Lest We Forget…

Today is November 11th – Remembrance Day and Veterans Day

This is a sacred day.

A heartfelt Thank You to the men and women in uniform, past and present, who risked and are risking their lives to keep us safe at home and abroad, and protect us from threats both foreign and domestic.

Thank you for your courage, dedication, and service.

Lest We Forget.

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New Release! – Eagles and Dragons – Book VII

Greetings Readers and History-Lovers!

Today, Eagles and Dragons Publishing is pleased to announce the launch of the newest title in our marquee, award-winning and bestselling Eagles and Dragons historical fantasy series set in the Roman Empire!

The Hearts of Heroes: A Novel of the Roman Empire takes place roughly ten years after the end of The Blood Road (Book VI).

Fans of the series have been waiting a long time for this book and so, without further ado, we present to you The Hearts of Heroes

The Hearts of Heroes: A Novel of the Roman Empire

At the peak of Rome’s might a dragon is born among eagles, an heir to a line both blessed and cursed by the Gods for ages. 

In the year A.D. 228, the Roman Empire, newly emerged from the trauma of a mad emperor’s reign, faces new threats from within and without.

In the distant province of Britannia, the family and friends of Lucius Pen Dragon have remained in hiding for over ten years, safe from the henchmen of Rome. But they have been struggling to come to terms with Lucius’ death. While most have accepted the loss, his wife and children yet cling to his memory. Grief has torn their family apart.

Having quit the sanctuary of Ynis Wytrin some years before, Adara Pen Dragon has not been heard from or seen by anyone. When her son, Phoebus, sets out in search of his mother, his sister, Calliope, fears that she has lost the remainder of her family.

Though it is widely known that Lucius is dead, Rome remembers the Dragon, his family, and his Sarmatian warriors. Augusta Julia Mamaea, paranoid and worried for the safety of her son, Emperor Alexander Severus, maintains that Lucius Pen Dragon lives. She decides to seek him out and recruit him to protect her imperial son. To that end, she sends a force of Praetorians to Britannia to search for the Dragon, his family, and his men to make them an offer they cannot possibly refuse. Once again they are hunted by Rome.

Can Lucius’ family and friends overcome their grief and find the strength to fight Rome one more time? Or will Rome finally succeed in wiping out the Dragon’s line once and for all?

Ultimately, survival rests on their faith, forgiveness, love, and the hidden strength found in the hearts of heroes…

We hope that fans of the Eagles and Dragons series will enjoy this newest instalment!

The Hearts of Heroes is available now in e-book, paperback, and deluxe hardcover editions from all major online retailers, brick and mortar chains, independent bookshops, public libraries, and direct from Eagles and Dragons Publishing.

To learn more and get ISBN# information for the edition of your choice CLICK HERE.

If you have not read any books in the Eagles and Dragons series, be sure to start with the prequel novel, A Dragon among the Eagles, which was recently named the WINNER of the 2025 NYC Big Book Award competition in the category of ‘Historical Fiction’.

We would like to thank all of the extremely loyal fans of the Eagles and Dragons series who have waited so patiently for this latest book.

We hope you enjoy the adventure!

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NEW VIDEO TOUR! – The Sanctuary of Asklepios: A Meditative Walk Through the Archaeological Site at Ancient Epidaurus

Greetings History-Lovers!

Today, Eagles and Dragons Publishing is pleased to announce the release of a new video tour on our YouTube and Rumble channels.

The Sanctuary of Asklepios lies on the Argolid plain, with Mt. Arachnaio and Mr. Titthion to the north. The former was said to have been a home of Zeus and Hera, and the latter, whose gentle slopes lead down to the plain, was said to have been where Asklepios was born.

To the south of the sanctuary is Mt. Kynortion, where there was a shrine to Apollo, Asklepios’ father. Farther to the south are the wooded slopes of Mt. Koryphaia, where the goddess Artemis is said to have wandered. 

This is a land of myth and legend, a world of peace and healing, green and mild, dotted with springs. The sanctuary was actually called ‘the Sacred Grove’.

Asklepios, as a god of healing, was worshiped at Epidaurus from the 5th century B.C. to the 4th century A.D. According to archaeologists, it was the sick who turned to Asklepios, people who had lost all hope of recovery – the blind, the lame, the paralyzed, the dumb, the wounded, the sterile – all of them wanting a miracle.

We hope you enjoy this calming, meditative journey through the ruins of the Sanctuary of Asklepios at Ancient Epidaurus!

After the video, be sure to check out our popular articles on Ancient Epidaurus at the links below:

The Ancient Theatre of Epidaurus

Epidaurus: Place of Dreams and Healing

Also…

Don’t forget to check out our video tour of the Ancient Theatre of Epidaurus.

Lastly…

If you are planning on visiting Ancient Epidaurus, you can get amazing, discounted deals on tours and tickets with our travel partners at Viator by CLICKING HERE.

*If you love Greek Mythology and Ancient History, then be sure to check out the Eagles and Dragons Publishing AGORA on Etsy at the link below for a wide range of history-related books, gifts, clothing, housewares and more. CLICK HERE to shop now.

More video tours are coming soon, so be sure to SUBSCRIBE on YouTube or Rumble so you don’t miss any.

Thank you for watching!

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News Release – Victory for Eagles and Dragons!

FOR IMMEDIATE RELEASE

Adam Alexander Haviaras receives national recognition through the NYC BIG BOOK AWARD®!

Stratford, Ontario — The NYC Big Book Award recognized A Dragon among the Eagles: A Novel of the Roman Empire as the WINNER in the category of ‘Historical Fiction’.

The competition is judged by experts from different aspects of the book industry, including publishers, writers, editors, designers, booksellers, librarians and professional copywriters. Winners and distinguished favourites are based on overall excellence.

A Dragon among the Eagles: A Novel of the Roman Empire

At the peak of Rome’s might a dragon is born among eagles, an heir to a line both blessed and cursed by the Gods for ages.

In A.D. 197, Emperor Septimius Severus led one of the largest invasion forces in Rome’s history against the Parthian Empire.

Among the men of thirty-three legions is Lucius Metellus Anguis, a young man from an ancient Equestrian family. Against the wishes of his conservative father, Lucius is determined to pursue a career in the military and resurrect the glory of his family name on the battlefield rather than the marble of the Senate.

However, as in all conflicts, Lucius’ ideals and his faith are challenged as he witnesses the worst in humanity.

