Monday to Friday, for me. It’s been busy. I’ve tried to learn quickly what works and what doesn’t, in terms of keeping baby occupied and happy throughout the day, as the first day was a bit of a disaster and I didn’t really have a plan of action in place. Among several discoveries I’ve made, it turns out that toys aren’t quite the distraction I thought they’d be: he seems a bit bored by those he has and he’s much more interested in what’s on shelves, and in cords and wires and anything he can shake out of place. All of which means vigilance is key!
Being on baby duty hasn’t left much time for other activities, but yesterday I found myself reaching for some of the books I’d read some time ago, during the early stages of my DPhil, on family life in the ancient world.
A chapter heading of the first book I opened – Keith Bradley’s ‘Discovering the Roman Family’ – immediately caught my eye. ‘Child Care at Rome: the Role of Men’ wasn’t a subject I had any recollection of having read about previously, but when I turned to the chapter in question, there – sure enough – were my pencil markings in the margins. This was a subject with a new relevance for me now.
I suppose my rather casual (and forgetful) working assumption had been that looking after children in the Roman world was – simply – not a job for men; that no matter which tier of society you were talking about, it was women – mothers, family members, nurses, slaves – who looked after the children.
Bradley uncovers plenty of evidence among Roman inscriptions that undermines this assumption. The inscriptions only really preserve information about families in the higher echelons of Roman society – and in such families, male childcarers certainly played their part.
At (modern) primary school age, the men in question might be fulfilling the role of educator or paedagogus, assisting children in the early stages of their education, but also – perhaps – supervising them more generally in their development as future citizens, both within and beyond the home. Supervision beyond the home was an important task if (especially male) children were ever to leave it. The male childminder might among other things have looked out for the physical safety of young boys as they ventured out into the streets of the city, protecting them from potential harassers.
Educator didn’t just mean teacher. Bradley shows that the term had an additional application: as well as being used to designate a private tutor, it could also be used in respect of foster-fathers. In ancient Rome this seems not infrequently to have meant men who brought up exposed children as their own.*
Male childcarers might also have an important role to play in looking after younger children and infants. Such children might have had a (female) nutrix, a word which could mean wet-nurse, attendant or just nurse. But they might also have been cared for by a male nutritor – a male nurse. There is even an example of a male nutritor, Mussius Chrysonicus, who explicitly describes himself as nutritor lactaneus (presumably to mean a nurse who provides milk).**
This sort of childcare was not carried out by Rome’s leading men but by freedmen or slaves. It was important that men, rather than women, were found to do it, Bradley suggests, because children who were beginning to dine in public, to attend public ceremonies, and to receive a proper education, needed chaperons and companions who could move freely in public spaces in a way most servile and lower class women couldn’t.
This makes sense, but, equally, a male (rather than female) educator or paedagogus will surely have been, in general, much easier to find. The influence of gendered ideals may also have been important in determining families’ choices: for the philosopher Seneca, the ideal paedagogus will be a bonus vir (good man). Others will perhaps have agreed.
Was there a role for children’s fathers? If the fathers of upper class Roman children were to have a significant role in their upbringing, there is not much to suggest that this would happen in the context of regular day-to-day supervision or childcare (or education). In a number of ways, I think, such fathers were missing out. At the same time, the obvious point to make here is that ancient childcare – in the absence of nappies, milk machines, running water and so on – would have been a good deal more messy, haphazard and unhygienic than its modern equivalent, and thus not obviously as pleasant an activity as it can be today.
*Bradley, p.49: evidence of this usage is attested in a range of authors, including Cicero, Seneca, Quintilian and Tacitus.
The featured image is a fresco discovered at Pompeii.
When Aeneas catches sight of the ghost of Dido, his abandoned lover and the former Queen of Carthage, amongst a group of shades he passes on his journey into the depths of the underworld, he stops to try to talk to her. The conversation does not get off the ground. Hearing Aeneas speak, Dido shows no emotion in her facial features, which are left ‘unmoved, like hard rock’. This is in spite of the fact that we know ‘her mind is burning’. When Aeneas finishes speaking, she avoids all eye contact, staring at the ground, before retreating back into the shadows without saying a word.
