Dating in ancient Rome

First, no — this post is not about Ovid’s elegiac how-to guide Ars Amatoria (‘Art of Being a Lover’), entertaining as that volume is. Rather, it is about how ancient Romans wrote what day, month, and year it is. We all think that writing a date is a fairly simple, straightforward task, whether you write 9 July 2017 in the UK or July 9, 2017 in Canada, or 09.07.2017 or 2017.07.09. However you slice it, a modern date is a pretty tame creature, even if the engineers get up in arms about how other people choose to write it numerically. It wasn’t so straightforward in the ancient world.

The topic has been at the heart of the past week of mine at work, as I looked through papal letters and imperial laws from the pontificate of Leo the Great (440-461) on the one hand and the reigns of the Emperors Majorian (457-61) and Leo (457-74) on the other. And yes, there are letters between the two Leos (Leones!), addressed: ‘Leo episcopus Leoni augusto in domino salutem.‘ — ‘Bishop Leo to Emperor Leo, greetings in the Lord.’ One such letter from Leo to Leo (Ep. 165) is dated thus:

Data decimo sexto kalendas Septembris, Leone et Majoriano Augustis coss.

Given on the sixteenth day before the kalends of September when Emperors Leo and Majorian were consuls.

I don’t have all my notes with me, but I suspect that in the manuscripts that probably looked more like, ‘Data XVI kal. Sept, Leone et Maiuriano Augg coss‘. We would write that as 17 October 458. The basic elements of a Roman date are all there.

Rather than writing the day of the month by which number of day it is, as 17 October, ancient Romans counted backwards from three different days — the kalends (first of the month), the nones (sometimes the seventh, sometimes the fifth), or the ides (sometimes the 15th, sometimes the 13th). Usually, the ides fall on the 13th. However, in March, July, October, and May the ides fall on the 15th day. Nine days before the ides come the nones, thus either the seventh or fifth.

Wait, you say. How is the seventh nine days before the fifteenth? Isn’t it only 8?

Ah, well here’s where we move along to the next part. Not only are you counting your days before one of these three specially-marked days of the month, as a Roman, you count inclusively. Therefore, it is not simply the difference as in arithmetic they taught you in Grade 1. The current day and the day you look ahead to are both included. So the number becomes one greater than anticipated.

This was even a bit weird for the Romans on the day before, so rather than saying that the final day of a month was two days before the kalends of the next, they simply said, ‘pridie’, ‘the day before’ (in essence).

I can assure you I spend a lot of time counting backwards on my fingers or writing the days of the month out to be sure I get the inclusive reckoning right whenever I convert a number into the modern system.

So, today is 9 July 2017. The ides of July are the 15th, so to day is 7 days before the ides of July.

So at least Romans had a way of reckoning dates that they agreed on.

What about years? Well, in 458, people had made a few calculations of their own as to when what we would call the BC or BCE to AD or CE crossover occurred (that is, the birth of Jesus). They were also largely united that what we now call 753 BC was the foundation date of Rome. Some people writing chronicles would actually date things from the creation of the world as calculated in Genesis. Others didn’t. In 457, Victorius of Aquitaine decided to start his Easter Tables (for reckoning when Easter had and would fall) with Year 1 as the crucifixion  — which he dated to our AD 28. This is perfectly logical, since there was no Easter before that.

Anyway, our dear friend Dionysius Exiguus, the bilingual monk from Scythia who did a lot of work on canon law and his own Easter tables, wasn’t around for about 75 years yet, in 458. His Easter Tables and related matter are what set the AD/BC turning point as we know it, as he dated the nativity of Jesus to AD 1 (there is no year 0). And his numbers for the years were not suddenly adopted as the standard way of telling which year it was. I don’t know how long that took, but it was a secondary aspect of his work.

Regardless of what number of year it would have been, not everyone agreed, and not everyone numbered the year. Then how did you know which number of year it was in ancient Rome?

The consuls.

The consuls of Rome were originally the highest-ranking magistrates, elected from the Senate. There were two consuls every year, and they originally had particular powers and authority in terms of proposing and passing laws. Obviously, with the arrival of the emperors with Augustus, they lost most of their real power.