As the imperial legions fight their way through Mesopotamia to the Parthian capital of Ctesiphon, Lucius discovers the inner strength that may well ensure that this young dragon rises from the ranks of Rome’s eagles.

Can a man survive the trials of war unscathed? Do the Gods indeed favour the bold?

March to war with Rome’s legions and find out!

NYC Big Book Award received book submissions worldwide. Journalists, well established authors, small and large press, and first time indie authors participated in record numbers.  Entries this year were received from the United States as well as countries such as Australia, Canada, China, Dubai, France, Germany, Italy, Portugal, Scotland, Singapore, Sweden, Switzerland, and the United Kingdom. Cities represented among the entries were Chicago, Hamburg, Los Angeles, Melbourne, New York, Quebec, Rome, San Francisco, Seattle, Singapore, Stratford, and Victoria.

Publishers included Berrett-Koehler; Brown Books Kids; Central Avenue / Simon & Schuster; Eagles and Dragons Publishing; Forbes Books; Muse Literary; New Harbinger Publications; New York University Press; Oxford University Press; Pegasus Books; She Writes Press; University of Massachusetts Press to name a few.

“With so many quality publishers and authors from around the world participating this year, I’m eager to share these books with a global readership,” said awards sponsor Gabby Olczak.

To view the list of NYC Big Book winners and distinguished favourites, please visit: https://www.nycbigbookaward.com/

Congratulations to all the 2025 award winners and distinguished favourites!

###

END

To learn more about this book, purchase a copy, and watch the epic series trailer, CLICK HERE. 

*Available in hardcover, paperback, and e-book editions.

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The Panathenaic Stadium – A Tour of the Ancient Monument

Greetings Readers and History-Lovers!

When it comes to the world of Ancient Greece, the subjects we find most interesting are religious festivals and sacred athletic competitions such as the Olympic Games. These events, in a way, portray the ancient world in microcosm. ‘War minus the shooting’, as George Orwell famously said of ancient sport.

When it came to ancient Athens, the greatest event on the Attic calendar was, no doubt, the Panathenaic Festival in honour of the city’s patron goddess, Athena. To read all about the Panathenaic Festival, CLICK HERE.

The celebrations that took place during the Great Panathenaea of Athens took place all over the city at different venues, and the venue where the athletic competitions took place was the Panathenaic Stadium, or ‘Kallimarmaro’ as it is also known, ‘Nice Marble’.

In this article, we’re going to take a brief look at the history of the stadium and, at the end, take a full video walking tour of the site.

This magnificent stadium in the heart of Athens, on the edge of the modern neighbourhood of Pangrati, is located in what was a small valley between the sacred hills of Agras and Ardittos where there were also temples to the Goddess Tyche, and to Artemis Agrotera.

Originally, this was the site of a horse racing course from the 6th century B.C., but during the archonship of Lykourgos in the 4th century B.C. a new stadium was constructed as part of a string of public works projects carried out at that time.

The new stadium, which had earthen embankments where spectators sat to watch the games, was used for the first time during the celebration of the Greater Panathenaea of 330/329 B.C.

Panathenaic amphora depicting a synoris, or two-horse chariot

A few hundred years later, during the reign of the Roman Emperor Hadrian (A.D. 117-138), who was a great philhellene, the orator and philanthropist, Herodes Atticus, sponsored the renovation and redesign of the stadium. It was at that time that the stadium was completely rebuilt in white, Pentelic marble from the quarries outside the city.

A vaulted passage through which athletes entered the stadium was also built at this time, and the entire stadium was adorned with statuary.

This renovated, permanent Panathenaic Stadium could seat well over 50,000 spectators. It was unrivalled in the ancient world.

Reconstruction work on the ancient stadium in 1895

Sadly, when the Christian Roman emperors banned all pagan festivals, including the Panathenaea, the stadium fell into a state of disrepair that worsened during the Ottoman occupation of Greece from 1456 to 1821.

Thankfully, in the 1870s, a movement began to revive the idea of the Olympic Games and events were organized in the ruins of the Panathenaic Stadium. In 1896, two years after Pierre de Coubertin’s International Olympic Conference in Paris, the first modern Olympic Games were held in the newly reconstructed Panathenaic Stadium in Athens.

The Olympic Games were back, and new life was pumped into the long-dormant stadium.

First day of the modern Olympic Games held in 1896 in Athens at the Panathenaic Stadium

Since then, the Panathenaic Stadium has hosted numerous musical and athletic events and served as a venue for the marathon (the finish line) and archery events in the highly successful 2004 Athens Olympic Games.

Today, this magnificent stadium is one of the most recognizable and beloved monuments of Ancient Greece and the city of Athens.

In the summer of 2024, on a scorching day in July when the temperatures soared to 45 degrees Celsius, we took our cameras back to the Panathenaic Stadium one morning to film a walking tour of the site.

We’re thrilled to be able to present this video to you here.

We hope that you enjoy walking around the Panathenaic Stadium with us.

Thank you for reading, and thank you for watching.

The Great Panathenaea of Athens is the central event in An Altar of Indignities, Book II in our multi award-winning series, The Etrurian Players.

For more information about archaeological sites, ancient history, and Greek Mythology, be sure to visit the Article Archive.

If you are interested in visiting Athens, Greece, and are looking for discounts on airfare, accommodation, and personal tours of the archaeological sites, be sure to visit our Ancient World Travel page at the link below to take advantage of the deals we have curated for our followers:

https://eaglesanddragonspublishing.com/ancient-world-travel/

To get discounted tickets (just for our subscribers!) to archaeological sites like the Panathenaic Stadium, museums and other amazing tours and experiences in Athens, click the links below:

Tiquets: https://tiqets.tpx.lt/XRbEqVpu

Viator: https://viator.tpx.lt/jem8HgE4 

Lastly, if you are a fan of Ancient Greece, Greek Mythology, or the history of the Roman Empire, be sure to check out Eagles and Dragons Publishing’s range of unique clothing, art, housewares and more in the AGORA on Amazon. CLICK HERE to shop now.

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Hadrian’s Library – A Tour of the Archaeological Site in Athens

Greetings Readers and History-Lovers!

In this article we’re going to be taking a brief look at one of the great monuments of Roman Athens: Hadrian’s Library

This magnificent centre of learning at the heart of Roman Athens was, arguably, the greatest gift given to the city by Emperor Hadrian, a great philhellene (lover of all things Greek!)