Aeneas’ attempt to start a conversation with Dido is a striking failure, not least because Dido’s ghostly reticence stands in stark contrast with the outspoken, though increasingly troubled figure whom Aeneas has known in her earthly life. When he last saw her, she was in a state of furious indignation and deep melancholy at his impending departure from her kingdom. She had certainly had things to say to him previously. Why are things different now?
One reading of her response (or lack of response) to Aeneas in the underworld is that, in light of the devastation he has caused her (devastation which seems not entirely to have subsided), she really has nothing to say to him anymore. Coming face to face with him here perhaps gives Dido an opportunity to show Aeneas that she is now in a new state of mind, detached from the emotions which brought about her premature death. She is showing him that she has moved on from her state of earthly passion; that she has cried more than her share of tears for this man; and that she has perhaps found some peace of sorts in the company of the shade of her prematurely deceased husband Sychaeus (whose presence she seems to retreat toward).
Despite being plausible enough as far as it goes, for me this reading of the meeting of Aeneas and Dido in the underworld misses much of the richness and subtlety of Virgil’s presentation of their encounter. I think we can read more deeply into the dynamics of their responses to one another by looking carefully at the tone Aeneas adopts in his address of Dido and focussing on this as the likely cause of her response to him. Dido’s body language and withdrawal from Aeneas may best be seen, I think, as an implicit rejection – above all – of his tone, and the buoyant self-confidence and forthright and assertive, yet seemingly well-intentioned tenderness, it conveys.
If this is correct, one can perhaps imagine Aeneas’ words not only passing literally through Dido’s ghost, failing to register a physical impact on a phantasmagorical entity now bereft of its mortal existence. One can also imagine him talking through her, in the sense of missing the mark: missing the mark, that is, insofar as he adopts an emotional and rhetorical pose which falls well short of the kind of delicate sensitivity which an appropriate handling of this interaction would have involved.
Aeneas has entered the underworld to try to find his dead father Anchises. His motive is not simply that of a devoted son. He wishes to benefit from his father’s wisdom and foresight. He will rely on these to strengthen him as he strives to find a new homeland for his band of refugee Trojan warriors. His quest for a new home is not simply about finding appropriate land to settle. It is shown by Virgil to link profoundly to the story of the foundation and future greatness of Rome, not least insofar as Aeneas – despite being a Trojan hero – is made to embody many of the paradigmatic virtues of first century BC Augustan Rome.
Part of Aeneas’ problem is that he is so deeply caught up with the serious business of being the hero, leader of men and all-round man of action and adventure that he is. Virgil tells us that Aeneas addresses Dido with ‘sweet love’ in his voice (6.455), but just how much sweetness is this Odyssean swashbuckler capable of?
‘infelix Dido’ (‘unhappy/unlucky Dido’), he begins. This is a phrase which echoes other passages in the Aeneid, but it doesn’t obviously stand out for its sweetness, nor does it speak volumes for Aeneas’ capacity for sensitivity. Dido may indeed be unhappy, though why mention it – especially given that he himself is right at the root of this unhappiness?
He proceeds to ask two questions. The first aims to clarify whether Dido did indeed meet her death with a sword. The second asks if he himself had been the cause of her suicide. Aeneas immediately confronts Dido, then, with two of the most traumatic details of her existence. And, what’s more, he asks with a self-interested tone. Was Aeneas, by any chance, on her mind as Dido experienced her deepest moments of desperation?
One can understand Aeneas’ curiosity, perhaps, but why does he need to know this as a matter of urgency? One might even suggest that it is more than a bit cumbersome and unthinking of him to ask the question at all. He is rather like the person who, although he may have well-meaning concerns for an individual on his mind, just can’t help leaping into a conversation by voicing these concerns directly and straightaway, quite without regard for the emotional turbulence that doing so may cause the other party.
Aeneas continues by protesting that he didn’t want to leave Dido when he did (‘invitus, regina, tuo de litore cessi’: ‘I left your shores unwillingly, O queen’). This is not exactly new information. He has already told Dido, right on the brink of his departure from Carthage, that he is not leaving of his own accord. Here he seems to assume that she simply didn’t believe him first time round.
