When Nero took the stage, the audience played along--or else. The drama thus enacted, whether in the theater proper or in the political arena, unfolds in all its rich complexity in Actors in the Audience. This is a book about language, theatricality, and empire--about how the Roman emperor dramatized his rule and how his subordinates in turn staged their response. The focus is on Nero: his performances onstage spurred his contemporaries to reflect on the nature of power and representation, and to make the stage a paradigm for larger questions about the theatricality of power. Through these portrayals by ancient writers, Shadi Bartsch explores what happens to language and representation when all discourse is distorted by the pull of an autocratic authority.

Some Roman senators, forced to become actors and dissimulators under the scrutinizing eye of the ruler, portrayed themselves and their class as the victims of regimes that are, for us, redolent of Stalinism. Other writers claimed that doublespeak--saying one thing and meaning two--was the way one could, and did, undo the constraining effects of imperial oppression. Tacitus, Suetonius, and Juvenal all figure in Bartsch's shrewd analysis of historical and literary responses to the brute facts of empire; even the Panegyricus of Pliny the Younger now appears as a reaction against the widespread awareness of dissimulation. Informed by theories of dramaturgy, sociology, new historicism, and cultural criticism, this close reading of literary and historical texts gives us a new perspective on the politics of the Roman empire--and on the languages and representation of power.

The world that Alexander remade in his lifetime was transformed once more by his death in 323 BCE. His successors reorganized Persian lands to create a new empire stretching from the eastern Mediterranean as far as present-day Afghanistan, while in Greece and Macedonia a fragile balance of power repeatedly dissolved into war. Then, from the late third century BCE to the end of the first, Rome’s military and diplomatic might successively dismantled these post-Alexandrian political structures, one by one.

During the Hellenistic period (c. 323–30 BCE), small polities struggled to retain the illusion of their identity and independence, in the face of violent antagonism among large states. With time, trade growth resumed and centers of intellectual and artistic achievement sprang up across a vast network, from Italy to Afghanistan and Russia to Ethiopia. But the death of Cleopatra in 30 BCE brought this Hellenistic moment to a close—or so the story goes.

In Angelos Chaniotis’s view, however, the Hellenistic world continued to Hadrian’s death in 138 CE. Not only did Hellenistic social structures survive the coming of Rome, Chaniotis shows, but social, economic, and cultural trends that were set in motion between the deaths of Alexander and Cleopatra intensified during this extended period. Age of Conquests provides a compelling narrative of the main events that shaped ancient civilization during five crucial centuries. Many of these developments—globalization, the rise of megacities, technological progress, religious diversity, and rational governance—have parallels in our world today.

March of the emperors.

The Historia Augusta is a biographical work roughly following the model of the imperial biographer Suetonius (LCL 31, 38) and covering the lives of the Roman emperors from Hadrian (r. 117–138) to Carinus (r. 283–285), with a lacuna between the lives of the Gordians and the Valerians. Although the work comes down to us as a collection of thirty books written by six different authors, it is now generally considered to be the creation of a single individual writing under several pseudonyms no earlier than the late fourth century. It is a thoroughly enigmatic work whose origins, nature, and purpose remain obscure; the very beginning of the life of Hadrian is lost, and with it any general introduction that may have existed.

While the Historia Augusta is our most detailed surviving source for the second and third centuries, often providing details beyond the Greek accounts, it is not a trustworthy source for historical information: too many of the details are anachronistic, unsupported, or preposterous, or contradicted internally or by better sources, and many documents, speeches, acclamations, and inscriptions that it quotes or cites are entirely fictional.

The Historia Augusta nevertheless has its attractions: for the connoisseur of biography the author provides plenty of wordplay, puns, allusions, literary games, and mock-scholarly digressions, and for the casual reader he offers vivid characterizations of emperors both good and bad.

This revision of the original Loeb edition by David Magie offers text, translation, and annotation that are fully current with modern scholarship.

March of the emperors.

The Historia Augusta is a biographical work roughly following the model of the imperial biographer Suetonius (LCL 31, 38) and covering the lives of the Roman emperors from Hadrian (r. 117–138) to Carinus (r. 283–285), with a lacuna between the lives of the Gordians and the Valerians. Although the work comes down to us as a collection of thirty books written by six different authors, it is now generally considered to be the creation of a single individual writing under several pseudonyms no earlier than the late fourth century. It is a thoroughly enigmatic work whose origins, nature, and purpose remain obscure; the very beginning of the life of Hadrian is lost, and with it any general introduction that may have existed.

While the Historia Augusta is our most detailed surviving source for the second and third centuries, often providing details beyond the Greek accounts, it is not a trustworthy source for historical information: too many of the details are anachronistic, unsupported, or preposterous, or contradicted internally or by better sources, and many documents, speeches, acclamations, and inscriptions that it quotes or cites are entirely fictional.

The Historia Augusta nevertheless has its attractions: for the connoisseur of biography the author provides plenty of wordplay, puns, allusions, literary games, and mock-scholarly digressions, and for the casual reader he offers vivid characterizations of emperors both good and bad.

This revision of the original Loeb edition by David Magie offers text, translation, and annotation that are fully current with modern scholarship.

March of the emperors.

The Historia Augusta is a biographical work roughly following the model of the imperial biographer Suetonius (LCL 31, 38) and covering the lives of the Roman emperors from Hadrian (r. 117–138) to Carinus (r. 283–285), with a lacuna between the lives of the Gordians and the Valerians. Although the work comes down to us as a collection of thirty books written by six different authors, it is now generally considered to be the creation of a single individual writing under several pseudonyms no earlier than the late fourth century. It is a thoroughly enigmatic work whose origins, nature, and purpose remain obscure; the very beginning of the life of Hadrian is lost, and with it any general introduction that may have existed.