One thing that they always did, however, was give their names to the year. Thus, one could refer to the consulship of Cicero and Hybrida (63 BC). There is a big list of all the consuls here. This way of naming years was not unique to the Romans. The Athenians also did it, naming years after the magistrate called the archon.

Naming the year becomes one of the biggest functions of the Late Antique consul. And people would put together big, unofficial lists of consuls to keep track of the years, sometimes with events slotted in.

This practice can have numerous ramifications for all sorts of things, of course. That’s why I’m taking an interest in it, particularly the year 458. Not that we have time to deal with my research now.

Anyway, I thought I’d share with you one of those small yet distinctive ways in which we and the Romans differ.

An allusion to Leo the Great in Anselm of Canterbury

Anselm; image from Wikipedia

Today I found a convergence between my current reading and my Ph.D. (plus my 2016 article in Studia Patristica). Anselm of Canterbury, in his philosophical discussion of the ‘supreme essence’, and shortly before attempting to use logic to prove the Trinity (a dubious task at best), writes:

Videtur ergo consequi ex praecedentibus quod iste spiritus, qui sic suo quodam mirabiliter singulari et singulariter mirabili modo est, quadam ratione solus sit, alia vero quaecumque videntur esse, huic collata non sint. (Monologion 28)

Therefore, it seems to follow from the preceding that that spirit, who exists in a certain marvellously singular and singularly marvellous way, for some reason, exists alone; although everything else seems to exists, it does not exist compared to it [that is, the supreme essence].

The phrase that catches the eye is, ‘mirabiliter singulari et singulariter mirabili‘, which I have translatedm ‘marvellously singular and singularly marvellous.‘ Although in the ablative, this is a direct quotation of Leo’s Tome (Ep. 28):

singulariter mirabilis et mirabiliter singularis

It’s a nice turn of phrase, a happy little chiasmus. The context of the phrase is different in Leo; he is talking about the Incarnation, that Christ’s birth was ‘singularly marvellous and marvellously singular’. Singularis could also be translated as unique.

Is the allusion conscious? I do not know. It is clear, however, that Leo’s most famous dogmatic letter is part of Anselm’s reading list. One of the points made by Jean Leclercq’s classic work, The Love of Learning and the Desire for God is the fact that monastic writers tend to make allusions to and quote classical and patristic authors almost unconsciously. Their formation as monks, their study of grammatica, was filled with those authors considered to be the best stylists by the medieval monks, both pagan and Christian: Vergil, Ovid, Horace, Cicero, Augustine, Jerome, Gregory the Great. Beauty is an attribute of God; therefore, even Ovid is worth reading because he is beautiful.

Anselm was the principal teacher at the monastery of Bec, 1063-1078. In 1078 he was made abbot. The Monologion whence comes the Leonine allusion under consideration was his first major work, published, he says, at the insistence of his students. His Proslogion would follow as well as De Grammatico. All of these works show the imprint of the school room and the necessity to teach grammar and literature to students and young monks.

As a result of his textual immersion in the ancient pagans and church fathers, Anselm’s mind was formed by more than just logic. It was shaped by Latin, by the art of teaching grammar. These texts would be imprinted on his mind and heart by constant reference to them, time and again. The Tome of Leo, I am given to understand, has often been monastic reading at Christmastide. I wonder if such was the case at Bec in the 1060s?

Anyway, Anselm is trying to demonstrate the logic of belief in God using pure reason. It is an almost impossible task, especially when you start to spot the Platonist assumptions that lie behind some of his premisses. Nonetheless, this naked approach to discussing God was not always well met by his contemporaries. His teacher Lanfranc, having moved on to the Archbishopric of Canterbury (a position Anselm would hold himself), criticised the Monologion for not making reference to Augustine of Hippo.

Yet I have no doubt it does, in the sense of allusion. It alludes to Leo the Great. Augustine is a much bigger source for medieval thought than Leo, although Leo is important for setting the boundaries of belief held by catholic churchmen.

What does the allusion to Leo mean? Obviously the Tome is Anselm’s intertext. That is easy. And no doubt throughout, his bare logic is interwoven with other intertexts I have not seen. For Leo, it is (to borrow a phrase from G.K. Chesterton, The Thing) the ‘stereoscopic vision of the two natures of Christ’ that holds his vision and guides his meditation. Leo does not necessarily work from logic; indeed, the chief complaint from Leo’s posthumous adversary, Severus of Antioch, is that Leo does not use logic well enough and falls into heresy. Leo’s argument is driven by rhetoric, by an innate sense of western catholic thought, by scriptural authority.

