Month: December 2013
Pliny the Younger’s question in his letter from Book X 96-97 is centrally what is considered punishable? This suggests that what crime is actually something that eludes Pliny. He has several ideas with associated questions which he presents to Trajan but his personal opinions appear obscured. Pliny states that he does ‘not know what offenses it is practice to punish or investigate, and to what extent.’ He examines the nature by which he himself has punished Christians and determines that he has more questions than answers for ‘What Crime were the Christians guilty of?’ For one thing though Pliny says he has no doubt that, whatever the nature of their creed, stubbornness and inflexible obstinacy surely deserve to be punished. But is this the answer? In Pliny’s opinion, were the Christians simply guilty of stubbornness and obstinacy and was this enough of a crime to warrant persecution?
Pliny however does not appear to believe that Christians constituted a threat to the security of the state as ‘he found nothing more than a malignant and immoderate superstition’, which he does not consider to be a crime. Pliny’s enquiries suggest that the Christians were plainly guilty of being Christians. But, in his opinion the Christians bind themselves by oath and not to some crime. Pliny asks ‘Whether it is the name itself…or only the offenses associated with the name that is to be punished.’ Which cements Pliny’s perplexity as to what type of punishment should be inflicted if their crime is only the name they bear.
The first thing that comes to mind in reading Trajan’s reply is that Trajan’s view on the treatment of Christians appears rather different to many throughout subsequent periods. It almost appears to be a case of innocent until proven guilty; stating that denouncing others is a sort of thing that is a dangerous type of precedent and out of keeping with the spirit of the age. Trajan’s reply has been determined problematic by scholars. Firstly, it does not answer all of the questions that Pliny prescribes and only assures Pliny that his actions are correct. Secondly, there is no reference to Pliny’s question regarding distinctions on the basis of age. These suggest that persecution of Christians is already quite common; is Trajan simply following established precedents?
In relation to the subsequent treatment of Christians, Trajan’s reply also brings up a number of other questions. For instance; does this treatment of Christians apply only to problems in Pontus, or is it a kind of general edict? This idea of a general edict has been discussed by a number of scholars. But there is no evidence of such an enactment. Is Keresztes right, and presupposed here is an edict previously propagated by Nero? Trajan states that it is not possible to lay down any general rule. This is indicative that there is no general edict proscribing Christians.
In examining Trajan’s Rescript it seems that the state and imperial rule were not convinced that Christianity posed a political threat and they had no intention of indiscriminate application of anti-Christian legislation going unchecked. This appears almost tolerant of Christianity, an idea which would become more pronounced in subsequent dealings. However, Trajan appears anxious not to upset public opinion by vetoing the right to take the Christians to trial.
The Imperial cult is very relevant to the situation, as the centre of upholding a unified empire, which the Christians and their faith detracted from. There was also conflict as an oath to the Emperor constituted the basis of business transactions within the empire. This was an issue to the Christians and the other involved parties as how could they accept in good faith? Eusebius states that during the period there was no open persecution but partial attacks in various provinces… notably…establishment of the imperial cult had taken two centuries in which time the Graeco-Roman world had become more unified in a common loyalty to the imperial idea. Frend assesses that in becoming so it stood increasingly on its guard against rival ideology. This is relevant as a basis for persecution of the Christians in Pontus-Bithynia.
The idea that the Christians were persecuted by name alone is viable, as to be associated with Christianity was itself a crime because Christians were seen as the culprits who brought divine retribution through their rejection of traditional forms of religion such as the imperial cult. Sardi puts it, the Pax Decorum had been undermined and the pagan masses demanded some decisive action on the part of the state in order to restore it. The imperial cult is also very relevant to the situation based on Pliny’s location. With a centre of the imperial ideals so close, Christians were seen as potential dangers.
Christianity can also be seen as a threat to imperial rulership with the imposing idea of a Lord God, bringing up questions regarding ‘Lord Caesar vs Lord Christ’. More specifically it is relevant in the line of questioning that Pliny takes as to why the Christians are being persecuted, is it due to name alone? Does this wider idea of a threat to the traditional by association constitute a crime by the individual?