We will discuss what the ‘library’ structure entailed (hint, hint! – it was much more than a library), and if you read until the end there is a special surprise in the form of a new release!

Emperor Hadrian

Roman Athens was a rich and vibrant place in its day with many monuments added to that already great city, including the Roman Agora and the Odeon of Herodes Atticus.

But the Library of Hadrian was more than a functional structure for the city. It was a symbol Athens’ great culture and tradition of learning, as well as a symbol of the respect and esteem in which Emperor Hadrian held the city.

Hadrian had the library built on his third visit to Athens in A.D. 132. It was located just north of the Roman Agora of Athens which had been built one-hundred and fifty years before.

The western facade with the propylon, the monumental entrance to the library (Wikimedia Commons)

The library was accessed by way of a grand, monumental entrance, or propylon, on the west side which was flanked by Corinthian columns of pink marble and green rock, each topped by a statue.

The entire complex of Hadrian’s Library was approximately 122 x 82 meters and was comprised of a high-walled enclosure with a colonnaded courtyard garden, or peristylium, at the centre of which was a large, rectangular pool, possibly surrounded by trees and benches where people could sit and read or talk.

On the north and south sides of the courtyard were two exedrae (semi-circular rooms) and one oikos (a rectangular room) which were open to the gardens and which could be used for teaching, relaxation or study.

The bibliostasion (the library) at the eastern end of the complex.

At the back of the complex, on the western side, was the bibliostasion, the library itself where the papyrus scrolls were safely kept in cedar cabinets with shelves known as armaria. 

The bibliostasion was two storeys high and had an ornate marble floor, cedar roof, and marble columns with a statue of Emperor Hadrian in a large niche in the middle.

The library held everything from histories and philological texts, to legal and state documents, and philosophical and mathematical treatises.

On either side of the bibliostasion there were also two lecture halls, or auditoria, with seating, and two large reading rooms.

Plan of Hadrian’s Library

Hadrian’s Library was, no doubt, an oasis of learning in the heart of Athens, a quiet place to study and learn, away from the raucous atmosphere of the Roman Agora which lay next door, immediately to the south.

3D model recreation of Hadrian’s Library beside the Roman Agora of Athens (courtesy of AncientAthens3D.com)

When we visited the site, it was on a scorching day in July. That morning, we got an early start but even so, by the time we arrived at the archaeological site, the temperature was already pushing forty degrees Celsius.

However, we quickly forgot about the heat as we walked through the ruins of this once-great library of Athens, making our way over the ruins of the western wall, beside the propylon, and on into the courtyard where the gardens and pool once formed a quiet place of repose and study.

At the far end, the ruins of the bibliostasion rose up before us and we imagined the armaria filled with ancient texts, many of which are lost to time.

3D model recreation of the bibliostasion with two levels of armaria (courtesy of AncientAthens3D.com)

Sadly, Hadrian’s Library did not stand for very long. In A.D. 267, it was badly damaged in the Herulian invasion of the city which laid waste to so many of Athens’ great monuments.

It was eventually repaired by the Praefectus of Illyricum, Herculius, in the early 5th century A.D., at which time a Christian church was erected where the decorative pool had been.

The library, however, would never be the same.

Inscription found onsite which mentions Emperor Hadrian

And now for the new release we mentioned earlier!

If you are unable to visit Hadrian’s Library for yourself, you can now take a tour of the archaeological site with us in our new video Hadrian’s Library – A Tour of the Archaeological Site in Athens.

You can watch this on the Eagles and Dragons Publishing YouTube and Rumble channels, or by clicking below.

We hope you enjoy the tour!

The Library of Hadrian is one of the settings in An Altar of Indignities, Book II in our multi award-winning series, The Etrurian Players.

For more information about this site and others, ancient history, and Greek Mythology, be sure to visit the Article Archive.

If you are interested in visiting Athens, Greece, and are looking for discounts on airfare, accommodation, and personal tours of the archaeological sites, be sure to visit our Ancient World Travel page by CLICKING HERE to take advantage of the deals we have curated for our followers.

To get discounted tickets (just for our subscribers!) to archaeological sites, museums and other amazing tours and experiences in Athens, click the links below:

Tiquets: https://tiqets.tpx.lt/yWNAK6g3

Viator: https://viator.tpx.lt/HY7lVjgZ

Lastly, if you’re a fan of Ancient Greece, Greek Mythology, or the history of the Roman Empire, be sure to check out Eagles and Dragons Publishing’s range of unique clothing, art, housewares and more in the AGORA on Amazon. CLICK HERE to shop now!

Thank you for reading!

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NEW VIDEO TOUR! – Epidaurus: A Tour of the Ancient Theatre

Greetings History-Lovers!

Today, Eagles and Dragons Publishing is pleased to announce the release of a new video tour on our YouTube and Rumble channels.

One of our favourite archaeological sites to visit when we are in the Peloponnese in Greece is the Ancient Theatre of Epidaurus.

Not only is this ancient theatre beautiful to behold, it is also a marvel of ancient engineering with amazing acoustics and a seating capacity of up to 14,000 spectators!

It was built during the 4th century B.C. by the architect Polykleitos and is still in use today for theatrical performances.

If you can’t manage a trip to this amazing site, this video tour is the next best thing.

We hope you enjoy the tour…

Be sure to check out the following articles on Ancient Epidaurus and Drama and Theatres in Ancient Greece by clicking on the titles below:

The Ancient Theatre of Epidaurus

Epidaurus: A Place of Dreams and Healing

Drama and Theatres in Ancient Athens

Also…

If you are planning on visiting the ancient theatre of Epidaurus, you can get amazing, discounted deals on tours and tickets with our travel partners at Viator at the following link:

https://viator.tp.st/7KGOTAj5 

 

Lastly…

If you love ancient theatre and ancient history, then be sure to check out our Ancient Theatre Collection and more on Eagles and Dragons Publishing’s AGORA on Amazon by clicking the headings below:

 Ancient Theatre Collection

Ancient History and Mythology Merchandise

Thank you for watching, and thank you for reading!

 

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The World of An Altar of Indignities – Part XI – Terence: From Slavery to the Roman Stage

Greetings Readers and History-Lovers!

Welcome to the final post in The World of An Altar of Indignities, the blog series in which we’ve explored some of the research that went into our latest dramatic and romantic comedy set in the Roman Empire.

