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The World of Sincerity is a Goddess – Part V – Prostitution in Ancient Rome

Welcome back to The World of Sincerity is a Goddess, the blog series in which we are taking a look at some of the research that went into our latest novel set in ancient Rome.

If you missed Part IV on the Games of Apollo, you can read that by CLICKING HERE.

In Part V, we are going to be taking a brief look at prostitution in the Roman Empire.

We hope you find it interesting…

WARNING: The topic discussed in this post, as well as some of the images of ancient frescoes shown, may be offensive to some readers. Discretion is advised.

Now, it should be stated at the outset that Sincerity is a Goddess is not an erotic romp through the streets of Rome. It is a heartwarming comedy. However, as mentioned in Part III of this blog series, on humour and comedy in ancient Rome, the prostitute was a stock character in Roman comedic drama.

In truth, you can’t really write about the Roman world without touching on the long-standing role that prostitution and brothels had to play in society. They were a large part of that world, an element of life in ancient Rome that spanned classes.

They existed, and they most certainly flourished. People – that is, men – of all levels of society made it a normal practice to visit their favourite brothel or prostitute.

The Slave Market – oil painting by Gustave Boulanger, 1886 (Wikimedia Commons)

If you liked the HBO show ROME – which is fantastic by the way! – you might have an image of Titus Pullo whoring his way through the Suburra with his jug of wine in hand. Certainly, this sort of behaviour was not uncommon, especially for troops fresh back from the wars and looking for a good time.

The flip side might be the richer, upper class nobility who may have believed visiting prostitutes was fine, as long as it was done in moderation and didn’t cause a scandal.

The prostitution scene in the Empire was as large and varied as the workers and clients who kept it running. There was something for everyone!

But let’s look at things a bit more closely.

The She-Wolf suckling the brothers, Romulus and Remus

One could say that prostitution has ties to the founding of Rome itself.

You may have read about Romulus and Remus, the brothers who founded Rome and were suckled by the She Wolf, or Lupa.

We have heard of lost children being raised by wolves before, but in the instance of Romulus and Remus, many believe that they were actually raised by a prostitute who found them on the banks of the Tiber. The slang word for prostitute in Latin was lupa.

And the word for brothel was in fact lupanar or lupanarium.

A lupa and her patron

Clients were drawn in by the sexual allure of displayed ‘wares’, sometimes lined up naked on the curb outside, and the various experiences to be had within. The latter were sometimes illustrated in frescoes or mosaics on the walls of the lupanar. These were intended to add to the atmosphere, or were a sort of menu of pleasures to be had.

There were of course ‘high-class’ prostitutes who catered to wealthy and powerful patrons, women who were skilled at conversation, music and poetry. These high end lupae provided an escape, or a feast with friends, in lavish surroundings coupled with a sort of blissful oblivion. Some might have been purchased by their wealthy clients to keep for themselves, and if that was the case they might have ‘enjoyed’ a relatively easy life compared to the alternative.

A lupa’s ‘office’ or ‘cell’ in Pompeii – a cement bed that would have been covered with a matress and pillows

The truth for most, however, was that they were slaves. And slaves in ancient Rome, as we all know, were objects, property to be used and disposed of on a whim.

Prostitutes – women, boys, girls, eunuchs etc. – were at the bottom of the social scale, along with actors and gladiators. They could be adored by clients one moment, and shunned the next. And if a lupa was no longer profitable, the leno (pimp), or the lena (madam) might sell them off as a liability, sending them to a life that was possibly even worse.

In ancient Rome, prostitution was legal and licensed, and it was normal for men of any social rank to enjoy the range of pleasures that were on offer. Every budget and taste was catered to, and because of Rome’s conquests, and the length and breadth of the Roman Empire in the early 3rd century, there would have been slaves of every nationality and colour. Clients of the lupanar would have had their choice of Egyptians, Parthians and Numidians, Germans, Britons, slaves from the far East and anywhere else, including Italians.

The decor of Pompeii’s lupanar – a ‘menu’ of sorts (Wikimedia Commons)

However, even though prostitution was regulated, we should not delude ourselves. This was not a question of morality, or curbing venereal diseases. This was about maximizing profit – prostitution was also taxed!

In Pompeii, prostitution became a sort of tourist trade. One theory contends that on the street pavement you just had to follow the phalluses to find the nearest brothel! There were numerous brothels, and that’s not counting the small curbside cells or niches where the cheapest lupae provided quickies to passers-by.

The Great Lupanar of Pompeii

Because of the archaeological finds, the most well-known brothel in the Roman world was the ‘Great Lupanar’ of Pompeii, located at a crossroads two blocks from the Forum. Many of the frescoes pictured here are from that building which had ten rooms, where most brothels had just a few.

A sexual scene from Pompeii’s great lupanar

One might think that the subject of this particular post was rather fun to write about, that the images above are titillating. And sure, they are to an extent. I don’t mind a bit of risqué material on occasion. Why not?

But then, I can’t help thinking of the lives that these female, and sometimes male, prostitutes had to endure. Very few enjoyed the favour of kind and wealthy clients, living in luxurious surroundings.

Prostitutes were slaves and most were probably pumped and beaten for a bronze coin or two before having to receive their next tormentor. These people were objects to the rest of the world, not human beings. They were people’s daughters and sons, mothers, and sisters. In many cases they’d been taken from their homes on the other side of the world. Perhaps they were all that was left of their family?

For most prostitutes in the Roman Empire, life was a living Hades.

Lupanar scene from Pompeii

One thing is certain however. On the whole, prostitutes in the Roman world – be it Rome, Pompeii, or some far flung corner of the Empire – likely led tortured lives, living in squalid conditions while being brutalized by the male population. No matter how much one might like to romanticize the perceived sexual freedom of the Roman world, one cannot escape the fact that this freedom was supremely one-sided.

For some very interesting and sobering thoughts on the subject, watch this SHORT VIDEO interview with historian Mary Beard.

However, as I said, Sincerity is a Goddess is a comedy. The lupa in this book is not a tortured individual, but a more mature and savvy business woman who is quite skilled at reading people. She has, of course, had her share of hardship in her life, but by the time of our story, she has come through her toils a wiser and more confident person. Her character is crucial to the story and the journey one of our protagonists takes.

The Etrurian Players are coming! Brace yourselves!

Thank you for reading.

Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortal 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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Sincerity is a Goddess is a Triumph!

Eagles and Dragons Publishing is proud to announce that our latest release, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome, has been awarded 5 Stars and the ‘Highly Recommended Award of Excellence’ by the Historical Fiction Company.

We are thrilled with the very kind words from the reviewers who posted a very lengthy, detailed review of the book.

Here are some excerpts from the review…

“Sincerity is a Goddess features a large cast of colorful characters that readers will fall in love with. Each one is unique, well developed, and remains believable as a character from ancient Rome. There is a large cast of characters and some readers may find it difficult to keep them all straight. It is clear the author anticipated this because the author includes a list of characters at the beginning of the book which will prove to be invaluable for many readers. The list includes both the characters’ names as well as a short description of each person so readers can quickly reference this list for a reminder if they become confused about characters.