Anselm, on the other hand, is driven by logic. Moreover, this meditatio that he has produced is a sustained reflection on the nature of divinity and deducible by logic. Leo and Augustine intrude not as conscious sources but as unconscious guides. By transplanting the Leo quotation from the context of the Incarnation to the context of the divine essence, to the realm of logic and pure theology, Anselm has elevated the phrase to the highest heights of the seventh heaven, beyond even the primum mobile. His mind is not bound by the original use of the phrase, and he takes what is a lovely rhetorical device and deploys it in the midst of an exercise in logic that tires the modern mind.

This allusion to Leo’s Tome sets out for us precisely what sets Anselm apart. He is so thoroughly steeped in the classical-Christian Latin tradition of Bec’s school room that when he engages in the philosophy of religion and seeks to use logic alone to prove the core dogmas of catholic thought, he cannot help bringing with him these monastic and classical and, indeed, dogmatic intertexts. He is a man of two worlds; not yet a scholastic but strongly contrasted with the poetic monastic discourses of Bernard of Clairvaux in a few decades.

The 12th century

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The Ambulatory at St-Denis, the birth of Gothic architecture

Every once in a while you are confronted with ‘important’ periods in history — 135 BC to AD 14, for example, takes us through the collapse of the Roman Republic to the death of Augustus, the first Emperor. Or the fourth century, with the continuation of Diocletian’s reforms, Constantine’s conversion to Christianity, the various church councils and associated theologians, all culminating in what Peter Brown calls the ‘second’ Golden Age of Latin literature. Or the 16th century, an age of Reformation and print and philosophy and war.

The 12th century is similarly important, especially its middle decades.

The final year of the 11th century is the year the Crusaders took Jerusalem. The final decades of 1000s also saw the Investiture Controversy and the Gregorian Reform, which continued beyond 1100 and adjusted the balance of secular and ecclesiastical power in Europe. In the midst of this is St Anselm (1033-1109), whose Cur Deus Homo was completed in the year 1100; this brilliant logician and theologian was to die in 1109.

Not that Latin theology was left with no new lights in the upcoming decades — St Bernard of Clairvaux (1090-1153) helped drive forward the new Cistercian Order and is a high point in western mysticism, particularly his sermons on the Song of Songs, begun in 1135; he is often called the Last of the Fathers and is a ‘Doctor’ of the church. Bernard sharpened his wit in intellectual combat against Peter Abelard (1079-1142), who is an early ‘scholastic’ theologian (whereas Bernard was a monk) who was more given over to Aristotle than to Plato, to logic than to mysticism, and who was involved in the methodological revolution in the universities that we call ‘Scholasticism’.

Abelard was important and is known even to non-medievalists today, often because of his relationship with Heloise and their illegitimate son, Astrolabe (we have even a Penguin Classics translation of their letters!). However, some of his controversial conclusions were rejected by the succeeding tradition; one of his successors, Peter Lombard (1100-1160), on the other hand, wrote what would become the standard textbook of theology for the Middle Ages, the Sentences (1147-50), on which the luminaries of the next century, such as St Thomas Aquinas (1225-1274), would write commentaries. Although his orthodoxy, like Abelard’s, was challenged, his memory was acquitted at the Lateran Council of 1215.

Around the same time as Peter Lombard’s greatest work and the mystical masterpieces of St Bernard, but in the final years of Abelard, Gratian wrote his Decretum — or, rather, ‘Concord of Discordant Canons’. This is one of the most influential works of canon law from the Middle Ages, drawing together the various sources of the law under systematised headings and providing Gratian’s own dicta to sort out the discrepancies between. It is at once a source for canon law, a juristic text for legal principles, as well as a study in Christian sacraments. The Decretum is a wondrous piece of 12th-century learning, born in the university at Bologna in 1139 with final edits in the 1140s. Like Lombard’s Sentences it would become a standard textbook for the rest of the Middle Ages.

