Building an Empire – Romes Masters

Gnaeus Pompeius Magnus
Gnaeus Pompeius Magnus

Rome were masters, there is no doubt about that. Their ingenuity and blood thirst make up the architectural mortar throughout the region. Pompey was a likable fellow and I enjoyed reading about him. The Temple Theater, as Pompey liked to call it, in another of his tricky encapsulations, embodies all that is Roman. It just appears that Pompey had the gaul (pardon the pun), to boldly proclaim himself messianic, without actually saying the words. Most grand orchestrations created across Rome’s colonised empire enfold political, combatant, humoristic, blood styles, amongst others, as these endowments were that which Rome was.

[youtube]http://www.youtube.com/watch?v=AFmk-RCGlVA‎[/youtube]

Author, Welch concludes that many architectural styles are distinctly Roman decorative, Wall paintings, Atrium’s, columns etc… but I would say that his depictions are a little flawed in that Rome assimilated: spoils of War, borrowed stylisations from other ‘cultures’ (I say cultures in a manner of the arts and Architecture here) and displayed stolen Art works etc that were not theirs, but assimilated into their cultural makeup and became theirs, as most spoils of war eventually do. The most aesthetic artistic pieces that come to mind would be ‘the back part of Rome’s aristocratic atrium houses.’

[youtube]http://www.youtube.com/watch?v=P6h4BYEInH8[/youtube]

Karen

Opinion: Cato the Elder by Plutarch

Commonly referred to as Censorius (the Censor), Sapiens (the Wise), Priscus (the Ancient), or Major, Cato the Elder, or Cato the Censor, (to distinguish him from his great-grandson, Cato the Younger) known for his conservatism and opposition to Hellenization.
The telling of Cato the Elder by Plutarch, a Greek historian and biographer (C.A.D. 46-120) (Platzner, 2008), reveals not only Cato the man, his virtues, or the lack there of, but also a bias introduced into Plutarchs storytelling. His sources are suspect as he is noted for observation and criticisms rather than critical analysis. Plutarchs depiction of Cato appears to be that of a man’s covetous wanting, rather than that of a detached observer (Duckworth, 2002).

[youtube]http://www.youtube.com/watch?v=zIbmN6Cr64k[/youtube]
These being the case, Plutarch’s observations are more emotional than consistent with his observations, unstable and predetermined, being that a Greek was documenting the heroic, or not, exploits of a great Roman Soldier. It appears that Plutarch was unable to draw into his perception surrounding his own world view, the fact that a man such as a Roman warrior was able to forgo fortune and favour, and pursue a life of service and quite possibly, the prospect of immortality, or maybe even godhood, which was quite possible with Roman Law (Republic, 2011).

The ten best quotes by the ancient Roman statesman Cato the Elder! (234 BCE – 149 BCE) See all quotes by Cato
Cato was a consul and Lawyer as well as the valiant soldier, one Plutarch himself describes, even though he delivers this idealism through a veil of disbelief and posturing. Cato could have achieved immortality or godhood, I do not yet know, but all of Plutarch’s ideals, placed upon Cato the Elder, achieved an immortalisation of this Roman soldier, whether intentional or not.

[youtube]http://www.youtube.com/watch?v=JB732wBSTvw[/youtube]
Karen

Works Cited:
Duckworth, C. P. (Ed.). (2002). Plutarch – Fall of the Roman Republic, Revised edition. (R. S. Rex Warner, Trans.) Wales & Duckworth: Penguin Books.
Platzner, S. L. (2008). Introduction to Greek Myth: Distionctive Qualities of Greek Literary Myth. In S. L. Platzner, Classical Mythology: Images and Insights (5th ed., pp. 21-22). Sacramento: California State University.
Republic, H. -T. (2011, June 13th). Lecture 1. Macquarie University, Sydney, Australia.