Dundas, G.S., Pharaoh, Basileus and Imperator: The Roman Imperial Cult in Egypt (Michigan, 1993)
Fishwick, D., The Imperial Cult in the Latin West: Studies in the Ruler Cult of the Western Provinces of the Roman Empire (New York, 1987), pp.97-149
Frend, W.H.C., Martyrdom and Persecution in the Early Church (Oxford, 1967), pp. 155-172, 461-466
Hazlett, I., Early Christianity: Origins and Evolution to AD 600 (Nashville, 1991), pp.52-64
Keresztes, P., The Imperial Roman Government and the Christian Church, I: From Nero to the Severi, in ANRW II 23.1, pp.247-315
Lane Fox, R., The Spread of Christianity: Pagans and Christians (Canada, 2006), pp.428
Macmullen, R., and Lane, E.N., Paganism and Christianity 100-425CE: A Sourcebook (Minneapolis, 1992), pp.74-78
Macmullen, R., Christianizing the Roman Empire (A.D. 100-400) (London, 1984), pp.25-42, 132-138
Momigliano, A., The Conflict Between Paganism and Christianity in the Fourth Century (Oxford, 1963), pp.17-37
Pliny, Letters, Book X, 96-97 (Trans. Melmoth, W., Harvard Classics Series, reproduced from: Internet Medieval Source-Book, ed. P.Halsall [www.fordham.edu/halsall/sbook.html])
Sherwin White, A.N., The Letters of Pliny: A Historical and Social Commentary (Oxford, 1966)
Sordi, M., The Christians and the Roman Empire (London, 1986), pp.57-60
Wilken, R., Pliny: A Roman Gentleman, in idem., The Christians as the Romans Saw Them (New Haven, 1984), pp.1-30
 Pliny, Letters, Book X, 96-97 (Trans. Melmoth, W., Harvard Classics Series, reproduced from: Internet Medieval Source-Book, ed. P.Halsall [www.fordham.edu/halsall/sbook.html]), 96
 Ibid., 96
 Ibid., 96
 Ibid., 96 – …not to commit fraud or adultery or the falsifying of trust
 Ibid., 96
 Ibid., 97 – Trajan’s reply to Pliny
 Keresztes, P., The Imperial Roman Government and the Christian Church, I: From Nero to the Severi, in ANRW II 23.1, p.279
 Keresztes, op.cit., p.279
 Pliny, op.cit., 97
 Sordi, M., The Christians and the Roman Empire (London, 1986)., p.58
 Ibid., p.58
 Lane Fox, R., The Spread of Christianity: Pagans and Christians (Canada, 2006), p.428
 Frend, W.H.C., Martyrdom and Persecution in the Early Church (Oxford, 1967), p.156
 Ibid., p.162 – The area at the time had fallen into serious financial and administrative difficulties and these difficulties were blamed on the Christians and their contention to the imperial cult so causing chaos rather than the unity which the imperial powers had set out to encourage. This idea is seen elsewhere in the empire, for instance Christians were blamed for natural disasters such as the famine of 92/93 in Pisidion Antioch.
 Sordi, M., op.cit., p.57
 Frend, W.H.C., op.cit., p.164 – Amastris in the eastern part of the province where Pliny appears to have come across the majority of the Christians after passing Amisus also was where the provincial council and priest of the imperial cult were situated.
 Ibid., p.155
- An Outline of the Persecution of Christians in Eusebius (graecomuse.wordpress.com)
In order to evaluate to what extent there is a concept of ‘female heroism’ in ancient Greek literature it is necessary to look at female literary figures in ancient Greece and their qualities. There are several definitions of a heroine that provide us with a basis from which to evaluate the concept of ‘female heroism’. Lyons asserts that a heroine is a “heroized female personage or recipient of heroic honours.” This definition is in some ways similar to definitions of male heroes yet female heroic figures in literature were very rarely seen in the same light. Even in the Oxford English Dictionary does it describe heroines as being, in ancient mythology, a female intermediate between a woman and a goddess; a demi goddess who has cult paid to them and are worshipped, a woman distinguished by courage, fortitude or noble achievements; “the chief female character in a poem, play or story”; the woman in whom the interest of the piece is centred. Definitions of male heroism however include, “a great warrior”, “a man of superhuman qualities”… CLICK BELOW TO READ ON…
Often during the holiday season I get rather bored so have a tendency to watch large numbers of documentaries. As many of you are also documentary buffs here are some for the month. Enjoy.