The real gem of Sincerity is a Goddess is the author’s writing styles. Haviaras writes in a way that readers will find themselves immersed in the story quickly. Beautiful imagery and excellent character-related descriptions allow the reader to feel as if he or she were right there watching Felix Modestus and The Etrurian Players prepare for the biggest roles they will have. Haviaras was also able to describe the emotions of the characters in a way that builds empathy in the readers easily.

It is clear that the author has done extensive research about both ancient Rome and Roman mythology. Haviaras portrays both his character, settings, and events in a way that is very true to the time period while also making them very relatable to the modern reader. More evidence of Haviaras’ knowledge of ancient Rome is his use of both a variety of historically accurate vocabulary as well as Latin words. The Latin words could potentially pose a problem for some readers so, like his characters, Havarias remedies this by including a list of Latin terms at the end of the book that readers can easily reference. Roman mythology is deeply embedded throughout the novel and the author has done a fantastic job portraying the gods through their actions and influence with the mortal characters as true to the style of many Roman myths.

Humor is often difficult to incorporate throughout a historical fiction novel but Haviaras has done a fantastic job of weaving humor relevant to the historical setting throughout the novel as well. The humor, romance, and drama in this book combine to create an unforgettable novel that will appeal to a wide audience of riders. The book is quite lengthy which may prove to be a deterrent to some readers. However, the excellent pacing and humor makes the book a bit easier to get through despite its length. The length is also justified by the events of the story. Nothing seems to be extraneous or unneeded in the plot.

Sincerity is a Goddess by Adam Alexander Haviaras is a fun book that will touch readers’ hearts while making them laugh out loud. The modern writing combined with the historical setting and Roman mythology creates a book that is both enjoyable, entertaining, and even a bit educational at times. Readers will appreciate the historical accuracy as well as the humor that this book brings to the table. More than anything, Sincerity is a Goddess is the perfect book when you need a chuckle but also a beautiful reminder of the hope that can be found everywhere.”

– The Historical Fiction Company

To read the full review on the Historical Fiction Company website, just CLICK HERE.

Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

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

The Etrurian Players are coming! Brace yourselves!

 

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The World of Sincerity is a Goddess – Part IV – The Games of Apollo

Salvete Readers and Romanophiles!

Welcome back to The World of Sincerity is a Goddess, the blog series in which we share the research for our latest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

If you missed the third post on humour and comedy in ancient Rome, you can read that by CLICKING HERE.

In part four of this blog series, we’re going to be looking at games, or ludi, in ancient Rome, and then specifically at the games in the book, the Ludi Apollinares, the Games of Apollo.

Let’s get started

Ludi, or public games, were an important occurrence on the Roman calendar. Not only did they give the gods their due through religious rites and rituals, but they also gave the people a chance to unwind and enjoy themselves.

Apart from the often very specific religious rituals dedicated to whichever deity the games honoured, there were often also processions, chariot races and theatrical performances. Early on, most ludi did not include gladiatorial combat as these were reserved for funeral games alone, or ludi funebris.

Not only did games in ancient Rome provide some much needed distraction for the people from the dangers of the day, they were also a way for politicians to buy votes. The reason for this is that, though games received some funding from the state, most of the cost of ludi were paid for by wealthy citizens.

General representation of the steps along the cursus honorum during the Republican and Imperial periods.

When it came to positions on the Cursus Honorum of Roman politics, the responsibility of putting on, and funding, games most often lay with the aediles, those four politicians who were at least 37 years old and were charged with looking after the interests of the city of Rome. They looked after temples, markets, streets, squares, brothels, baths, and the water supply. Very important jobs indeed.

The aediles – and sometimes praetors – were also to ensure the success of the public games.

As mentioned, the Roman state did provide a very basic operating budget for games. For example, the Ludi Romani in honour of Jupiter, held from September 5-19, at one point received 760,000 sestercii, and the Ludi Plebii, held from November 4-17, received 600,000 sestercii. The rest – which was the majority of the expense – was paid for by the aedile or praetor sponsoring the games.

These games were extremely important events on the Roman calendar, a time when the lower classes could let go and enjoy feasts and entertainments for free, and when the upper classes could see and be seen.

Preparation for a Sacrifice

Different ludi were dedicated to individual deities, and so religious ceremonies, often with very specific sacrifices, were also a part of the games.

Games were, first and foremost, considered sacred acts.

Games were also founded to commemorate victories, and this became a point of pride for rulers and politicians. An example of this is in the Emperor Augustus’ Res Gestae, or ‘Things Done’:

Three times I held gladiatorial spectacle in my own name and five times in the names of my sons or grandsons; in which spectacles some ten-thousand men took part in combat. Twice in my own name and a third time in the name of my grandson, I provided a public display of athletes summoned from all parts. I held games four times in my own name and twenty-three times on behalf of other magistrates… I have provided public spectacles of the hunting of wild beasts twenty-six times in my own name or that of my sons and grandsons, in the Circus or the Forum or the amphitheatres in which three-thousand five-hundred beasts have been killed.

(Res Gestae XXII)

Today, if someone boasted of so much killing, they would be considered a human abomination in most countries, but in the world of ancient Rome, acts such as these were considered extremely generous, gifts for the people, actions which helped to secure the favour of the people.

If the mob of Rome was happy, they did not cause trouble.

A Venatio – A Roman Animal Hunt

There were different types of ludi as well. There could be ludi votivi, which were held in fulfillment of a vow, or ludi funebris, which were funeral games paid for by a dead person’s family. Public ludi, as we have mentioned, were paid for by the state and the aediles or praetors.

The oldest games are said to be the Ludi Romani which were dedicated to Jupiter and are thought to have been held since 509 B.C. when the temple of Jupiter was dedicated on the Capitol of Rome.

Other games that dotted the Roman calendar were the Ludi Cereri held in honour of Ceres from about 202 B.C., the Ludi Plebii also held for Jupiter from about 216 B.C., the Ludi Megalensi, held in honour of Cybele, and the Ludi Taurii, held in honour of Mars.

And then there were the Ludi Apollinares which are a part of the story of Sincerity is a Goddess.

Apollo pouring a libation

The advent of the Ludi Apollinares, the Games of Apollo, are a bit different in their origin from some of the other games. They were begun in the wake of one of the worst defeats in Rome’s history, and born out of a prophecy that was found after the fact. Let me explain…

The Ludi Apollinares were first held in 212 B.C. during the second Punic War, four years after Hannibal’s crushing defeat of Rome’s legions at the battle of Cannae.

In the wake of this defeat, with Hannibal at the gates of Rome, Hannibal ante portas!, the Romans found a prophecy in the Carmina Marciana, the prophecies of the seer, Marcius. Livy, recounts this in his history of Rome…

The importance attached to one of the two predictions of Marcius, which was brought to light after the event to which it related had occurred, and the truth of which was confirmed by the event, attached credence to the other, the time of whose fulfilment had not yet arrived. In the former prophecy, the disaster at Cannae was predicted in nearly these words: “Roman of Trojan descent, fly the river Canna, lest foreigners should compel thee to fight in the plain of Diomede. But thou wilt not believe me until thou shalt have filled the plain with blood, and the river carries into the great sea, from the fruitful land, many thousands of your slain countrymen, and thy flesh becomes a prey for fishes, birds, and beasts inhabiting the earth. For thus hath Jupiter declared to me.” Those who had served in that quarter recognized the correspondence with respect to the plains of the Argive Diomede and the river Canna, as well as the defeat itself.