If you missed Part X on the Odeon of Herodes Atticus, you can read that by CLICKING HERE.

In Part XI, we’re going to take a brief look at the life and work of the ancient playwright who is central to the story of An Altar of Indignities: Terence.

We hope you enjoy…

Terence, 9th-century illustration, possibly copied from 3rd-century original

Whatever fortune brings, we will patiently bear.

– Terence

The Etrurian Players series is about the life, loves, struggles, and theatrical misadventures of a troupe of players in the Roman Empire in the early 3rd century C.E. Every book in the series revolves around the production of a particular Roman play, usually at the Gods’ command.

In the first book in the series, the multi award-winning Sincerity is a Goddess, The Etrurian Players put on a production of Plautus’ Menaechmi. Plautus was, of course, one of the great comedic playwrights of Ancient Rome, and his plays were raucous and comical, using wordplay and slapstick comedy. He really was the playwright of the Roman people. You can read our article about Plautus HERE.

For An Altar of Indignities, the choice of playwright was clear. It had to be Terence, certainly, but there were a few questions that needed answering before embarking on this story’s escapade… Which of Terence’s plays would The Etrurian Players perform? How did Terence’s life and personality differ from other playwrights, and how would that affect the story? Was the cast up to the challenge? Was I?

In the end (but really, it’s a beginning!), I chose to tackle what some believe to be Terence’s most difficult play: The Heautontimorumenos , ‘The Self-Tormentor’.

The research into this play, and the personage of Terence, has been an adventure in and of itself. What little is known of Terence hints at a short and difficult life filled with both tragedy and a degree of adulation. But, like most writers, it is the work that often speaks for the person, and in reading and re-reading Heautontimorumenos several times over, attempting to plumb the complex depths of the work’s meaning, I came to see that Terence truly was – is – one of history’s greatest, most sympathetic and insightful authors.

Engraving of Terence, though he did not live to be so old…

Obsequiousness begets friends; sincerity, dislike.

– Terence

Who was Publius Terentius Afer (c. 185 – 159 B.C.E.)?

Let’s take a brief look at the man and his origins.

According to Suetonius in his Life of Terence, Terentius was born in Carthage in North Africa between the end of the Second Punic War and the start of the Third Punic War. Generally, his birth is thought to be around 185 B.C.E, but 195 B.C.E is also a possibility. 

We do not know who his parents were, but we do know that he was born into slavery, the ‘property’ of a Roman senator by the name of Terentius Lucanus who was kind to Terence and gave the young man an education and his freedom.

A page from a manuscript of Terence, written about 825 AD

Terence was apparently a handsome young man who proved to be quite astute and brilliant. After being given his freedom and education, he made his way to Rome where he ended up moving in important and influential literary circles and was accepted into the family of the Roman consul, Lucius Aemilius Paulus, the general who had conquered Macedonia.

The story goes that at a dinner party in Rome, Terence was asked to read his own work to the famous playwright, Caecilius Statius, who was so impressed that he invited the young man to join him for dinner. Suetonius relays the events of that evening:

He wrote six comedies, and when he offered the first of these, the “Andria,” to the aediles, they bade him first read it to Caecilius. Having come to the poet’s house when he was dining, and being meanly clad, Terence is said to have read the beginning of his play sitting on a bench near the great man’s couch. But after a few lines he was invited to take his place at table, and after dining with Caecilius, he ran through the rest to his host’s great admiration.

(Suetonius – The Life of Terence)

Sometime after this entrance onto the Roman literary scene, Terence became a part of what was known as the ‘Scipionic Circle’, an informal group of Hellenophile intellectuals, poets, philosophers, and politicians who gathered around Scipio Aemilianus (185–129 B.C.E), the adoptive grandson of Scipio Africanus. This circle was deeply influenced by Greek culture, particularly Stoic philosophy, and played a key role in the Roman reception of Hellenistic thought and literature.

Artist impression of the ‘Scipionic Circle’

It is with human life as with a game of dice: if the throw you wish for happens not to come up, that which does come up by chance, you must correct by art.

– Terence

In his relatively short life, Terence wrote six comedic plays which were produced between 166 and 160 B.C.E. All of them survive.

He wrote what were known as fabulae palliatae, comedies based on Greek plays, mostly by Menander, and perhaps Apollodorus. You can read more about Roman drama by CLICKING HERE.

Terence’s six plays are as follows:

Andria (The Girl from Andros) – first performed at the Ludi Megalenses (the Festival of Cybele at Rome) in 166 B.C.E.

Hecyra (The Mother-in-Law) – first performed at the Ludi Megalenses in 165 B.C.E.

Heautontimorumenos (also Heauton-Timorumenos, The Self-Tormentor) – first performed at the Ludi Megalenses in 163 B.C.E.

Eunuchus (The Eunuch) – first performed at the Ludi Megalenses in 161 B.C.E.

Phormio (about a clever slave) – first performed at the Ludi Romani (the Roman Games) in 161 B.C.E.

and

Adelphoe (The Brothers) – first performed at the funeral games of Aemilius Paulus in 160 B.C.E.

All of the plays were produced by one Lucius Ambivius Turpio, an actor, stage manager, patron, promoter and entrepreneur who had also produced Statius’ plays. He also performed the lead in most of Terence’s plays. The music for the plays was composed by a musician, or tibicen, named Flaccus.

Scene from the Roman Playwright Terence’s Play Andria (engraving) by German School.

Do not do what is done.

– Terence

Terence’s work was celebrated for its refined language, realistic characterizations, and subtle humour which were a marked departure from the more boisterous style of earlier Roman comedy, including his predecessor, Plautus. His plays adapted elements of Greek New Comedy while emphasizing dialogue that was closer to natural speech. There was less musical accompaniment than in the average Roman comedy at the time, and his meters were much simpler than those used by Plautus, something that enhanced that natural feel of the dialogue. He had an uncanny ability to keep the audience’s interest.

He also used the prologus of his plays in a way that was different to others before him. Where playwrights such as Plautus used the prologus to explain the plot of the play to come, Terence used it to address criticisms of his own work such that his prologues were rhetorical in nature.

But Terence is perhaps best known for his impressive understanding of the human condition and ability to illustrate, through his dialogue and storytelling, the complexities of human behaviour. His work is truly heartfelt.

This wish to understand the human condition is perhaps best illustrated in what might be considered Terence’s most famous quote from Heautontimorumenos:

Homo sum: humani nil a me alienum puto.