While the Historia Augusta is our most detailed surviving source for the second and third centuries, often providing details beyond the Greek accounts, it is not a trustworthy source for historical information: too many of the details are anachronistic, unsupported, or preposterous, or contradicted internally or by better sources, and many documents, speeches, acclamations, and inscriptions that it quotes or cites are entirely fictional.

The Historia Augusta nevertheless has its attractions: for the connoisseur of biography the author provides plenty of wordplay, puns, allusions, literary games, and mock-scholarly digressions, and for the casual reader he offers vivid characterizations of emperors both good and bad.

This revision of the original Loeb edition by David Magie offers text, translation, and annotation that are fully current with modern scholarship.

A chronicle of Rome in crisis.

The History of Herodian (born ca. AD 178–179) covers a period of the Roman empire from the death of the emperor Marcus Aurelius (AD 180) to the accession of Gordian III (238), half a century of turbulence, in which we can see the onset of the revolution which, in the words of Gibbon, “will ever be remembered, and is still felt by the nations of the earth.” In these years, a succession of frontier crises and a disastrous lack of economic planning established a pattern of military coups and increasing cultural pluralism.

Of this revolutionary epoch we know all too little. The selection of chance has destroyed all but a handful of the literary sources that deal with the immediate post-Antonine scene. Herodian’s work is one of the few that have survived, and it has come down to us completely intact. Of the author we know virtually nothing, except that he served in some official capacity in the empire of which he wrote. His History was apparently produced for the benefit of people in the Greek-speaking half of the Roman empire. It betrays the faults of an age when truth was distorted by rhetoric and stereotypes were a substitute for sound reason. But it is an essential document for any who would try to understand the nature of the Roman empire in an era of rapidly changing social and political institutions.

The Loeb Classical Library edition of Herodian is in two volumes.

Beginning with the Roman army’s first foray beyond its borders and concluding with the death of Hadrian in 138 CE, this panoramic history of the early Roman Empire recounts the wars, leaders, and social transformations that lay the foundations of imperial success.

Between 264 BCE, when the Roman army crossed into Sicily, and the death of Hadrian nearly three hundred years later, Rome became one of the most successful multicultural empires in history. In this vivid guide to a fascinating period, David Potter explores the transformations that occurred along the way, as Rome went from republic to mercenary state to bureaucratic empire, from that initial step across the Straits of Messina to the peak of territorial expansion.

Rome was shaped by endless political and diplomatic jockeying. As other Italian city-states relinquished sovereignty in exchange for an ironclad guarantee of protection, Rome did not simply dominate its potential rivals—it absorbed them by selectively offering citizenship and constructing a tiered membership scheme that allowed Roman citizens to maintain political control without excluding noncitizens from the state’s success. Potter attributes the empire’s ethnic harmony to its relative openness.

This imperial policy adapted and persisted over centuries of internal discord. The fall of the republican aristocracy led to the growth of mercenary armies and to the creation of a privatized and militarized state that reached full expression under Julius Caesar. Subsequently, Augustus built a mighty bureaucracy, which went on to manage an empire ruled by a series of inattentive, intemperate, and bullying chief executives. As contemporary parallels become hard to ignore, The Origin of Empire makes clear that the Romans still have much to teach us about power, governance, and leadership.

With the growth of postcolonial theory in recent decades, scholarly views of Roman imperialism and colonialism have been evolving and shifting. Much recent discussion of the topic has centered on the ways in which ancient Roman historians consciously or unconsciously denigrated non-Romans. Similarly, contemporary scholars have downplayed Roman elite anxiety about their empire's expansion.

In this groundbreaking new work, Eric Adler explores the degree to which ancient historians of Rome were capable of valorizing foreigners and presenting criticisms of their own society. By examining speeches put into the mouths of barbarian leaders by a variety of writers, he investigates how critical of the empire these historians could be.

Adler examines pairs of speeches purportedly delivered by non-Roman leaders so that the contrast between them might elucidate each writer's sense of imperialism. Analyses of Sallust's and Trogus's treatments of the Eastern ruler Mithradates, Polybius's and Livy's speeches from Carthage's Hannibal, and Tacitus's and Cassius Dio's accounts of the oratory of the Celtic warrior queen Boudica form the core of this study. Adler supplements these with examinations of speeches from other characters, as well as contextual narrative from the historians. Throughout, Adler wrestles with broader issues of Roman imperialism and historiography, including administrative greed and corruption in the provinces, the treatment of gender and sexuality, and ethnic stereotyping.

During the last centuries of the Roman Empire, the prevailing ideal of feminine virtue was radically transformed: the pure but fertile heroines of Greek and Roman romance were replaced by a Christian heroine who ardently refused the marriage bed. How this new concept and figure of purity is connected with--indeed, how it abetted--social and religious change is the subject of Kate Cooper's lively book.

The Romans saw marital concord as a symbol of social unity--one that was important to maintaining the vigor and political harmony of the empire itself. This is nowhere more clear than in the ancient novel, where the mutual desire of hero and heroine is directed toward marriage and social renewal. But early Christian romance subverted the main outline of the story: now the heroine abandons her marriage partner for an otherworldly union with a Christian holy man. Cooper traces the reception of this new ascetic literature across the Roman world. How did the ruling classes respond to the Christian claim to moral superiority, represented by the new ideal of sexual purity? How did women themselves react to the challenge to their traditional role as matrons and matriarchs? In addressing these questions, Cooper gives us a vivid picture of dramatically changing ideas about sexuality, family, and morality--a cultural revolution with far-reaching implications for religion and politics, women and men.

The Virgin and the Bride offers a new look at central aspects of the Christianization of the Roman world, and an engaging discussion of the rhetoric of gender and the social meaning of idealized womanhood.