(Livy, The History of Rome, Book XXV, 12)

The Death of Paulus Aemilius at the Battle of Cannae (John Trumbull 1773)

The discovery of this prophecy made the Romans take action. We have to remember that this was one of the most terrifying periods in Rome’s history. Hannibal was at the gates of the city, he had defeated a far larger force in one of history’s great victories at the battle of Cannae to the south, on Italian soil.

The Romans did not want to experience such a defeat again and so the Ludi Apollinares were instituted originally as votive games for two purposes: to acquire the gods’ aid in expelling the Carthaginians from Italy, and to protect the Roman Republic from all dangers. They were, originally to be held once, but the year after, the senate passed a decree based on the proposal of the praetor, Calpurnius, that the Ludi Apollinares be held every year as circumstances allowed, i.e. with no fixed date.

In 208 B.C., after a plague in the city, the praetor, Varus, put forward a bill that the Games be held every year on the specific date of July 6th.

And so, the Ludi Apollinares became a permanent part of the Roman festival calendar.

But what did these games entail?

Luckily, another prophecy in the Carmina Marciana prescribed the specific rituals and sacrifices that should be performed to honour Apollo. Again, Livy recounts this:

The other prophecy was then read, which was more obscure, not only because future events are more uncertain than past, but also from being more perplexed in its style of composition. “Romans, if you wish to expel the enemy and the ulcer which has come from afar, I advise, that games should be vowed, which may be performed in a cheerful manner annually to Apollo; when the people shall have given a portion of money from the public coffers, that private individuals then contribute, each according to his ability. That the praetor shall preside in the celebration of these games, who holds the supreme administration of justice to the people and commons. Let the decemviri perform sacrifice with victims after the Grecian fashion. If you do these things properly you will ever rejoice, and your affairs will be more prosperous, for that deity will destroy your enemies who now, composedly, feed upon your plains.” They took one day to explain this prophecy. The next day a decree of the senate was passed, that the decemviri should inspect the books relating to the celebration of games and sacred rites in honour of Apollo. After they had been consulted, and a report made to the senate, the fathers voted, that “games should be vowed to Apollo and celebrated; and that when the games were concluded, twelve thousand asses should be given to the praetor to defray the expense of sacred ceremonies, and also two victims of the larger sort.” A second decree was passed, that “the decemviri should perform sacrifice in the Grecian mode, and with the following victims: to Apollo, with a gilded ox, and two white goats gilded; to Latona, with a gilded heifer.” When the praetor was about to celebrate the games in the Circus Maximus, he issued an order, that during the celebration of the games, the people should pay a contribution, as large as was convenient, for the service of Apollo. This is the origin of the Apollinarian games, which were vowed and celebrated in order to achieve victory, and not restoration to health, as is commonly supposed. The people viewed the spectacle in garlands; the matrons made supplications; the people in general feasted in the courts of their houses, throwing the doors open; and the day was distinguished by every description of ceremony.

(Livy, The History of Rome, Book XXV, 12)

It is truly fascinating to read this passage for it is quite specific from the amount to be spent by the state, and the specific animals with gilded horns to be offered to Apollo and Latona (i.e. Leto, his mother), and that this should be done in the Greek fashion, the ritus Graecus, that is, with the head uncovered for the sacrifice.

The prophecy also prescribes a joyful atmosphere that is pleasing to the gods in which people offer what they can, wear garlands, and dine together with the doors of their homes thrown open.

Sacrifices were central to Roman Ludi

At these first games of Apollo, most of the events took place in the Circus Maximus of Rome and included chariot races – by far Rome’s most popular pastime – animal hunts, religious processions and, most importantly to our story, theatrical performances.

Interestingly, we have a record of one of the specific plays performed in the games of 169 B.C. and that was the revenge tragedy of Thyestes who was King of Olympia and the son of Pelops and Hippodameia.

I think it is a safe assumption that though theatrical performance was originally a small part of the games of Apollo, over time, more would have been included, especially under such emperors as Nero, who saw himself as a great performer.

The Ludi Apollinares were smaller games than the Ludi Romani or Ludi Plebii. After all, they received less funding. But, they did grow in popularity and, eventually, they went from being celebrated for one day on July 13th, to being held for eight days from July 6th to 13th.

More events would have been held over this extended period, and though it was still, at heart, a religious and votive festival, the theatre played a large part in it.

Apollo

We can end on a small anecdote that I came across in my research that illustrates this and the importance of properly seeing through the required rituals. 

In the second year of the games, in 211 B.C. there is a story that during a theatrical performance for the Ludi Apollinares, a cry and panic went up in the audience that Hannibal was at the gates – Hannibal ante portas!

The spectators rushed from the theatre to get their weapons and fight to defend the city. However, it turned out to be a false alarm.

When the audience members returned to the theatre, and the play that had been so harshly interrupted, they found the dancer still dancing, and the accompanying flute player still playing! It was a marathon performance for the two, and the audience cried out “All is saved!”

Hannibal did not attack the city.

I don’t know for certain if this story is true, but it is a good one!

The show must go on and, it seems, in ancient Rome, it was indeed a matter of life and death!

Thank you for reading.

Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortal chains, and your local public library.

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

The Etrurian Players are coming! Brace yourselves!

 

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Saturnalia – A New Audiobook from Eagles and Dragons Publishing!

Salvete, Readers and History-Lovers!

Since it was officially formed as a company in 2014, Eagles and Dragons Publishing has been designing and producing quality ebooks and paperbacks for each of our titles.

And there have been a lot of exciting changes! We are growing as a company.

In 2021, we moved our cover design in-house, and in 2022 we began producing our very first, carefully crafted, hardcover books with wonderful results. And we’re continuing to put out more!

But there was always a piece missing: Audiobooks.

The reason for this is that audiobook production is extremely time-consuming and very costly… Unless you do it yourself.

Many of our readers began to ask about audiobooks, and so, we polled them to ask what they would prefer: an audiobook with professional actors playing our characters, or an in-house production with the author reading his or her own work.

As it turns out, 98% preferred an audiobook that was read by the author.

It is here that we should give a huge shout-out to our Patreon patrons for their generous monthly support, for it allowed us to begin acquiring the audio recording equipment we needed to make all of this happen. Thank you Patrons!

Adam at work on Saturnalia in the Eagles and Dragons Publishing recording booth

After some months of learning what is involved in recording an audiobook – technical specifications, soundproofing, and even learning how to read aloud for an extended period of time – Adam finally got down to recording! And, as with anything, the first try was definitely a learning experience. But we got there!

And so, today we’re thrilled to announce the official launch of Eagles and Dragons Publishing’s very first audiobook release, Saturnalia: A Tale of Wickedness and Redemption in Ancient Rome!

There are also Saturnalia Book Boxes available in the AGORA HERE.

We thought it would be prudent to begin our audiobook creation journey with a shorter novel, but also one that listeners could enjoy at this time of year. And with the start of the ancient Roman festival of Saturnalia just around the corner, on December 17th, we thought this would be perfect.

This is not a big production with a cast of actors and sound effects. Just as some of our readers requested, our audiobooks are going to consist of the author reading his or her own work, just as if they were sitting with you at home, reading by the fire.