I am human: nothing human is alien to me.

– Terence

The Odeon of Herodes Atticus in Athens where the drama plays out in An Altar of Indignities

Using Heautontimorumenos (The Self-Tormentor) as the play for An Altar of Indignities was quite a deliberate choice.

As the translator, A.J. Brothers, said,  it is “the most neglected of the dramatist’s six comedies… Yet the Self-Tormentor, for all its occasional imperfections, in many ways shows Terence at his best; the plot is ingenious, complex, fast-moving, and extremely skilfully constructed, its characters are excellently drawn, and the whole is full of delightful dramatic irony. It deserves to be better known.”

In truth, the play is so complex, so nuanced, that it required several readings to fully grasp all that Terence was trying to say. Perhaps in tackling this play, I discovered that there was something of a ‘self-tormentor’ in myself!

Nevertheless, I cannot imagine having chosen a different play to be featured in this novel for, in reading through it and developing an understanding of it, I came to admire the brilliance of Terence.

An image from a manuscript of Terence’s Heautontimorumenos depicting the characters Menedemus and Chremes

Heautontimorumenos, and Terence’s other plays, could be said to be ‘smart-funny’ as opposed to the slapstick humour of Plautus’ work. This is nicely illustrated in a review of the play by Sir Richard Steele, the 17th-18th century Anglo-Irish writer, in the Spectator (No. 502) when he aptly described the play:

“The Play was The Self-Tormentor. It is from the beginning to the end a perfect picture of human life, but I did not observe in the whole one passage that could raise a laugh. How well-disposed must that people be, who could be entertained with satisfaction by so sober and polite mirth! In the first Scene of the Comedy, when one of the old men accuses the other of impertinence for interposing in his affairs, he answers, ‘I am a man, and can not help feeling any sorrow that can arrive at man.’ It is said this sentence was received with a universal applause. There can not be a greater argument of the general good understanding of a people, than their sudden consent to give their approbation of a sentiment which has no emotion in it. If it were spoken with ever so great skill in the actor, the manner of uttering that sentence could have nothing in it which could strike any but people of the greatest humanity—nay, people elegant and skillful in observation upon it. It is possible that he may have laid his hand on his heart, and with a winning insinuation in his countenance, expressed to his neighbour that he was a man who made his case his own; yet I will engage, a player in Covent Garden might hit such an attitude a thousand times before he would have been regarded.”

Whereas Plautus’ plays had great appeal, especially among the Roman people, Terence’s plays seem to have appealed more to the upper educated classes. In fact, during the imperial period, long after his death, Terence was considered second only to Virgil as the most widely read Latin poet. His plays were read in Latin canonical schools on into the Middle Ages and beyond, and Terence himself was often quoted as an authority on human nature, including by St. Augustine who, though not always full of praise for the pagan playwright, quotes Terence thirty-eight times in his own works.

A gathering in Rome

As many men, so as many opinions.

– Terence

As praising as many were Terence and his work, he also had his detractors, and this is one reason for his use of the prologus in defending his work. Suetonius highlights some of the common gossip that swirled around Terence:

It is common gossip that Scipio and Laelius aided Terence in his writings, and he himself lent colour to this by never attempting to refute it, except in a half-hearted way, as in the prologue to the “Adelphoe”:

“For as to what those malicious critics say, that men of rank aid your poet and constantly write in concert with him; what they regard as a grievous slander, he considers the highest praise, to please those who please you and all the people, whose timely help everyone has used without shame in war, in leisure, in business.”

Now he seems to have made but a lame defence, because he knew that the report did not displease Laelius and Scipio; and it gained ground in spite of all and came down even to later times. Gaius Memmius in a speech in his own defence says: “Publius Africanus, who borrowed a mask from Terence, and put upon the stage under his name what he had written himself for his own amusement at home.”

– Suetonius (The Life of Terence)

Julius Caesar too criticized Terence, showing himself to not be the greatest of fans:

Thou too, even thou, art ranked among the highest, thou half-Menander, and justly, thou lover of language undefiled. But would that thy graceful verses had force as well, so that thy comic power might have equal honour with that of the Greeks, and thou mightest not be scorned in this regard and neglected. It hurts and pains me, my Terence, that thou lackest this one quality.

– Julius Caesar

Print from a manuscript of Terence’s work

Despite the few critics of his work, Terence’s plays have stood the test of time, being used to teach Latin in schools and influencing great playwrights. Even William Shakespeare is said to have been influenced by Terence’s comedy and scenic structure in plays such as The Taming of the Shrew, Love’s Labour’s Lost, Othello, and The Merry Wives of Windsor.

Despite the success in Rome of his six initial plays, Terence, for some reason, felt that he had to leave Rome and Italy, and appears to have made his way to Greece, the birthplace of drama:

After publishing these comedies before he had passed his twenty-fifth year, either to escape from the gossip about publishing the work of others as his own, or else to become versed in Greek manners and customs, which he felt that he had not been wholly success­ful in depicting in his plays, he left Rome and never returned.

– Suetonius (The Life of Terence)

Sadly, Terence seems not to have survived for long, leaving this world at far too young an age at twenty-five years (or thirty-five, depending on the birth date). It is supposed that either he died in a shipwreck on the journey to or from Greece, or that he died of illness when in Greece while seeking to increase his knowledge and skill in the home of the playwrights he had so admired.

Suetonius writes that he was to return “from Greece with one hundred and eight plays adapted from Menander”, but due to his death, or the wrecking of the ship that contained his new works, all of them were lost. And so, the six, brilliant plays of Terence’s that have come down to us today are all that we have of this wonderful, young Roman poet’s work.

Artist impression of Terence writing in Athens along the banks of the Ilissos river

It does indeed seem tragic that a poet and artist who was so lauded after his death, appeared to struggle so much in life, despite some brief, shining moments.

Naught availed him Scipio, naught Laelius, naught Furius, the three wealthiest nobles of that time. Their aid did not even give him a rented house, to provide at least a place where his slave might announce his master’s death.

– Suetonius (The Life of Terence)

In An Altar of Indignities, it is this seemingly unfinished and, perhaps, glorious but ultimately unfulfilled life of the artist that is explored, and this is in large part due to Terence and his masterpiece, Heautontimorumenos.