So now he uses emphatic words in a dramatic tricolon to promise that it really is true: ‘by the stars, by the gods and by whatever kind of faith exists within the depths of the earth’. But even if (on a charitable reading) Dido may now be better convinced of something she wasn’t before, what should this matter now? The deed has been done: Aeneas seems more concerned to justify and perhaps exculpate himself to Dido, than he does to empathise seriously with her feelings during her desperate last moments of life.
He then tells her that he cannot believe that such great grief was caused to her by his leaving Carthage. Clearly he was not paying sufficient attention during her extended emotional outpourings in Book 4. While speaking of her distress, Dido had pointedly referenced her own mortality, even claiming she was ‘going to die’ at one point (4.307). Has Aeneas simply forgotten this? Was he himself too distressed to register it when he heard it first time round? Or was he, rather, just insufficiently sympathetic to Dido’s pain properly to grasp it, being rather too focussed (for instance) on his own divinely ordained prerogatives to recognise it?
Toward the end of his speech, Aeneas issues a pair of direct commands, telling Dido to ‘stop’ and instructing her not to remove herself from his sight. Rather than telling her so abrasively what to do, could he not have implored her with soothing words, gently inviting her to share some words with him? The direct language Virgil employs helps, I think, to underscore the fact that this Aeneas is inescapably a forthright man of action who is used to commanding others with a strutting confidence. A less forthright (and more effective) approach would, perhaps, have involved a more delicate appeal to the sensibilities of his tragically jilted lover.
It is a commonplace to point out that Virgil’s Aeneas, as a prototypical Roman, simply tramples over the Carthaginian Dido in a way that represents the later Roman trampling of Carthage itself in the Punic Wars.* Aeneas stands for Rome, then, and Dido for Carthage. Many readers of Virgil sense that he is profoundly alert to the darkness and tragedy of military conquest and (specifically also of) Roman imperialism. In my opinion, Aeneas’ speech to Dido in the underworld sustains this reading. Through Aeneas, Virgil conveys something of the tactless bluster of the conquering Roman mentality, as it comes face to face with the tragic queen it has (seemingly unwittingly) brought to ruin.
TS Eliot found in Aeneas’ address of Dido in Book 6 something rather different from what I find here. For Eliot, Aeneas’ words disclose ‘civilised manners, and a civilised consciousness and conscience’.** Many other readers have found something similar, and some have admired Aeneas for his emotional articulacy in the passage, finding in him something approaching an exemplary figure who plainly and directly speaks his mind in a difficult interaction. My own reading challenges this view, which to me seems altogether too tidy and clipped. Even if Aeneas has to leave Carthage to fulfil his destiny, he still manages to get things wrong with Dido in the way he talks with her, I suggest.
Book 6 of the Aeneid, with its account of Aeneas’ descent into the underworld, enjoyed an extended afterlife as an inspiration for medieval and early modern Christian imaginings of hell. Both Dante and Milton made features of Virgil’s account central to their own epic poems.
Contemporary readers are unlikely to look to Virgil as a resource when trying to picture any possible life after death. But Virgil’s characters, and his art as a storyteller, may still hold lessons not only for how to think about human relationships, as I have explored here, but (also, among other things) for contemporary attempts to do theology.
It is a truism of many such attempts in recent Christian writing that God is a God of love who can somehow be found through the experience of love in human relationships. As a rich resource for helping people to think through the meaning of sensitivity, sympathy and love in their relationships, Virgil’s writing could arguably be as instructive to this sort of theology now as it was in stimulating the religious thought and experience of medieval Christianity.
*For example, Bruno Currie, Epilogue, in Epic Interactions: Perspectives on Homer, Virgil and the Epic Tradition, pp. 351-2.
**TS Eliot, What is a Classic? p. 20
The featured image is a painting by Jan Brueghel the Elder of Aeneas with the Sibyl in the underworld.
Language, writes Christopher Hitchens, is the magical key to prose, as much as to poetry. From the magic of the recent English translations of the Ferrara sequence of novels by Giorgio Bassani,* I can only assume that there was a great deal of enchantment in Bassani’s original Italian prose. Certainly, the haunting (haunted?) prologue of The Garden of the Finzi-Continis, which was first published in 1962, has stayed etched in my thoughts since the day I read it a couple of months ago.