We hope you enjoy the experience.

Saturnalia, the audiobook, is being distributed to new retailers every week, but it is already available to purchase at a special launch price until November 30th, 2022 at the following audiobook retailers:

Kobo, Walmart

Google Play

Chirp

Scribd

NOOK Audiobooks

Libro.FM 

BingeBooks

Storytel

If you have a smart speaker at home, you can ask ‘it’ to play the book for you to add a little festive atmosphere to your home his holiday season.

It’s a new adventure for our books, and we’re very excited to have you along for the ride!

Adam is already at work recording the next audiobook, so stay tuned for more titles.

In the meantime, we hope you enjoy listening to Saturnalia: A Tale of Wickedness and Redemption in Ancient Rome!

Io Saturnalia! (a little early).

Thank you for reading.

 

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The World of Sincerity is a Goddess – Part III – Humour and Comedy in Ancient Rome

Salvete Readers and Romanophiles!

Welcome back to The World of Sincerity is a Goddess, the blog series in which we share the research for our latest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

If you missed the second post on theatres in ancient Rome, you can read that by CLICKING HERE.

In part three of this blog series, we’re going to be looking at humour and dramatic comedy in ancient Rome, including stock characters and popular themes.

Let’s dive in!

Laughing Legionaries

An Abderite [from Abdera in Thrace] saw a eunuch and asked him how many kids he had. When that guy said that he didn’t have the balls, so as to be able to have children, the Abderite asked when he was going to get the balls.

(Philagelos, #114)

Is that funny to you? Maybe a little? Or does it make you scratch your head and wonder?

The joke above is actually a Roman joke about 2000 years old. Yes, that old. It’s one of 250-odd jokes in the oldest joke book in the world known as the Philagelos, or ‘The Laughter Lover’. It is thought that this text is a compendium of jokes over several hundred years. The earliest manuscript is thought to date to the 4th or 5th centuries A.D. 

Humour in the ancient world was not really something I’d thought about in my writing and research until I began work on Sincerity is a Goddess. If there has ever been humour in my books, it has been a reflection of my own modern perceptions of what humour is, or should be. Otherwise, my modern readers would be left scratching their heads.

Salve, Titus! Heard any good jokes lately?

Several years ago, I heard an interview with eminent classicist and historian Mary Beard on the subject of her book about humour in the Roman world entitled: Laughter in Ancient Rome: On Joking, Tickling, and Cracking Up. This is a wonderful book that will give you a whole new perspective on people in ancient Rome.

Anyway, until my research for this novel, my idea of humour in the ancient world was partly based on the musical A Funny Thing Happened on the Way to the Forum by the brilliant Stephen Sondheim. The latter is not a completely inaccurate view since the story is based on the farces of the Roman playwright Plautus (251–183 BC) – more on him later in this series.

Bawdiness played a large role from the theatre to the marching songs of Rome’s legionaries. 

Slap stick comedy was a part of humour in the ancient world, but Professor Beard put forth the idea that there are other aspects of ancient humour which we might not, or cannot, understand. 

A professional beggar had been letting his girlfriend think that he was rich and of noble birth. Once, when he was getting a handout at the neighbour’s house, he suddenly saw her. He turned around and said: “Have my dinner-clothes sent here.”

(Philagelos, #106)

When it comes to many ancient jokes, our cultural and temporal disconnect make them simply ‘not funny’. For better or for worse, depending on your point of view, we have also grown much more sensitive today.

Another reason why the humour of some ancient jokes may be lost on us is that perhaps the medieval monks copying these down simply made mistakes or interpreted them incorrectly. 

Roman Comic from The New Yorker

Mary Beard has also pointed out that there is no real way to know how ancient people laughed either. This is a bit of a trickier concept to wrap one’s head around. What were ancients’ reactions to laughing? Did they have uncontrollable laughter?

My thought is that yes, maybe our jokes are different from what Roman jokes were, just like how some people find Monty Python funny (I know I do!), while others wonder what the big deal is. I also think that we are perhaps not so different in our physical reactions. For example, there is the quote from Cassius Dio, whom I have used as a source for much of my writing. 

Here is a portion from the Roman History in which Cassius Dio and other senators are watching Emperor Commodus slay ostriches in the amphitheatre. As we know, Commodus was off his head, and prone to killing whomever he wanted.

This fear was shared by all, by us senators as well as by the rest. And here is another thing that he did to us senators which gave us every reason to look for our death. Having killed an ostrich and cut off his head, he came up to where we were sitting, holding the head in his left hand and in his right hand raising aloft his bloody sword; and though he spoke not a word, yet he wagged his head with a grin, indicating that he would treat us in the same way. And many would indeed have perished by the sword on the spot, for laughing at him (for it was laughter rather than indignation that overcame us), if I had not chewed some laurel leaves, which I got from my garland, myself, and persuaded the others who were sitting near me to do the same, so that in the steady movement of our armies we might conceal the fact that we were laughing.

(Cassius Dio, Roman History LXXIII)

Emperor Commodus in the Arena

What a sight that must have been! Even though it meant certain death, Dio and the other senators had to chew laurels so as not to give in to what was presumably an urge to laugh hysterically. 

A young man said to his libido-driven wife: “What should we do, darling? Eat or have sex?” And she replied: “You can choose. But there’s not a crumb in the house.”

(Philagelos, #244)

Bawdiness creeps in all the time in ancient humour, and why not? Everyone (well almost everyone) likes a sex joke. If you peruse the jokes in the Philagelos, you’ll see that many of them have to do with sex.

And this didn’t just apply to the Romans. The ancient Greeks found sex and humour to be comfortable bedfellows (no pun intended).

You’re not getting any until you end this stupid war!

I remember going to an evening performance of Aristophanes’ Lysistrata at the ancient theatre of Epidaurus one summer night. It was a beautiful setting with the mountains as a backdrop to the ancient odeon, the sun setting orange and red, and then a great canopy of silver stars in the sky above. 

Lysistrata is a play about a woman’s determination to stop the Peloponnesian War by withholding sex from her husband, and getting all other women to do the same. It seemed quite the political statement on the waste and futility of war, as well as ancient gender issues. 

But then the men, who had not had sex for a long time, came prancing about the stage with giant, bulbous phalluses dangling between their legs, moaning with the pain of their ancient world blue balls. Some of the crowd roared with laughter, others tittered in embarrassment, and still others sat stock-still like the statues in the site museum. 

Perhaps that is the point? Maybe in ancient times, just as today, some jokes were funny to some and not to others? Are we that different from our ancient Roman and Greek counterparts?

Relief of a Roman Comedic Performance

In her book, Professor Beard points out that ancient writers like Cicero speak of the different types of humour. There is derision (laughing at others), puns (word play), incongruity (pairing of opposites), and humour as a release from tension. 

During my research, I found this to be a much bigger topic than I had expected. It’s fascinating to think of laughter in an ancient context. 

Do I find ancient jokes funnier than before? Not really, though I do find they reveal something more of Roman society. 

But what about comedy in ancient Rome, when it came to plays and the theatre?

In the first part of this blog series, we discussed drama and the various types that developed in Rome, including the pantomimes, mimes, and farces.