It has been an adventure and a privilege to write about Terence, and explore his life and works. I think it fitting then to end with a quote by one of Terence’s most renowned admirers from the world of Ancient Rome:

Thou, Terence, who alone dost reclothe Menander in choice speech, and rendering him into the Latin tongue, dost present him with thy quiet utterance on our public stage, speaking with a certain graciousness and with sweetness in every word.

– Cicero

Thank you for reading.

Well, that is the end of The World of An Altar of Indignities. The curtain has fallen.

If you would like to read the plays of Terence for yourself, you can download a complete, FREE version for any device from Project Gutenberg by CLICKING HERE. To read Terence’s masterpiece, Heautontimorumenos (The Self-Tormentor), you can do so on-line HERE.

We hope you have enjoyed this blog series, and that you enjoy An Altar of Indignities if you read it. If you have read it, please leave a review on the Eagles and Dragons Publishing website or on the store web page where you purchased the book. Reviews are a wonderful way for new readers to find this dramatic and romantic comedy of ancient Rome and Athens!

If you missed any of the posts in this eleven-part blog series, you can read all of them on one web page by CLICKING HERE.

An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens is available in ebook, paperback and deluxe hardcover editions from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy and get the ISBN# for the edition of your choice.

Brace yourselves! The Etrurian Players are back!

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The World of An Altar of Indignities – Part X – The Odeon of Herodes Atticus

Greetings Readers and History-Lovers!

Welcome back to The World of An Altar of Indignities, the blog series in which we’re taking a look at some of the research that went into our latest novel set in the Roman Empire.

If you missed Part IX on Spirits in Roman Religion, you can read that by CLICKING HERE.

In Part X, we’re going to take a brief look at one of the climactic settings in An Altar of Indignities: the Odeon of Herodes Atticus.

We hope you enjoy…

This is unrivalled in size and magnificence, and was built by Herodes, an Athenian, in memory of his dead wife.

(Pausanias, Description of Greece, 7.20)

When writing historical fiction, bringing the setting of the time period and locations to life is everything. It anchors the reader in the chosen period and transports them.

Over the course of An Altar of Indignities, which is set in early third century Roman Athens, there have been many locations that have had a part to play, including the Parthenon, the Roman Agora, the Temple of Artemis Agrotera and several more. However, one could say that the location with the most important role in our dramatic and romantic comedy of ancient Rome and Athens is the Odeon of Herodes Atticus.

The Odeon of Herodes Atticus (c. 1870)

This theatre, the youngest of ancient Athens, is where The Etrurian Players are set to undertake their exciting, climactic performance before the Athenian people at the end of the Panathenaic Games. It is a place of haunting realization and transformation, a place of entertainment and of comic chaos.

For our Etrurian theatre troupe, the Odeon of Herodes Atticus is the setting of one of their most difficult trials to date…

So… What was this theatrical structure of ancient Athens, and how did it differ from the other theatres in the city?

The Odeon of Herodes Atticus was a covered theatre located on the southwestern slope of the Acropolis of Athens. Herodes Atticus, the wealthy and well-connected Greek who lavished gifts on Athens as well as other places across the Roman Empire, built the odeon in honour of his recently deceased wife, Annia Regilla, in 161 C.E. If you missed the article about Herodes Atticus, you can read that by CLICKING HERE.

While the Romans did perform plays and put on theatrical productions in odea, they were primarily used for musical performances and poetry recitations.

The Odeon of Herodes Atticus was the third odeon built in Athens, the previous two being the Odeon of Pericles, built directly beside the Theatre of Dionysus, and the Odeon of Agrippa, which was built in the middle of the ancient Agora.

This impressive Roman odeon seated 5000 spectators in a marble, semi-circular cavea that had thirty-two rows of seats divided into two horizontal sections with a gallery at the top. The marble orchestra before the raised stage, or pulpitum, was also a semi-circle. The cavea curved around this to the edges of the stage, enveloping the orchestra. Stairs at the sides of the pulpitum led to the upper level of the cavea. High above, the ceiling of the odeon was constructed of cedar from Lebanon and roofed with tiles.

Recreation of the Scaena Frons of the Odeon of Herodes Atticus (from Ancient Greece: the famous monuments Past and Present – by Muses Publications)

Like most Roman theatres, the Odeon of Herodes Atticus had an elaborate scaena frons that was part of the twenty-eight meter high stage house that faced the audience and which was part of the scene. It was made up of three levels, two of which survive to this day. On the bottom level of the scaena frons, there were columns and statues in niches, and three doorways which could serve as part of the set for performances and from which the musicians and actors could come and go. The first two storeys were faced with marble while the third storey was dressed stone.

On the second and third storeys of the scaena frons, there were aspidal (arched) openings with statues flanked by pilasters. Behind these there was a gallery, or metaskenio, from where other performers could participate or look on. The second and third storeys of the scaena frons were reached by way of staircases that flanked the pulpitum.

Though smaller than other theatres around the Roman Empire and the Greek world, this odeon was an impressive addition to the polis where theatre was born.

At the back of the scaena frons of the odeon was a closed stage-house or basilica where set pieces could be kept and performers could prepare before taking to the stage. Today, this is visible as one approaches the Odeon of Herodes Atticus from the pedestrian street of Dionysiou Areopagitou. It is believed that this part of the odeon may have had a mosaic floor.

The Odeon of Herodes Atticus was a part of a sort of ancient theatre district on the southern slope of the Acropolis. It was connected to the great, open-air theatre and sanctuary of Dionysus by a long, covered stoa built by Eumenes II, King of Pergamon, around 160 B.C.E. This stoa was 163 meters long and provided shelter for theatre goers up until the third century C.E. Nearby, there were also fountains and monuments to past theatrical performers and patrons of Athens such as Thrasyllos and Nikias. In addition to an Asklepion (a healing sanctuary) behind the Stoa of Eumenes, there were fountains and a sanctuary of the Nymph.

Plan of the southern slope of the Acropolis of Athens (from South Slope of the Acropolis – Publication of the Association of Friends of the Acropolis) – labels added

The Odeon of Herodes Atticus was certainly a magnificent addition to the Goddess Athena’s city.

Sadly, like the stoa and so many other monuments of beauty and art in Athens, the Odeon of Herodes Atticus was gravely damaged during the Herulian invasion of the city in 267 C.E., a little over one hundred years after its completion.

Thankfully, between 1950 and 1961, the seating of the cavea was restored using Pentelic marble, and the orchestra floor was restored with marble from Mount Hymettus.