These are what initially inspired me to write this post. Nonetheless, this is also the century of the birth of Gothic art under the vision of Abbot Suger of St-Denis; the great architecture of Norman Sicily comes this century as well. Towards the end of the century the Nibelungenlied — Germany’s great vernacular epic — was written (I’ve blogged on it here often in the past). The latter half of the century also sees Chrétien de Troyes (1130-1191), Marie de France (fl. 1160-1215), and Hartmann von Aue (1160-1210s). This the century of that medieval stereotype, the troubadour.

No piece about the twelfth century should go without mentioning the dubiously historical work of Geoffrey of Monmouth (1095-1155), that famous History of the Kings of Britain was written, including many famous tales of King Arthur. More reliable was William of Malmesbury (1095-1143), who wrote several important works of English history in Latin prose.

One could go on. It’s interesting to see these convergences, especially the significant pieces written 1140-60.

A moment in Gregory of Tours illustrating canon law textual criticism

This event in Gregory of Tours came up over lunch with a friend, so I thought I’d re-post it for your reading pleasure.

The Wordhoard

Gregory of Tours and Salvius of Albi before Chilperic I Gregory of Tours and Salvius of Albi before Chilperic I

In his History of the Franks, (written ca. 593/4) 5.18, Gregory (Bishop) of Tours provides a lengthy description and discussion of the trial of Praetextatus, Bishop of Rouen, by King Chilperic who was accusing Praetextatus of colluding with Chilperic’s enemies and selling/giving away some of the king’s goods for his own profit. Eventually, despite Gregory testifying in the trial as to Praetextatus’ innocence, and the worthiness of Praetextatus’ testimony, some of Chilperic’s cronies trick Praetextatus into making a confession that he had colluded with Chilperic’s son Merovech to have Chilperic murdered. Praetextatus’ hope was that he would receive mercy and clemency from the king.

King Chilperic, unfortunately, was operating to please his wife Fredegund. And if a Frankish king or lord is ever doing something nasty because of his wife or mistress in Gregory’s History, he will see…

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The Durham Gospels

It’s been a while since I blogged about a manuscript. Today, I came across this blog post about the curious fact that the Durham Gospels — Durham Cathedral Manuscript A.II.17 — has five folios numbered 38! The post also includes an image from the Durham Gospels of Christ crucified, from folio 38v3. I think I read the Creative Commons Licence correctly, so here is the image:Not, I admit, the Lindisfarne Gospels, but, interestingly enough, of similar date (eighth century). Hugh Houghton says that both manuscripts ‘may have been produced in the same place, and the same corrector made alterations to both manuscripts.’ (The Latin New Testament, 73)

It’s probably just the coincidence of colours, but this page in toto reminds me of the Book of Kells (late eighth century), if less full-on. It is a common enough artistic conceit — the cross divides the page into quarters, in which we find angels. Sometimes we find the four beasts of the Apocalypse, in fact. Here, the top two quadrants have angels facing out, the bottom two have the soldiers, one with a spear, and one with the sponge of gall reaching up to Christ’s mouth in the image above. The historical and spiritual intersect; time is transcended, as in the world of Ephrem the Syrian.

Before the Gothic era, the Cross was the triumphant throne of Christ in mediaeval art (think on the Anglo-Saxon Dream of the Rood). He does not hang limp and lifeless here but stands enthroned between the angels (cherubim?). The full image is here; note that, since the Durham Priory Library Recreated Project uses IIIF, you can modify the contrast and brightness of the image using the ‘Toggle image manipulation’ button on the left, below the speech balloons. This will really help with being able to see the details of this particular page.

Not many images survive in the Durham Gospels, although the opening page of the Gospel of John is strikingly similar to the Lindisfarne Gospels:

The rest of the images seem to be the sort of illuminated initials that even canon law books get in an Insular context.

Textually, this is the Latin Vulgate but of a different tradition from the Lindisfarne Gospels.

Manuscripts such as this are important pieces of material culture and the visual arts from the age whence they come. It is clearly part of the cultural milieu of the Lindisfarne Gospels, written in a similar book hand with similar illustrations. It has been dated to the era of Bede, the Dream of the Rood, and the Ruthwell Cross. Since so few buildings survive from this era in England — having been rebuilt in Romanesque or Gothic style later on — a manuscript such as this takes on even greater importance.