Pantomimes tended to be tragic, and mimes were comic in nature, both being more sophisticated or high-brow than farces. Actors in pantomime and mime received training in dance, poetry, and mythology. Often, a performance involved an expressive dance by one actor accompanied by a chorus and ensemble of string, wind or percussion instruments. The artists could be very famous, bringing in large crowds. Often, the subjects of pantomimes were mythological in nature.

That said, in the world of ancient Rome, it was the racier, more bawdy and often improvised, farces, that were popular with the people.

It seems that the people, especially among the lower classes would have much preferred American Pie or Porky’s, to An Ideal Husband or Much Ado about Nothing.

How about some tickles?

Theatrical comedy in general did have certain archetypes when it came to costumes, characters, and themes.

As in ancient Greek theatre, masks, made of linen or cork, were worn, and were brown for male characters, and white for female. Purple was the colour more often worn by rich male and female characters, and red by characters who were supposed to be poor. Slaves boys in comedies were dressed in striped tunics.

Characters and themes in Roman comedy had strong links to ancient Greek comedy, especially those of Menander.

These stock characters often included the young man (adulescens), the young woman (virgo), the young married woman (uxor), the prostitute who could have her own household (meretrix), the pimp (leno), and others such as hostile fathers, unscrupulous pimps, or pirates.

The main stock Roman comedy characters, however, were most often the clever slave, the mean brothel keeper, and the boastful but stupid soldier.

The musical, A Funny Thing Happened on the Way to the Forum, by Stephen Sondheim, is a modern play/musical that perfectly illustrates all of these stock characters. In some ways, it is closest to Roman mimes and farces, performed as they were with an array of songs, and musical accompaniment and dancing.

Scene from A Funny thing Happened on the Way to the Forum (1966)

In researching Sincerity is a Goddess, it was surprising to find out that the themes in ancient Greek and Roman comedy are the origins of our modern slap-stick and romantic comedies.

Intrigues and misunderstandings are common and added to stories of boy-meets-girl, pairs of lovers, pregnancies, marriages, and mistaken identities.

It all makes for a sort of basic training in comedy writing.

Though there were a lot of similarities with comedy today, ancient comedy, high or low brow, was also unique, reflecting the worries, values and everyday lives of the Roman people.

However, it seems that, though we and the Romans may have found different things humorous, they enjoyed an escape from the everyday and a good laugh as much as we do.

Thank you for reading.

Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortal chains, and your local public library.

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

The Etrurian Players are coming! Brace yourselves!

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The World of Sincerity is a Goddess – Part II – Theatres in Ancient Rome

Salvete Readers and Romanophiles!

Welcome back to The World of Sincerity is a Goddess, the blog series in which we share the research for our latest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

If you missed the first post on drama and actors in ancient Rome, you can read that by CLICKING HERE.

In part two of this series, we’re going to be looking at the evolution of the structure of the theatre during the Roman period, the places where actors performed, from the dirtiest street corner to the most magnificent structures of the Empire.

We hope you enjoy!

The ancient theatre of Epidaurus

One of the main questions I had when I set out on the research for this latest book was around the physical structure of the Roman theatre. Of course, I knew about ancient Greek theatres, having visited several in my travels over the years. But what about Roman theatres? Did the Romans simply re-use Greek odea? Did the Romans build their own theatres and, if so, how did they differ from those built by the Greeks?

In this blog post, we’re going to be taking a brief look at theatres in ancient Rome and how they differed structurally from those of the Greeks.

The ancient Greeks were, of course, the progenitors of drama and the theatre. When one thinks of ancient theatre, it’s difficult not to think first of an ancient Greek theatre such as the the magnificent, and still-used, example at ancient Epidaurus in the Peloponnese. Or even the beautiful, silent ruins of the great theatre of Argos. It is quite an experience to sit in the ancient seats and not feel some sort of communal awe from centuries past, looking out to the distant mountains or sea beyond the stage where ancient actors would have enacted stories of gods, goddesses, heroes, and the trials and tribulations of everyday people on their journey through this life.

The ancient Greek playwrights – Euripides, Sophocles, Aeschylus, Aristophanes and others – had a way delving deep into the heart of human emotion and experience and making people linger there so that they would, hopefully, come out of it a bit more enlightened. And in a setting such as those ancient theatres, it would be hard not to.

I’ve seen comedic and tragic plays performed while sitting with thousands of others beneath the stars in an ancient theatre. It is an experience I shall never forget.

But even if one is not moved by the words spoken by the actors, it is difficult not to marvel at the genius of the architecture that allows the audience at the top of the seats to hear a whispered word spoken from the centre of the orchestra.

Ancient theatres really are engineering wonders!

The ancient theatre of Argos, Peloponnese, Greece.

Of course, the men of the Tiber knew a good thing when they saw it, and so they eventually adopted drama and theatres while adding their own Roman flair.

But this took some time, and some convincing…

Drama and theatre first came to Rome through contact with the Greek cities to the south and the Etruscans to the north, who had regular contact with the Greeks. It might have been looked upon with suspicion by conservative Romans at first, but eventually, drama would take hold of the Roman people.

Etruscan Entertainers

In 364 B.C., the Roman Republic was hit by a plague, and in an effort to please the gods and entreat their aid, Rome vowed to hold theatrical festivals in their honour.

To do this, Etruscan actors were brought in and the rest is history. This considered by some to be the start of this new entertainment for the Roman public, an entertainment inspired by the Greek cities of southern Italy.

Theatre of Dionysos, Athens

Plays were originally performed in Greek, but over time Latin playwrights emerged, such as Plautus, Terence, and others. Of course, there were tragedies and comedies in the beginning, but then folk and bawdy plays began to take hold, and the mimes and pantomimes became the most popular among ancient Romans.

To read more about the types of literature in ancient Rome, including drama, CLICK HERE. Suffice it to say that theatrical performances eventually became nearly as popular as chariot racing and gladiatorial combat in ancient Rome.

Temple of Antoninus and Faustina, Roman Forum. Play were sometimes performed on temple steps such as this.

There may have been theatres dotted all over territories which Rome had conquered early on, but in the city of Rome itself, there were no stone theatres at first, not like in Greek cities where a theatre was a given sign of civilization.

Early dramatic performances in ancient Rome were either performed on the steps of temples or on temporary wooden stages which were constructed in the Circus Maximus or Roman Forum for festivals. After the performances were finished, they were torn down.

Despite the popular appeal of drama in ancient Rome, conservative elements had a deep dislike of the theatre, viewing it as ‘too Greek’ and opposed to Roman values. The theatre – especially the mimes and pantomimes – were viewed as lewd, and this is a view that continued into the Christian era.

But, even among conservative Romans, it was hard to fight popular appeal, and the theatre was indeed growing in popularity.

Roman Re-enactors on the steps of a temple in Spain (photo: Turismo de Merida)

As we know, the Romans loved their games, or ludi, and by sponsoring these games, Roman magistrates had found a way to win the political favour – and hence, votes! – of the people.

Some examples of games which featured theatrical performances were the Ludi Apollinaris in honour of Apollo (July 6-13) and the Ludi Megalenses in honour of Cybele (April 4-10). 

The building of theatres became a way to win the favour of the people. Unlike today when, sadly, theatre is viewed as something more for the elite or well-to-do, the theatre was, in ancient Rome, for people of all classes!

