Читаем The Historians' History of the World 06 полностью

In his clothes, shoes, and other parts of his dress, he neither followed the usage of his country, his sex, nor indeed any fashion suitable to a human creature. He would often appear abroad dressed in an embroidered coat set with jewels, in a tunic with sleeves, and with bracelets upon his arms; sometimes all in silks and habited like a woman; at other times in the crepidæ

or buskins; sometimes in a sort of shoes used by the meaner soldiers, or those of women, and commonly with a golden beard fixed to his chin, holding in his hand a thunderbolt, a trident, or a caduceus, marks of distinction belonging to the Gods only. Sometimes too he appeared in the dress of Venus. He wore very commonly the triumphal dress, even before his expedition, and sometimes the breast-plate of Alexander the Great, taken out of the vault where his body lay.

In respect of the liberal sciences, he was little conversant in philology, but applied himself with assiduity to the study of eloquence, being indeed in point of enunciation sufficiently elegant and ready; and these qualities appeared most conspicuous when he happened to be in a passion. In speaking, his action was vehement, and his voice so strong that he was heard at a great distance. When he was about to harangue, he threatened “the sword of his lucubration.” He so much despised a soft smooth style that he said Seneca, who was then much admired, “wrote only boyish declamations,” and that “his language was nothing else but sand without lime.” When pleaders were successful in a cause, he often wrote answers to their speeches; and would exercise himself in composing accusations or vindications of eminent persons that were impeached before the senate; and according to his success he would exasperate or assuage the situation of the party by his vote in the house; inviting the equestrian order, by proclamation, to hear him.

He likewise applied himself with alacrity to the practice of several other arts, as fencing, riding the chariot, singing, and dancing. In the first of these, he practised with the weapons used in fighting; and drove the chariot in circuses built in several places. He was so extremely fond of singing and dancing that he could not refrain in the theatre from singing with the tragedians, and imitating the gestures of the actors, either in the way of approbation or correction. A pervigilium

which he had ordered the day upon which he was slain was thought to be intended for no other reason than to take the opportunity afforded by the licentiousness of such a season to make his first appearance upon the stage. Sometimes he danced likewise in the night. Sending once, in the second watch of the night, for three men of consular rank, who were under great apprehensions from the message, he placed them by the stage, and then all of a sudden came bursting out, with a loud noise of flutes and Scabella
, dressed in a pella and tunic reaching down to his heels. Having danced out a song, he retired. Yet he who had acquired such dexterity in other exercises, could never swim.

Those for whom he once conceived a regard he favoured even to madness. He used to kiss Mnester, the pantomimic, publicly in the theatre; and if any person made the least noise while he was dancing, he would order him to be dragged out of his seat and scourged him with his own hand. A Roman knight once making some bustle, he sent him, by a centurion, an order to go forthwith down to Ostia, and carry a letter from him to King Ptolemy in Mauretania. The letter was comprised in these words: “Do neither good nor harm to the bearer.” He made some gladiators captains of his German guards. He took from the gladiators called Mirmillones some of their arms. One Columbus coming off with victory in a combat, but being slightly wounded, he ordered some poison to be infused into the wound, which he thence called Columbinum. For thus it certainly was put down with his own hand amongst other poisons. He was so extravagantly fond of the party of charioteers that rode in green, that he supped and lodged for some time constantly in the stable where their horses were kept. At a certain revel he made a present of two millions of sesterces to one Cythicus a driver of a chariot. The day before the Circensian games, he used by his soldiers to enjoin silence in the neighbourhood, that the repose of his horse Incitatus might not be disturbed. For this favourite animal, besides a marble stable, an ivory manger, scarlet body clothes, and a bracelet of jewels, he appointed a house, with a retinue of slaves, and fine furniture, for the reception of such as were invited in the horse’s name to sup with him. It is even said that he designed to have made him consul.c

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