Review: ‘As Kingfishers Catch Fire’, a small anthology of Gerard Manley Hopkins

As kingfishers catch fire (Penguin Little Black Classics #2)As kingfishers catch fire by Gerard Manley Hopkins
My rating: 3 of 5 stars

I have to confess that I find a certain amount of Hopkins’ poetry incomprehensible. Nonetheless, there is a certain beauty to it, even though it is not my cup of tea. This is why I give the book only 3 stars: I acknowledge its artistic merit, simultaneously admitting my own lack of deep appreciation for Hopkins’ work.

That said, some of the imagery is lovely and striking. And his use of language for oral effects — that is, assonance and alliteration — works well. Some of his techniques are things I toy with in my secret pastime writing poetry — disjunction, piling up of adjectives, what-have-you. These sentence fragments. He also has a tendency to write run-on sentences and he makes liberal use of
enjambment.

I am especially fond of ‘Spring’. The descriptions of the created order from his journals were also pleasant and striking. My wife likes to say that creation is God’s first temple, and Gerard Manley Hopkins, S.J., has captured the essence of that statement.

What resounded in me here was the poetry of despair. Not that I am, myself, a person in much despair or who has plumbed the depths of human misery. But consider the life of a Jesuit who felt such darkness yet remained faithful to the end.

This brings me to the fact that some of the 1-star reviews cite how ‘religious’ the poetry is as a reason they didn’t like it. All I have to say is if you find this particular selection of Gerard Manley Hopkins too religious, you have had little contact with religious poetry, and will probably shrink in revulsion from Donne, Herbert, Milton, and even a certain amount of Blake and Christina Rossetti, not to mention a huge quantity of medieval English verse (setting aside continental vernaculars, Latin, and Greek). There is, perhaps, a spiritual/religious sense or feeling to the poetry of Hopkins, but beyond references to Christ, Saviour, God, the Virgin, nothing of dogma or doctrine.

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The thin grasp of reality (Ray Bradbury’s poetic SF)

In my first year of undergrad, I was deeply offended by a dismissive sentence in my English lit textbook, setting aside all ‘genre fiction’ — mysteries, science fiction, fantasy, horror — as not being for the literati or being great, interpretive, artistic literature. It’s been 15 years, so I honestly don’t recall the wording. But something to that effect.

I was offended, of course, because I was 18 and a science fiction and fantasy fan, and all 18-year-olds are easily offended by people who challenge the stuff they like. Nonetheless, even if a lot of SF is pure escape (which may still be art, after all), a lot of it is also great literature. If only more people read it!

I am slowly, one story every once in a while, working my way through Ray Bradbury, Stories, Vol. 1. Whenever anyone disregards the entire genre of science fiction, dismisses it with a sniff, looks down his’er nose at it in scorn, I think fondly on Ray Bradbury and his poetic science fiction. This morning, I read his story ‘No Particular Night or Morning’. This is a snapshot of life aboard a rocket ship in the vast emptiness between the stars. One character, Hitchcock, has started to lose his grip on reality. If he can’t see it, can he know it’s real? Does earth exist — has it ever existed? The sun? Yesterday?

Soon, he begins to doubt the very fabric of the present moment. Are the people in the next room real? Is his friend Clemens, standing in front of him, real? How can Clemens prove his reality to Hitchcock?

One of the things that makes good science fiction very good is when it is a story that needs its imagined context. That’s a tall order at times. One could imagine a similar story to this aboard a sea vessel. Yet in the sea there is still day and night. In space, there is nothing but an endless night. The psychological effects of long-term, interplanetary space travel would probably be grievous. But they are rarely explored in the staples of our SF diet, not in Star Trek, barely in Battlestar Galactica.

You can read this story as just a psychological thrill, the horror of deep space.

But it penetrates to one of the big questions of human existence, interstellar or earthbound.

How do we know what is real? Why do we trust our memories? Why do we trust our senses? Why trust our reason? Indeed, can we trust our memories, senses, reason? Pontius Pilate comes to haunt us, ‘What is truth?’

Ray Bradbury thus brings us from simple entertainment to the horrors of our own inner life, into the realm of psychology, philosophy, theology. This is the sub-branch of philosophy called epistemiology.

How do you know you are real? How do you know that I am real? Least real of all, this digital life. Go feel the sun, kiss your children, eat some pie. Hope that it’s real before it’s all gone…