As mentioned, at first theatres in Rome were temporary and constructed of wood, but as time went on, even these wooden ones became more elaborate.

Artist Impression of temporary wooden stage of Roman period (image: Jean Raia)

In 58 B.C. Marcus Aemilius Scaurus built a wooden stage for performances, but this one had columns of African marble, as well as statues, glass, gold and fabrics to adorn it. The people loved it!

In 52/51 B.C. Gaius Scribonius Curio even built two moveable semi-circular theatres that could be pushed together to build an amphitheatre so that plays could be performed during the day and gladiatorial games viewed at night!

Eventually the time would come when Rome would receive its first stone theatre, despite conservative opposition, and this was given to the people by none other than Pompey the Great.

Reconstruction of the Theatre of Pompey in Rome with attached gardens and temple above the theatre seating. More on this magnificent setting in a later post!

From 61-55 B.C., Pompey built a magnificent stone theatre for Rome, and he appears to have used his general’s wiles to get it done in a way that tricked conservative dictates. You see, this was not only a theatre, but also a temple complex dedicated to the goddess Venus herself.

Atop the great theatre of Pompey, resting above and behind the seats of the auditorium, was a magnificent temple of Venus. The argument was, it seems, that the theatre itself was simply the substructure of the temple, the ‘real’ purpose of the construction. The gods were now present in the theatre, and no one would have dared to tear it down!

The theatre of Pompey is now, perhaps sadly, known as the place where Julius Caesar was murdered (the senate was meeting there at the time), but more importantly, it was the beginning of a greater acceptance of theatre in the city of Rome.

Indeed, after the accession of Augustus, one of his supporters, one Lucius Cornelius Balbus, built a second stone theatre in Rome, on the Campus Martius, known today as the Theatre of Balbus.

Model of the Theatre of Balbus

These permanent Roman theatres, however, were more than places to stage dramatic performances. They were also meeting places that incorporated religious elements. There were temples, and gardens and courtyards where people could stroll between acts, or meet outside of performances. They became part of the fabric of the city of ancient Rome.

But what were the structural differences between ancient Greek and Roman theatres?

It is impossible to deny the simple beauty of ancient Greek theatres, and the brilliance of their acoustic design. It is truly astounding to sit at the top of the seats and hear someone drop a coin or light a match in the middle of the orchestra!

Plan of an Ancient Greek Theatre

Roman theatres were of course, based on Greek designs. Even the Romans could not deny the acoustic uses!

But whereas Greek theatres, or odea, were normally built into a hillside and had round orchestras where the performance took place, Roman theatres were more often stand-alone structures with semi-circular orchestras where seating was reserved for high-ranking officials, senators, or members of the imperial family. Roman theatres were constructed with solid masonry or vaults that supported the curved or sloping auditorium seats, or cavea. This design sometimes included a colonnaded gallery around the outside that gave easier access to the tiers of seats.

Plan of a Typical Roman Theatre

Another innovation given to the theatre by the Romans was the inclusion of a curtain before the stage. Today, it is hard not to think of a curtain in a theatre, and we owe this to the Romans. The difference was that where today the curtain hangs from above, in a Roman theatre, the curtain, or aulaeum as it was known, retracted into a pit in the floor before the stage at the beginning of the performance, and rose out of it at the end.

The most noticeable difference between Greek and Roman theatres, however, was the Roman scaena.

In an ancient Greek theatre, initially, the chorus and actors performed on the round orchestra, but later on, a raised stage, or proskenion, was incorporated. At the back of this stage, they began to build a one or two-story backdrop known as a skene, the ‘scene’ before which the action took place, and behind which the actors could change. The Greek skene did not obstruct the view beyond the theatre, however, but rather just provided the ornate backdrop.

The scaena frons of the Theatre of Pompey

The Roman scaena, however, was much more substantial, for it more or less enclosed theatre completely and provided a full divider between the audience and backstage.

Scaenae frons in Roman theatres had three or five doors flanked by columns and statues in niches. The scaena and its doors could provide the setting for a street scene, houses, palaces etc., and sometimes it was even sectioned off with smaller curtains called siparia as needed.

The Roman-era theatre of Herodes Atticus, Athens

The Roman scaena also rose to the full height of the theatre itself, either level with the rear seats of the auditorium, or even higher. There was also a wooden roof above the stage of Roman theatres that also acted as a sounding board.

It wasn’t just the actors who were protected from above either, for in some Roman theatres there could also be an awning above the auditorium known as a velarium, to shield the viewers from sun and rain. Roman theatres also had covered porticoes where audience members could go between performances.

The Romans did like their comfort!

The Roman theatre in Thugga, Tunisia, featured in Killing the Hydra (Eagles and Dragons Book II)

Were Roman theatres built across the Empire once Rome had made its own innovations in theatrical architecture?

Well, it seems the Romans did make adjustments to some Greek theatres by adding their own scaenae. However, especially in the Hellenistic east, Greek odea continued to be used, only just for more refined performances of music and poetry recitations rather than for populist mimes and pantomimes.

Romans continued to use the odeon design when called for, but sometimes with the addition of a roof. This type of smaller, enclosed and roofed theatre was known as a theatrum tectum. An example of this is the one built in Pompeii in 79 B.C.

Aerial view of theatres of Pompeii. Note the theatrum tectum on bottom right which would have been fully enclosed.

When it comes to theatres and theatrical performance, whatever the genre, the Greeks and Romans did have this in common: theatre was extremely popular with the people and important for the social life of the community, be it in the cultured metropolises of the Empire, or on the distant borders, far from the beating heart of Rome.

The Greeks may have invented theatres, but some might argue that it was the Romans who perfected them.

Thank you for reading.

Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortal chains, and your local public library.

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

The Etrurian Players are coming! Brace yourselves!

 

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The World of Sincerity is a Goddess – Part I – Drama and Actors in Ancient Rome

Salvete Readers and Romanophiles!

At long last, we’re back with another ‘World of’ blog series! We know that most of you really do enjoy these deep dives into the research related to each of our books, so we’re happy to get stuck in!

If the title of this blog wasn’t a giveaway, this new blog series is about the research for our newest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

In this blog series, we’ll be releasing a new post every two weeks or so on a wide range of topics related to theatre, humour, festivals, healing, playwrights and actors, and more. We do hope you enjoy it!

And now, without further ado, let’s step into The World of Sincerity is a Goddess!

In this first post, we’re going to be taking a brief look at drama and actors in the world of ancient Rome. Both, of course, are central to Sincerity is a Goddess. 

Let’s start with a look at the evolution of drama in Rome.

Life is like a play in the theatre: it does not matter how long it lasts, but how well it was played.

Seneca

There are many different forms of literary arts today, just as there were in ancient Rome. Actually, in Rome, no matter the literary form, there was something for everyone. You didn’t even have to be able to read to enjoy literature of a sort.

Literary sources that we know of from the world of ancient Rome include such things as histories, speeches, poems, plays, practical manuals, law books and biographies, treatises and personal letters.

More often than not, authors in ancient Rome were well-educated and even very wealthy, and as a result, the opinions often expressed in literature reflected the values of the upper classes either because the authors were of that class themselves, or because they were patronized by the wealthy.