BBC – Treasures of the Lourve
Paris-based writer Andrew Hussey travels through the glorious art and surprising history of an extraordinary French institution to show that the story of the Louvre is the story of France. As well as exploring the masterpieces of painters such as Veronese, Rubens, David, Chardin, Gericault and Delacroix, he examines the changing face of the Louvre itself through its architecture and design. Medieval fortress, Renaissance palace, luxurious home to kings, emperors and more recently civil servants, today it attracts eight million visitors a year. The documentary also reflects the very latest transformation of the Louvre – the museum’s recently-opened Islamic Gallery.
The Search for the Crystal Skulls
From the Nazis’ search for the Holy Grail, to the Americans who hunted for pirate treasure in Vietnam; from the true story of the crystal skulls to the mystery of King Solomon’s mines – this series uncovers the truth behind some of the most fabulous, romantic and deranged treasure hunts in modern history.
Note this link may not be available outside Australasia.
A History of Art in Three Colours – Gold
For the very first civilisations and also our own, the yellow lustre of gold is the most alluring and intoxicating colour of all. From the midst of pre-history to a bunker deep beneath the Bank of England, Dr James Fox reveals how golden treasures made across the ages reflect everything we have held as sacred.
A History of Art in Three Colours – Blue
Dr James Fox explores how, in the hands of artists, the colours gold, blue and white have stirred our emotions, changed the way we behave and even altered the course of history.
When, in the Middle Ages, the precious blue stone lapis lazuli arrived in Europe from the East, blue became the most exotic and mysterious of colours. And it was artists who used it to offer us tantalising glimpses of other worlds beyond our own.
A History of Art in Three Colours – White, Part 1
In the Age of Reason, it was the rediscovery of the white columns and marbles of antiquity that made white the most virtuous of colours. For the flamboyant JJ Wickelmann and the British genius Josiah Wedgewood, white embodied all the Enlightenment values of justice, equality and reason.
Pompeii: The Mystery Of People Frozen In Time
n a one off landmark drama documentary for BBC One, Dr Margaret Mountford presents Pompeii: The Mystery Of The People Frozen In Time.
The city of Pompeii uniquely captures the public’s imagination; in 79AD a legendary volcanic disaster left its citizens preserved in ashes to this very day. Yet no-one has been able to unravel the full story that is at the heart of our fascination: how did those bodies become frozen in time?
The Other Pompeii: Life and Death in Herculaneum
Professor Andrew Wallace-Hadrill presents a documentary following the scientific investigation that aims to lift the lid on what life was like in the small Roman town of Herculaneum, moments before it was destroyed by a volcanic erruption. The investigation, based arround the discovery of 12 arched vaults, reveals in great detail the lives of the ill-fated town’s residents, and unique aerial photography gives a behind-the-scenes look at the town from the skies. With contributions from the forensic scientists leading the investigation, the film uncovers the minutiae of daily life in Herculaneum, including not just what residents ate but how they ate it, and why most of the skeletons found on the coast were men and those in the vaults, women and children.
The Secret of El Dorado: The Discovery of Biochar
n 1542, the Spanish Conquistador, Francisco de Orellana ventured along the Rio Negro, one of the Amazon Basin’s great rivers. Hunting a hidden city of gold, his expedition found a network of farms, villages and even huge walled cities. At least that is what he told an eager audience on his return to Spain.
BBC – An Islamic History of Europe
n this 90-minute documentary, Rageh Omaar uncovers the hidden story of Europe’s Islamic past and looks back to a golden age when European civilization was enriched by Islamic learning.
Rageh travels across medieval Muslim Europe to reveal the vibrant civilization that Muslims brought to the West.
This evocative film brings to life a time when emirs and caliphs dominated Spain and Sicily and Islamic scholarship swept into the major cities of Europe.
BBC Simon Schama: A History of Britain, Part 1 (Beginnings)
A study of the history of the British Isles, each of the 15 episodes allows Schama to examine a particular period and tell of its events in his own style. All the programmes are of 59 minutes’ duration and were broadcast over three series, ending 18 June 2002.
The series was produced in conjunction with The History Channel and the executive producer was Martin Davidson. The music was composed by John Harle, whose work was augmented by vocal soloists such as Emma Kirkby and Lucie Skeaping. Schama’s illustrative presentation was aided by readings from actors, including Lindsay Duncan, Michael Kitchen, Christian Rodska, Samuel West and David Threlfall.