Modern performance during the Athens Epidaurus Festival

As a result, the Odeon of Herodes Atticus lives on as it is the primary venue for the modern Athens Epidaurus Festival which runs from May to October every year, and which has featured such world-renowned artists as Maria Callas, Luciano Pavarotti, Andrea Boccelli, Nana Mouskouri, Vangelis, Frank Sinatra and many others.

If you are ever in Athens (or Epidaurus!) during the festival, try and get tickets to one of the performances in this ancient odeon for an experience beneath the timeless stars that you will never forget.

Thank you for reading.

An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens is available ebook, paperback and deluxe hardcover editions from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy and get ISBN#s for the edition of your choice.

 

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The World of An Altar of Indignities – Part IX – Spirits in Roman Religion

Greetings Readers and History-Lovers!

Welcome back to The World of An Altar of Indignities, the blog series in which we’re taking a look at some of the research that went into our dramatic and romantic comedy set in ancient Rome and Athens.

If you missed Part VIII on the Panathenaea of ancient Athens, you can read that by CLICKING HERE.

In Part IX, we’re going to take a brief look at spirits in Roman religion. After all, ancient Romans could be highly superstitious and, in the ancient world, spirits were indeed thought to be everywhere.

The story of An Altar of Indignities is no exception to this, and there is one particular spirit who does indeed try to upstage our troupe of players!

We hope you enjoy this fascinating post about numina Romana

In all of the many years I’ve been researching and writing about the world of ancient Rome, the topic of Roman religion has been a constant source of fascination for me as an author and historian. Many of my readers have echoed this sentiment too, and have pointed out that they love the inclusion of that aspect of Roman life.

You can read more on writing about Roman religion HERE, and be sure to check out our popular article on sacrifices in Roman religion by CLICKING HERE.

But what is it that fascinates us about Roman religious beliefs and practices?

For me, it is the openness and flexibility of Roman religion. Mortals had a closer, perhaps more symbiont, relationship with their gods. The religion was highly customizable.

But, like any other religion, there was a sort of evolution over time. Most religions today believe in a spirit realm, that spirits are present, and often they are menacing.

It was a little different in Roman religion. We are all familiar with the gods of the Roman pantheon – Jupiter, Juno, Minerva etc. – but what you may not know is that sprits of various kinds played a central role in Roman religious beliefs and practices.

In this short post, we’re going to be taking a look at the various kinds of spirits that Romans believed in.

In the world of ancient Rome, spirits were known as numina (sing. numen). These were divine spirits or powers that were present everywhere in life, people, and places. They were not anthropomorphic at first.

Originally, Romans may have believed that a numen was a place itself, such as a wood, river, spring, or cave etc., and that that place was supernatural or divine.

Gradually, however, with the influence of Greek religion, Romans came to believe that these places were inhabited or protected by these numina or spirits. Eventually, these numina were given names and traits. In many instances they began to take form.

Illustration of a statue of Sancus found in the Sabine’s shrine on the Quirinal (Wikimedia Commons)

Numina were present in material things such as crops, but also in actions such as travel.

These spirits could also inhabit more abstract ideas such as Discipline (the Goddess Disciplina), Virtue (the Goddess Pietas), or Trust and Honesty (the God Sancus). Even the living emperor, his role as such, had a numen that was worshipped by the people.

Truth be told, there are myriad numina in Roman religion, and most of them were nameless. Most Romans honoured the numen or numina that were related to their home or occupation.

But what were the various types of spirits or numina whom Romans believed in?

Let us go through the most prominent ones…

Bronze genius depicted as paterfamilias (1st century CE) Wikimedia Commons

In addition to the main gods, goddesses and heroes who were worshipped in ancient Rome, there were many types of numina:

The Genii (sing. Genius) literally mean the ‘begetter’. Early on, this was a man’s guardian spirit who helped him to beget children. This spirit was honoured on the birthday of the paterfamilias, the man in whom it lived.

You can read more about the paterfamilias in Roman society HERE.

The genius was symbolized by the snake which was a symbol of household protectors.

Over time, people and places came to have genii. For example, the spirit of a place was the genius loci, and if one was in a place where one did not know whom to worship or make offerings to, one would pray to the genius loci of that particular place.

Lararium in the House of the Vettii Pompeii. It depicts the ancestral genius (upper centre) flanked by the Lares, with a serpent below. (Wikimedia Commons)

The next group of spirits we’re going to look at are the Lares (sing. Lar).

These were very important numina in the world of ancient Rome. The Lares were ancient and mysterious spirits whose original character is unknown. It is thought that early on, they were guardians of farmland.

The Lares evolved into protective household gods. Every household, however grand or simple, had them. They were worshipped at what was called a lararium, a shrine dedicated to them, and prayers to the Lares were led by the paterfamilias.

These numina were worshipped on the Kalends (first day), the Nones (ninth day), and the Ides (fifteenth day) of every month.

There were also Lares of other, less personal places such as neighbourhoods (Lares Compitales), and cities (Lares Publici or Lares Praestites). In Rome, the Lares Praestites had a temple at the beginning of the Via Sacra. 

The Lares Compitales were worshipped on the festival of Compitalia, a Roman agricultural festival, perhaps alluding to their rural roots. The Lares in general had their festival at Rome on December 22.

Offerings of food to the Penates were burned on the domus hearth fire

Another group of spirits who went hand in hand with the Lares were known as Di Penates. These were also protective spirits of the household, but more specifically the pantry.

At every meal, a portion of the food was set aside for the Penates, and this was offered to them on the hearth fire. Salt and fruit was always left on the table for them.

The festival of the Penates was held on October 14.

Di Penates were also not limited to a household, the same as the Lares. The Penates Publici were attached to the Roman state and were worshipped alongside Vesta, Goddess of the Hearth, in her temple.

Honouring dead family members

Now we move into the realm of the remembrance and honouring of the spirits of the dead.

The Manes, the Roman spirits of the divine dead, were a group that Romans took very seriously.

The dead were to be respected, remembered and honoured in ancient Rome, and there were several festivals at which this was done: Feralia, Parentalia, and Lemuria.

The belief was that every dead person, no matter the age or gender, had its own spirit, and that spirit was known as a manes (yes, plural and singular forms are the same here).

The Manes were mainly honoured as the Manes Familiae, or more commonly as Di Parentes, the ‘Dead of the Family’.