Partly, I think, this is because it touches upon some of the ancient historical scenery around the city of Rome, including – for instance – the Etruscan archaeological remains at Cerveteri (remains about which I know very little). But the passage has mainly stayed with me for a different reason: the luminous way in which it combines topographical description with philosophical reflection about the historical longue durée.
By doing this, Bassani manages to place a subtle melancholy frame around the harrowing events he goes on to describe. He uses historical memory, then, as a way to achieve perspective and to infuse sadness – but also (beautifully) to demonstrate the continuing possibility of an innocent kind of hope, as we witness the exuberance of a young girl’s attempts to grapple with moral questions while engaging in serious historical thinking for what seems like the first time.
The Garden of the Finzi-Continis follows the fortunes of some young, upper crust members of the Jewish community of Ferrara in the late 1930s. The youngsters in question have a fondness for literature and discussion, for food, wine and tobacco, and for game after game of summer tennis (singles, doubles, whatever). Against this background, the marginalisation of the Jewish community that is going on in Ferrara over the course of this period, particularly as a consequence of Mussolini’s Racial Laws, gradually impinges in various ways on the characters.
Despite this descent, Bassani wants to show that the atmosphere among his characters of tender young love, carefree innocence, and coming of age discussion had not (yet) been destroyed during this time. He does this by revealing a tremendous level of poignancy, sensitivity and intimacy of feeling among his characters, the effect of which is to keep the reader focussed mainly on the contours of the personal relationships being described: the gathering political clouds which cast their increasingly ominous shadow over the ‘big picture’ landscape of the period are for their part kept mostly out of focus.
In the prologue of the story, Bassani’s characters experience the Italian landscape as a theatre of memory while out on a family day-trip. Driving toward the Etruscan necropolis at Cerveteri, not far from Rome, a discussion ensues among the passengers, the youngest of whom – Giannina – asks: ‘In the history book, the Etruscans are at the beginning, next to the Egyptians and the Jews. But Papa, who do you think were the oldest, the Etruscans or the Jews?’ A tricky question for poor Dad, who understandably deflects it – and fortunately for him an attractive double row of cypresses provides a welcome temporary distraction through the window.
The conversation lulls. Before long, though, another question breaks the silence: ‘Papa, why are old tombs less sad than new ones?’ This time Dad feels confident enough to offer what seems like a competent enough answer: ‘Well’, he says, ‘the recent dead are closer to us, and so it makes sense that we care more about them. The Etruscans, they’ve been dead such a long time – it’s as though they’d never lived, as though they were always dead’.
A pause. ‘But now you say that’, young Giannina gently responds, ‘it makes me think the opposite, that the Etruscans really did live, and that I care about them just as much as about the others’.
This remark, it turns out, sets the tone for the family’s whole visit to the Etruscan necropolis. It allows them to wonder with open minds not just about the Etruscans’ tombs and burial practices, but about the passage of time, and about the fate of this archaeological site which had survived ever since the time when ‘Etruria, with its coalition of free, aristocratic city-states, dominated almost the entire Italian peninsula’. In time, ‘new civilisations, cruder and less aristocratic, but also stronger and more warlike’ had held the field and the Etruscans slid into insignificance.
In the end, the narrator asks, what does this all matter? No direct answer to this question – which turns out to be rhetorical – is ventured. Instead, we are whisked away (not by car, but in our narrator’s imagination), from Etruscan Cerveteri, all the way back to his childhood Ferrara, to its grand old Jewish cemetery – and to the scenes of his youth which unfolded there.
Bassani’s juxtaposition of the Etruscan and Jewish burial grounds enables him to suggest an implicit if ever so slightly unnerving parallel between the two. Both burial grounds – if imaginatively engaged with – present a silent face of Italian history. And whereas his own memories in one of them are fresh, so that he can give voice to them, much in that old world has now gone.
In recalling memories of the recent Jewish past, even while doing so in glorious and complex richness and colour, it seems to make sense to this narrator to set them somewhat in context against the grand and merciless sweep of the peninsula’s wider history. In this way, Bassani hints with gentle knowing that he would like us to broach the tragedy of the Jews of Ferrara in this story with the unforgiving laboratory of history as our backdrop.
The novels have been translated into English (beautifully) by Jamie McKendrick.