The main types or classifications of literature were drama, poetry, prose and satire. Though much was written in each of these areas in ancient Rome, in some cases, very little has survived, which makes this a sort of tragedy in and of it self. For the purposes of this post, we’re going to be taking a look at drama.

An array of Greek theatre masks

Drama is central to Sincerity is a Goddess. It was performed in Rome since before the 3rd century B.C., and these early performances took the form of mimes, dances, and farces.

One example of these early forms of drama were the fabula atellana which originated in the town Atella. These were a collection of vulgar farces that contained a lot of low or buffoonish comedy and rude jokes. They were often improvised by the actors who wore masks.

Mimes were very similar and were dramatic performances by men and women that were more licentious in nature. They were highly popular, especially with the lower classes, but they have also been accused of being the cause of the decline of comedy in ancient Rome. By the early sixth century A.D. they were banned or suppressed.

Roman Theatre in Orange (Wikimedia Commons)

When we think of ancient theatre, however, we cannot help but think first of ancient Greek drama, which was an art form in the lands of the Hellenes long before Romans began producing Latin literature. And like so many other things, the Romans adopted forms of drama from the Greeks as well, especially drama in the form of plays.

Greek ‘New Comedy’ was introduced in Latin in Rome around 240 B.C. by Livius Andonicus and Naevius, and shortly afterward, Greek plays were being adapted by Terence, Caecilus Statius and of course, Plautus, whose early works are the oldest Latin literary works to survive in their entirety. We’ll talk more about the latter later in this blog series. These plays were called fabulae palliatae, or ‘plays in Greek cloaks’.

However, Latin drama had begun to evolve out of this, and soon there emerged the fabulae togatae, or ‘plays in togas’, which were comic plays about Italian life and Italian characters. Sadly, there are no surviving examples of these early Latin comedies.

Surprisingly, by the first century B.C., Roman comic plays pretty much ceased to be written and were replaced by mime which was much more vulgar and thought by many to be of little literary merit. 

Illustration of Roman mime performance

Other fabulae were introduced by Livius Andronicus, including the fabula crepidata which was a Roman tragedy on a Greek theme, and the fabula praetexta which was a Roman drama based on a historical or legendary theme.

The latter, a form invented by Naevius, gained little popularity in Rome, and by the late Republican era, tragedy in general began to decline. There was a short revival under Augustus, but it did not last, and there are no surviving works of Roman tragedy that come down to us.

It seems the Romans would have leaned more toward Dumb and Dumber than Romeo and Juliet…

One theory about the lack of survival of tragedy in ancient Rome is that under the Empire, it was difficult to choose a safe subject. 

But what about actors in ancient Rome, the people who performed before the masses in the streets, on temple steps, or in the great theatres that later adorned cities across the Empire?

Generally, actors were among the lowest on the social scale, the same as gladiators or prostitutes. People enjoyed their performances, and sometimes looked upon them with awe, but they were often kept at a distance for propriety sake. However, some actors were so famous that women, of high and low origin, had affairs with them, not unlike famous gladiators.

This is in contrast somewhat to how it was in ancient Greece where the creation of drama and acting were admired, well-respected.

In the world of ancient Rome, most actors were frowned upon, despite their ability to amuse the people. In truth, the majority of actors were either slaves or freedmen, a very few of which went on to achieve fame, respect, and personal fortune. Most of them likely performed in the lewd mimes favoured by the masses.

That said, a good pantomime slave actor could cost as much as 700,000 sestercii! And it is believed that many pantomime actors may have received training in dance, poetry, and even mythology, the stories of which they sometimes performed.

A famous Roman actor during the reign of Emperor Augustus, known as Pylades, accumulated so much wealth that he was able to produce his own plays. Despite their low social standing, a few actors could indeed be paid very well. In fact, it came to be such a problem that the Emperor Marcus Aurelius put a legal maximum on actor salaries.

Actor and Mask from a Fresco at Pompeii (Wikimedia Commons)

There were companies of actors who moved about, usually performing at games, or ludi, in Rome and across the Empire. A company of actors, or a grex, was led by the dominus gregis, the leader and owner of the company. This person was likely a freedman who went on to have some success.

Despite the lack of respect for the actors themselves, they did have an association of theatrical authors and actors in ancient Rome known as the Collegium Scribarum Histrionumque whose patron goddess was Minerva. This was perhaps similar to modern organizations such as Actors Equity Association in the US, or the Association of Canadian Cinema Television and Radio Artists (ACTRA).

Acting in Rome was different than it was in the world of ancient Greece. We have already mentioned the general lack of respect toward the acting profession in Rome compared with Greece where there were festivals with prizes such as the Dionysia and Panathenaea at Athens, and even the Pythian Games at Delphi.

However, in ancient Greece, women were strictly barred from performing on stage. It was a man’s world with men performing the roles of female characters. It was seen as dangerous to have a woman on stage.

This carried over into early drama in the Roman world, influenced as it was by Greek tradition. Over time however, women were permitted to perform on Roman stages. At first, their roles were limited to performing in mimes or pantomimes as part of the chorus or as dancers.

Eventually, female actors began to take on greater roles in Roman drama, some of them becoming so famous that they were permitted to perform in the great theatres of Rome and across the Empire.

Such actresses were known as archimimae, or leading ladies, and some of their names have come down to us.

One incredible example is the actress Licinia Eucharis, a Greek-born slave who was so talented that she went on to earn her freedom and be allowed to perform Greek dramas upon the great stages of Rome before the nobles. And this was during the Roman Republic! Quite a feat! Eucharis amassed great wealth from her acting alone.

Another example of an actress who achieved fame as an archimima, this time during the imperial period, was the actress Fabia Arete. She was a freedwoman who was also a diuma, that is, a leading actress who toured and was invited to perform in different places because of her great skill.

Though there are examples of male and, more rarely, female actors achieving great fame, wealth, and respect in ancient Rome, most actors struggled and were relegated to the makeshift wooden stages that they erected in the streets, or upon temple steps, performing lewd mimes for the people who might have tossed a coin their way.

Being an actor was not an easy life, to be sure.

Perhaps it isn’t so different from today?

Sure, there are actors and actresses who achieve fame and accumulate massive amounts of wealth in the modern age, but the reality is that most performers (actors, dancers, musicians, and writers) struggle to make a living.

One thing does seem apparent when it comes to actors in ancient Rome, and that is that this was a time when women in the profession experienced some ascendency, between the strict rules of the ancient Greek theatre world which banned them, and the Medieval Christian era that seemed intent on demonizing them and, once again, banned from the stage.

Despite its shortcomings, the world of ancient Rome seemed to have been a bright spot, in a sense, in the historical timeline. However, when it came to actors, people admired them for their skill and performance, but perhaps mostly from a distance. It was, after all, a world that was foreign to most.

Thank you for reading.

Roman Actors from Fresco at Herculaneum (Wikimedia Commons)

We hope that you’ve enjoyed this short post on drama and actors in ancient Rome. There is a lot more to learn on this subject, so if you want to read more, Professor Edith Hall at Durham University, a leading expert on the subject, has kindly made her books on ancient theatre freely available to the public. You can check them out HERE.

You can also learn more about other types of Roman literature in our popular post Literature in Ancient Rome by CLICKING HERE.