“To the spirits of the dead: For Cornelia Frontina, who lived 16 years and 7 months, her father, Marcus Ulpius Callistus, freedman of the emperor, overseer in the armory of the Ludus Magnus, and Flavia Nice, his most virtuous wife, set up this [monument] for themselves, their freedmen and freedwomen, and their descendants.”

Graves were also important, and to be respected, as is evidenced by the many memorials and monuments that line the roads leading into Rome, or that dot the grounds of many ancient necropoli. Graves were considered dis manibus sacrum, ‘sacred to the divine dead’, and this was inscribed on monuments. Later, individuals were named in grave dedications that sometimes told their stories.

Ancestor worship was a part of honouring the Manes, and they were remembered in households by the imagines which were wax masks or busts of the deceased. It is believed this was the case because the Romans believed that the life source was in the head, and not the heart.

Imagines later became works of art to decorate homes, but the old religious significance never really disappeared.

Romulus and Remus upon an altar dedicated to Mars and Venus (from Ostia)

The spirits of the dead were not always entities whose remembrance gave comfort to the living. There was another group of spirits who were to be dreaded and propitiated: Lemures.

Lemures were spirits of the dead of a household, or place, who haunted the domus or location, those who had been violently murdered or met an untimely end. These numina were hostile, and often the Lemures of children were feared the most.

They were of a very different character to the Manes Familiae.

The poet Ovid, in his Fasti, relates a story on the origins of Lemures and the festival of Lemuria:

Why the day was called Lemuria, and what is the origin of the name, escapes me; it is for some god to discover it. Son of the Pleiad, thou reverend master of the puissant wand, inform me: oft hast thou seen the palace of the Stygian Jove. At my prayer the Bearer of the Herald’s Staff (Caducifer) was come. Learn the cause of the name; the god himself made it known. When Romulus had buried his brother’s ghost in the grave, and the obsequies had been paid to the too nimble Remus, unhappy Faustulus and Acca, with streaming hair, sprinkled the burnt bones with their tears. Then at twilight’s fall they sadly took the homeward way, and flung themselves on their hard couch, just as it was. The gory ghost of Remus seemed to stand at the bedside and to speak these words in a faint murmur: “Look on me, who shared the half, the full half of your tender care, behold what I am come to, and what I was of late! A little while ago I might have been the foremost of my people, if but the birds had assigned the throne to me. Now I am an empty wraith, escaped from the flames of the pyre; that is all that remains of the once great Remus. Alas, where is my father Mars? If only you spoke the truth, and it was he who sent the wild beast’s dugs to suckle the abandoned babes. A citizen’s rash hand undid him whom the she-wolf saved; O how far more merciful was she! Ferocious Celer, mayest thou yield up thy cruel soul through wounds, and pass like me all bloody underneath the earth! My brother willed not this: his love’s a match for mine: he let fall upon my death – ‘twas all he could – his tears. Pray him by your tears, by your fosterage, that he would celebrate a day by signal honour done to me.” As the ghost gave this charge, they yearned to embrace him and stretched forth their arms; the slippery shade escaped the clasping hands. When the vision fled and carried slumber with it, the pair reported to the king his brother’s words. Romulus complied, and gave the name Remuria to the day on which due worship is paid to buried ancestors. In the course of ages the rough letter, which stood at the beginning of the name, was changed into the smooth; and soon the souls of the silent multitude were also called Lemures: that is the meaning of the word, that is the force of the expression. But the ancients shut the temples on these days, as even now you see them closed at the season sacred to the dead. The times are unsuitable for the marriage both of a widow and a maid: she who marries then, will not live long. For the same reason, if you give weight to proverbs, the people say bad women wed in May. But these three festivals fall about the same time, though not on three consecutive days.

(Ovid, Fasti, Book V; trans. James G. Frazer)

It is quite a moving beginning the tradition. As relayed by Ovid, the festival of Lemuria did not fall on three consecutive days, but was celebrated on May 9th, 11th, and 13th.

Les Parques (The Parcae, ca. 1885) by Alfred Agache

There were other numina or spirits that took on a more divine nature in Roman religion.

The Fata (Fates) or the Parcae, were the powers of Destiny, and they were known by the names Nona, Decima and Morta.

Originally, the Parcae, believed to have been influenced by a triad of Celtic goddesses, may have been birth goddesses, but this role evolved into something more all-encompassing.

One could not escape the Parcae, or rather, Fate.

Similarly, one could also not escape the Furies.

The Remorse of Orestes, where he is surrounded by the Erinyes, by William-Adolphe Bouguereau, 1862

Influenced by Greek beliefs, the Furiae were goddesses of terror to the Romans, similar to the Greek Erinyes.

The Furiae were female spirits who carried out the vengeance of the Gods on mortals. If you’ve read our popular book, Saturnalia, these anima will be familiar to you.

These numina carried out their duties on Earth as well as in the Underworld. They were everywhere and could not be escaped from. Traditionally, there were three Furiae: Tisiphone, Megara, and Alecto. Roman tradition also sometimes included two more: Adrasta and of course, Nemesis.

Whoever you were, and whatever you had done, the Furiae were to be respected and feared.

Hylas and the Nymphs by Waterhouse (1896)

Lastly, we come to perhaps one of the most well-known groups of numina in Greek and Roman religion: the Nymphs.

The Nymphs were female nature spirits of objects or places such as trees, springs, rivers, mountains etc.

They were everywhere and were usually young and beautiful, and loved music and dancing.

The Nymphs were not immortal as some might think, but they lived much longer than humans.

The cult of the Nymphs was popular in Roman religion, perhaps not only because they were young and beautiful and not menacing, but perhaps also because they were everywhere.

And like other Roman divinities and numina, they were more relatable to humans than the gods of later, ‘revealed’ religions.

Nymphaeum, or shrine dedicated to the Nymphs (Jerash, Jordan)

Those are the primary numina of Roman religion. We hope that you have learned something new in this short post.

While it is true that the belief in spirits spans most world religions, the Roman beliefs, to us, are utterly fascinating for they are a mixture of the divine and departed, of nurture and menace, of fear and inspiration.

Just as Romans lived with and honoured their Gods on a daily basis, so too did the spirits of their world roam alongside them.

Thank you for reading.

An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens is now available in hardcover, paperback, and ebook from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy and get ISBN#s information for the edition of your choice.

 

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