Читаем The Historians' History of the World 06 полностью

In order to bring Nero forward, Agrippina caused him to assume the virile toga before the usual age, and the servile senate desired of Claudius that he might be consul at the age of twenty, and meantime be elect with proconsular power without the city. A donative was given to the soldiers, and a congiary (congiarium) to the people in his name. At the Circensian games, given to gain the people, Nero appeared in the triumphal habit; Britannicus in a simple prætexta. Every one who showed any attachment to this poor youth was removed on one pretence or another, and he was surrounded with the creatures of Agrippina. Finally, as the two commanders of the guards were supposed to be attached to the interests of the children of Messallina, she persuaded Claudius that their discipline would be much improved if they were placed under one commander. Accordingly those officers were removed, and the command was given to Burrus Afranius, a man of high character for probity and of great military reputation, and who knew to whom he was indebted for his elevation.


The pride and haughtiness of Agrippina far transcended anything that Rome had as yet witnessed in a woman. When the British prince Caractacus and his family, whom P. Ostorius had sent captives to the emperor, were led before him as he sat on his tribunal in the plain under the prætorian camp, with all the troops drawn out, Agrippina appeared seated on another tribunal, as the partner of his power. And again, when the letting off of the Fucine Lake was celebrated with a naval combat, she presided with him, habited in a military cloak of cloth of gold.

Agrippina at length grew weary of delay, or fearful of discovery. Narcissus, who saw at what she was aiming, appeared resolved to exert all his influence in favour of Britannicus; and Claudius himself, one day when he was drunk, was heard to say that it was his fate to bear with the infamy of his wives and then to punish it. He had also begun to show peculiar marks of affection for Britannicus. She therefore resolved to act without delay.e


TACITUS DESCRIBES THE MURDER OF CLAUDIUS

[54 A.D.]

Claudius was attacked with illness, and for the recovery of his health had recourse to the soft air and salubrious waters of Sinuessa. It was then that Agrippina, long since bent upon the impious deed, and eagerly seizing the present occasion, well furnished too as she was with wicked agents, deliberated upon the nature of the poison she would use: whether, if it were sudden and instantaneous in its operation, the desperate achievement would not be brought to light; if she chose materials slow and consuming in their operation, whether Claudius, when his end approached, and perhaps having discovered the treachery, would not resume his affection for his son. Something of a subtle nature was resolved upon, “such as would disorder his brain and require time to kill.” An experienced artist in such preparations was chosen, her name Locusta; lately condemned for poisoning, and long reserved as one of the instruments of ambition. By this woman’s skill the poison was prepared; to administer it was assigned to Halotus, one of the eunuchs, whose office it was to serve up the emperor’s repasts, and prove the viands by tasting them.

In fact, all the particulars of this transaction were soon afterwards so thoroughly known that the writers of those times are able to recount how the poison was poured into a dish of mushrooms, of which he was particularly fond; but whether it was that his senses were stupefied, or from the wine he had drunk, the effect of the poison was not immediately perceived; at the same time a relaxation of the intestines seemed to have been of service to him. Agrippina therefore became dismayed; but as her life was at stake, she thought little of the odium of her present proceedings, and called in the aid of Xenophon the physician, whom she had already implicated in her guilty purposes. It is believed that he, as if he purposed to assist Claudius in his efforts to vomit, put down his throat a feather besmeared with deadly poison; not unaware that in desperate villainies the attempt without the deed is perilous, while to ensure the reward they must be done effectually at once.

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