The Historians' History of the World 06 [The Early Roman Empire]

SHEPPARD’S ESTIMATE OF THE GLADIATORIAL CONTEST

The gladiatorial combats were, above all things else, the distinctive characteristics of Rome. Rome, in her fallen days, without virtue, without faith, without trust in her gods or in herself, loved, believed in, deified one idol still—Homicide. The butcheries of the amphitheatre exerted a charm upon the minds of men, for which literature, art, philosophy, religion, and the simple enjoyments of domestic life were flung aside. Existence became a frightful phantasmagoria—an alternation of debauch and blood.

The practice itself can be traced back to one of the darkest superstitions of the human mind. It originated in the barbarous instinct of the savage to sacrifice his victim upon the tomb of the dead as a satisfaction, and perhaps as an attendant upon the departed spirit. The example, from whatever source derived, was first set to the Roman people by Marcus and Decimus Brutus, who matched together gladiators in the Forum Boarium, for the purpose of casting unprecedented éclat upon the obsequies of their father, 264 B.C. The seed fell upon fruitful ground, for it soon grew and ripened into a harvest more destructive than the dragon’s teeth of Grecian fable. The wealth and ingenuity of the Roman aristocracy were taxed to the uttermost to content the populace and provide food for the indiscriminate slaughter of the circus, where brute fought with brute and man with man, or where the skill and weapons of the latter were matched against the strength and ferocity of the first. In one day Pompey poured six hundred lions into the arena. Augustus delighted the multitude with the sight of four hundred and twenty panthers. Twenty elephants, Pliny tells us, contended against a band of six hundred Gætulian captives. The games given by Trajan lasted for more than one hundred and twenty days. Ten thousand gladiators descended to combat, and more than ten thousand beasts were slain. Titus, that “delight of the human race,” had upwards of five thousand animals slaughtered in a single day. Every corner of the earth was ransacked for some strange creature whose appearance was hailed with frantic applause by the spectators. We hear of camelopards, white elephants, and the rhinoceros. Scaurus produced upon the stage a hippopotamus and five crocodiles. Game of the nobler sorts became scarce. The Roman populace was as indignant with those who in any way damaged its supplies, as the country sportsman is with a poacher or with the unlucky culprit who has made away with a fox. In the time of Theodosius it was forbidden by law to destroy a Gætulian lion, even in self-defence.

But the death-agonies of the wild animals of the desert were too tame a spectacle to satisfy the Roman thirst for blood. It was when man strove with man, and when all that human strength and skill, increased by elaborate training and taxed to the uttermost, could do, was put forth before their unrelenting eyes, that the transport of their sanguinary enthusiasm was at its height. It is impossible to describe the aspect of the amphitheatre at such a time. The audience became frantic with excitement; they rose from their seats; they yelled; they shouted their applause, as one blow more ghastly than another was dealt by lance, or sword, or dagger, and the life-blood spouted forth. “Hoc habet”—“he has it, he has it!”—was the cry which burst from ten thousand throats, and was re-echoed, not only by a debased and brutalised populace, but by the lips of royalty, by purple-clad senators and knights, by noble matrons, and even by those consecrated maids whose presence elsewhere saved the criminal from his fate, but whose function here it was to consign the suppliant to his doom by reversing the thumb upon his appeal for mercy. His blood was soon licked up by the thirsty sand, or concealed beneath the sawdust sprinkled over it by the ready attendant; his body dragged hastily from the stage by an iron hook, and flung into a gory pit; his existence forgotten, and his place supplied by another and yet another victim, as the untiring work of death went on.

And we must remember that these things were not done casually, or under the influence of some strange fit of popular frenzy. They were done purposely, systematically, and calmly; they formed the staple amusement, I had almost said the normal employment, of a whole people, whose one audible cry was for “panem et circenses”—“bread and blood.” Neither were they fostered by the brutalised habits and associations which surround the cockpit or the prize-ring. When men were “butchered to make a Roman holiday,” it was among all the delicate appliances of the most refined sensualism. An awning, gorgeous with purple and gold, excluded the rays of the midday sun; sweet strains of music floated in the air, drowning the cries of death; the odour of Syrian perfumes overpowered the scent of blood; the eye was feasted by the most brilliant scenic decoration, and amused by elaborate machinery; and, as a crowning degradation to the whole, the Paphian chamber of the courtesan arose beside the bloody den into which were flung the mangled bodies of men and brutes.