Читаем The Historians' History of the World 06 полностью

A most extraordinary man, then, was this foremost citizen of the new Roman state. But nothing about him is more extraordinary than the view regarding him that has been entertained by posterity. He has been almost uniformly regarded as not a man of the very first capacity,—as an opportunist rather than a creative leader. He held the world under the sway of his will for almost half a century, and was never so autocratic in his power, so securely fixed in his position, as at the hour of his death. He found Rome brick and left it marble; he found the Roman state an inchoate, wavering commonwealth, and left it a peerless empire. Yet the world has denied him the title of “great”; is disposed to deny him even the possession of genius.

Perhaps a partial explanation lies in the fact that we demand always a certain theatrical quality in a man of genius. It has been suggested by an eminent historian (Professor Sloane) that a great man has usually a capacity for inordinate wickedness, as well as for consummate greatness. Alexander loses control of himself on occasion, and in his frenzy kills his friend. Hannibal spends his whole life under the spell of a sworn hatred. Cæsar stops at nothing to attain his selfish ends. In modern times your Frederick, your Napoleon, is not called great because of any moral quality. Public taste seems to demand a rounded character in its favoured heroes: it likes the piquant flavour of immorality. In every direction your hero must be measured by other standards than ordinary mortals.

But the life of Augustus is keyed to the tone of a passionless moderation. He is all judgment, no emotion. Between the courses at dinner he listlessly plays games that he may not be annoyed by the persiflage of the jesters who are there to amuse his guests. And he plays the game of life in the same fashion. One cannot imagine him excited, enthusiastic, angry even. He might, indeed, commit a crime, but it would be a carefully measured crime, dictated by policy: not a crime of passion. Even in his liaisons, it was said of him that his chief ambition was to learn the real sentiment of those about him through their wives, rather than merely to gratify a personal appetite.

But it must not be forgotten that Augustus, had he not been such a man as this, could not have accomplished the work he did. Had he been full of enthusiasms he would have antagonised too many people; would have made too many powerful enemies; would have invited the fate that befell the man of genius whose nephew he was, and by whose good example he profited. Yet, after all, the measure of capacity is success, and it seems a grudging estimate which withholds the title of “great” from the man who changed the entire complexion of the civilised world and put his stamp indelibly upon the centuries.

But whether genius or not in the ordinary acceptance of that loosely applied and somewhat ambiguous word, there is one regard in which Augustus need fear comparison with no leader of any age: in practical statecraft, judged by its result, he has no superior. In a pre-eminent degree he was able to isolate himself from his environment; to visualise the political situation; to see his fellow-men through the clear medium of expediency, undistorted by any aberration of passion or of prejudice. To the theatrical quality of personal vanity, from which Cæsar was by no means free, Augustus was an entire stranger. Because he was master of his own ambition, he came to be master of the world. If because of his placid logicality, posterity has been disposed to speak slightingly of his genius, the same quality won him at least an unchallenged position as the most consummate master of practical politics.a

FOOTNOTES

[5] The Romans, at their feasts, during the intervals of drinking, often played at dice, of which there were two kinds, the tesseræ

and tali. The former had six sides, like the modern dice; the latter, four oblong sides, for the two ends were not regarded. In playing, they used three tesseræ and four tali, which were all put into a box wider below than above, and being shaken, were thrown out upon the gaming board or table.

[6] Municipia were foreign towns which obtained the right of Roman citizens, and were of different kinds. The municipia used their own laws and customs; nor were they obliged to receive the Roman laws unless they chose them.

[7] [Modern historians have much to say of the “disguised monarchy” of Augustus. But probably the Romans were not so blind as to the character of the Augustan constitution as are now the historians. The government was in reality a compromise between republic and monarchy—a compromise made easy to the Romans by their habit of investing magistrates, especially extraordinary magistrates, with vast powers. The republic was for Rome and Italy, the monarchy for the provinces. This form of government Mommsen aptly terms a dyarchy.]



Перейти на страницу:

Похожие книги

MMIX - Год Быка
MMIX - Год Быка

Новое историко-психологическое и литературно-философское исследование символики главной книги Михаила Афанасьевича Булгакова позволило выявить, как минимум, пять сквозных слоев скрытого подтекста, не считая оригинальной историософской модели и девяти ключей-методов, зашифрованных Автором в Романе «Мастер и Маргарита».Выявленная взаимосвязь образов, сюжета, символики и идей Романа с книгами Нового Завета и историей рождения христианства настолько глубоки и масштабны, что речь фактически идёт о новом открытии Романа не только для литературоведения, но и для современной философии.Впервые исследование было опубликовано как электронная рукопись в блоге, «живом журнале»: http://oohoo.livejournal.com/, что определило особенности стиля книги.(с) Р.Романов, 2008-2009

Роман Романов , Роман Романович Романов

История / Литературоведение / Политика / Философия / Прочая научная литература / Психология
100 величайших соборов Европы
100 величайших соборов Европы

Очерки о 100 соборах Европы, разделенные по регионам: Франция, Германия, Австрия и Швейцария, Великобритания, Италия и Мальта, Россия и Восточная Европа, Скандинавские страны и Нидерланды, Испания и Португалия. Известный британский автор Саймон Дженкинс рассказывает о значении того или иного собора, об истории строительства и перестроек, о важных деталях интерьера и фасада, об элементах декора, дает представление об историческом контексте и биографии архитекторов. В предисловии приводится краткая, но исчерпывающая характеристика романской, готической архитектуры и построек Нового времени. Книга превосходно иллюстрирована, в нее включена карта Европы с соборами, о которых идет речь.«Соборы Европы — это величайшие произведения искусства. Они свидетельствуют о христианской вере, но также и о достижениях архитектуры, строительства и ремесел. Прошло уже восемь веков с того времени, как возвели большинство из них, но нигде в Европе — от Кельна до Палермо, от Москвы до Барселоны — они не потеряли значения. Ничто не может сравниться с их великолепием. В Европе сотни соборов, и я выбрал те, которые считаю самыми красивыми. Большинство соборов величественны. Никакие другие места христианского поклонения не могут сравниться с ними размерами. И если они впечатляют сегодня, то трудно даже вообразить, как эти возносящиеся к небу сооружения должны были воздействовать на людей Средневековья… Это чудеса света, созданные из кирпича, камня, дерева и стекла, окутанные ореолом таинств». (Саймон Дженкинс)

Саймон Дженкинс

История / Прочее / Культура и искусство