There are a lot more posts coming in The World of Sincerity is a Goddess, so make sure that you are subscribed to the Eagles and Dragons Publishing Newsletter so that you don’t miss any of them. When you subscribe you get the first book in our #1 best selling Eagles and Dragons series for FREE!

Stay tuned for the next post in this series in which we’ll be looking at theatres in ancient Rome.

Sincerity is a Goddess is now available in ebook, paperback and hardcover 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# information for the edition of your choice.

The Etrurian Players are coming! Brace yourselves!

 

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NEW RELEASE! – Sincerity is a Goddess

Salvete, Readers and Romanophiles!

Today, we’re thrilled to announce the release of our newest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

It has been a little over a year since the research and writing started on this book and it has been, it must be said, an adventure of hilarity and discovery as we have delved into the world of Roman humour, theatre, and all that makes ancient Rome so gritty and beautiful.

True, this is a bit of a departure from our regular tales of battle and blood, but it is no less filled with drama. In fact, drama is what this story is all about, as well as friendship, love, misunderstandings and second chances.

There is a lot going on in the world right now to bring us down, and this book is partially intended to be an antidote to that. Those who have read it thus far have said it is truly one of our best stories so far.

Fans of the Eagles and Dragons series should not despair either, for Sincerity is a Goddess is set in the familiar world of ancient Rome during the year 203 CE, around the time of Septimius Severus’ triumph and the subsequent Games of Apollo. This is same period as Children of Apollo, Book I in the Eagles and Dragons series and, just for fans of the latter, there are several ‘Easter eggs’ dotted throughout this latest book.

We’re so very excited to share this with you, so, without further ado, here is the cover and synopsis for Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome…

The Etrurian Players are coming! Brace yourselves!

Mortals perform a never-ending show for the Gods, and Felix Modestus, leader of the renowned Etrurian Players, feels their immortal eyes rest upon him at last.

When a mysterious goddess tells Felix that he must put on a play unlike any seen before across the Roman Empire, he quickly rallies his company to the task and heads to Rome for the Games of Apollo. However, there is a catch: the goddess demands that Felix recruit his two estranged best friends to the production.

Rufio Pagano and Clara Probita once shared Felix’s dream of theatrical greatness, but due to embarrassment and inaction, they left Felix to achieve that dream on his own. When each of them receives a mysterious letter from their old friend pleading for their help, a world of long-buried feelings brings discomfort to their stolid lives.

Will The Etrurian Players be able to give the Gods and the people of Rome a magnificent show in order to save themselves from ruin? Will Rufio and Clara pluck up the courage to face their own fears? If they don’t, Felix stands to lose his company, his friends, and the life he loves so very much!

Only with a little help from the Gods can they hope to achieve the greatness that lies within each of them.

Sincerity is a Goddess is the first book in The Etrurian Players series. It is a heartwarming story of friendship and love that takes you on a bawdy and hilarious journey through the world of ancient Rome.

If you like dramatic and romantic stories about second chances, misunderstandings, and a bit with a dog, then you will love Sincerity is a Goddess!

Read this book today for a theatrical adventure that will have you cringing, laughing, crying, and realizing that there is indeed hope for everyone. Well, almost everyone…

There you have it! Our latest adventure in the world of ancient Rome!

We do hope that you enjoy it, and that it brings you some comic relief in these dark times. It certainly did for us in the research and writing, such that the catharsis of it all was extremely refreshing.

Sincerity is a Goddess is available through all of the usual on-line stores in e-book and paperback HERE.

We are also thrilled to announce that this will also be our first title available in hardcover! The design team has created a beautiful jacketed hardcover book with lots of beautiful design elements to surprise and delight. If you are interested in getting one, you can do so by going to your local independent book store, chain store, or public library with the ISBN# (you can get that at the bottom of the page HERE) and asking them to order you a copy. All Eagles and Dragons Publishing paperback and hardcover titles are available through the Ingram catalogue.

We do hope you enjoy this latest adventure in ancient Rome!

Stay tuned for our upcoming blog series The World of Sincerity is a Goddess, which will be starting very soon!

In the meantime, we appreciate you, and we thank you for reading.

 

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New Video Premiere! – Roman Florence: A Short Walking Tour

Salvete Romanophiles!

Today we’re excited to share a brand new mini documentary with you.

Most of us know the city of Florence as the birthplace of the Renaissance, an age that was the genesis for some of the greatest works of art in human history.

It really is one of the most beautiful, exciting and inspiring cities in the world!

This past May, I had the chance to go back to Florence after twenty years and it was, as expected, an absolute dream.

However, this time, we were seeing it from a different perspective…a more ancient perspective.

Did you know that Florence actually has Roman origins, and that it was established by Julius Caesar around 59 B.C.?

It’s true! You can read all about the Roman origins of Florence or, rather, Florentia, in the blog post Florentia: The Roman Origins of Florence by CLICKING HERE.

Though many of the Roman ruins of Florence were still closed due to the pandemic when we were there, we were still able to walk about what was the legionary fortress and the ghostly shadow of the colonia of Florentia beneath our feet.

We do hope you enjoy this latest video Roman Florence: A Short Walking Tour…

Be sure to subscribe to the Eagles and Dragons Publishing YouTube channel so you don’t miss any more videos about history, archaeology, Greek and Roman Mythology and more.

Thank you for watching, and thank you for reading!

 

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New Video! – The Ancient Citadel of Tiryns

Greetings History-Lovers!

After a bit of a summer break, we’re back on the blog, and today we’ve got something exciting for you – a video premiere!

Some of you may have noticed on our social media accounts that we were fortunate enough to go back to Greece this summer. Amidst the pleasant chaos of visiting with family and friends we had not seen in over three years, we did manage to squeeze in a visit to a particularly wonderful archaeological site: Tiryns.

It had been about twenty years since the last time we visited this Mycenaean fortress of myth and legend, and so, armed with some new camera equipment (much gratitude to our Patreon patrons!), we were able to film a short tour of the citadel of ancient Tiryns!

We’re very excited to share this video with you.

It was wonderful to go back to this archaeological site, even on a day where it was 45 degrees celsius and the cicadas were so loud it was almost deafening!

Having already seen this site, we found that it was just as magical and awe-inspiring now as it was twenty years ago with the dry heat, the golden stones of the cyclopean walls, and the brilliant turquoise expanse of the Gulf of Argos before the distant mountains of the Peloponnese.

It was also good to see that the restoration work has come a very long way, allowing us access to areas we could not see previously, though the famed ‘East Galleria’ was sadly closed to our cameras.

The East Galleria

For those who would like to learn all about the history and mythology of Tiryns, be sure to check out our previous blog post Tiryns: Mycenaean Stronghold and Place of Legend.

It is also worth noting that Tiryns is also one of the major settings in Book 4 of the Mythologia series, The Reluctant Hero: The Story of Bellerophon and the Chimera, which you can check out HERE.

And so, without further ado, Eagles and Dragons Publishing presents our newest mini documentary The Ancient Citadel of Tiryns: A Short Tour.

We hope you enjoy it!

Be sure to subscribe to the Eagles and Dragons Publishing YouTube channel so that you don’t miss any new releases.

Thank you for reading, and thank you for watching.

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