VII Galbiana and XIII Gemina; in Dalmatia XI Claudia and XIV Gemina; in Moesia III Gallica, VII Claudia, VIII Augusta.
2 See note above.
TACITUS
THE HISTORIES
TRANSLATED WITH INTRODUCTION AND NOTES
BY
W. HAMILTON FYFE
FELLOW OF MERTON COLLEGE
IN TWO VOLUMES
VOLUME I
OXFORD
AT THE CLARENDON PRESS
1912
HENRY FROWDE
PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, NEW YORK
TORONTO AND MELBOURNE
TO
D. H. F.
'The cause of undertaking a work of this kind was a good will in this scribling age not to do nothing, and a disproportion in the powers of my mind, nothing of mine owne invention being able to passe the censure of mine owne judgement, much less, I presumed, the judgement of others. …
'If thy stomacke be so tender as thou canst not disgest Tacitus in his owne stile, thou art beholding to one who gives thee the same food, but with a pleasant and easie taste.'
Sir Henry Savile (a.d. 1591).
INTRODUCTION
Tacitus held the consulship under Nerva in the year 97. At this point he closed his public career. He had reached the goal of a politician's ambition and had become known as one of the best speakers of his time, but he seems to have realized that under the Principate politics was a dull farce, and that oratory was of little value in a time of peace and strong government. The rest of his life was to be spent in writing history. In the year of his consulship or immediately after it, he published the Agricola and Germania, short monographs in which he practised the transition from the style of the speaker to that of the writer. In the preface to the Agricola he foreshadows the larger work on which he is engaged. 'I shall find it a pleasant task to put together, though in rough and unfinished style, a memorial of our former slavery and a record of our present happiness.' His intention was to write a history of the Principate from Augustus to Trajan. He began with his own times, and wrote in twelve or fourteen books a full account of the period from Nero's death in 68 a.d. to the death of Domitian in 96 a.d. These were published, probably in successive books, between 106 and 109 a.d. Only the first four and a half books survive to us. They deal with the years 69 and 70, and are known as The Histories. The Annals, which soon followed, dealt with the Julian dynasty after the death of Augustus. Of Augustus' constitution of the principate and of Rome's 'present happiness' under Trajan, Tacitus did not live to write.
The Histories, as they survive to us, describe in a style that has made them immortal one of the most terrible and crucial moments of Roman history. The deadly struggle for the throne demonstrated finally the real nature of the Principate—based not on constitutional fictions but on armed force—and the supple inefficiency of the senatorial class. The revolt on the Rhine foreshadowed the debacle of the fifth century. Tacitus was peculiarly well qualified to write the history of this period. He had been the eye-witness of some of the most terrible scenes: he was acquainted with all the distinguished survivors: his political experience gave him a statesman's point of view, and his rhetorical training a style which mirrored both the terror of the times and his own emotion. More than any other Roman historian he desired to tell the truth and was not fatally biassed by prejudice. It is wrong to regard Tacitus as an 'embittered rhetorician', an 'enemy of the Empire', a 'détracteur de l'humanité'.1 He was none of these. As a member of a noble, though not an ancient, family, and as one who had completed the republican cursus honorum, his sympathies were naturally senatorial. He regretted that the days were passed when oratory was a real power and the consuls were the twin towers of the world. But he never hoped to see such days again. He realized that monarchy was essential to peace, and that the price of freedom was violence and disorder. He had no illusions about the senate. Fault and misfortune had reduced them to nerveless servility, a luxury of self-abasement. Their meekness would never inherit the earth. Tacitus pours scorn on the philosophic opponents of the Principate, who while refusing to serve the emperor and pretending to hope for the restoration of the republic, could contribute nothing more useful than an ostentatious suicide. His own career, and still more the career of his father-in-law Agricola, showed that even under bad emperors a man could be great without dishonour. Tacitus was no republican in any sense of the word, but rather a monarchist malgré lui. There was nothing for it but to pray for good emperors and put up with bad ones.
Those who decry Tacitus for prejudice against the Empire forget that he is describing emperors who were indubitably bad. We have lost his account of Vespasian's reign. His praise of Augustus and of Trajan was never written. The emperors whom he depicts for us were all either tyrannical or contemptible, or both: no floods of modern biography can wash them white. They seemed to him to have degraded Roman life and left no room for virtus in the world. The verdict of Rome had gone against them. So he devotes to their portraiture the venom which the fifteen years of Domitian's reign of terror had engendered in his heart. He was inevitably a pessimist; his ideals lay in the past; yet he clearly shows that he had some hope of the future. Without sharing Pliny's faith that the millennium had dawned, he admits that Nerva and Trajan have inaugurated 'happier times' and combined monarchy with some degree of personal freedom.
There are other reasons for the 'dark shadows' in Tacitus' work. History to a Roman was opus oratorium, a work of literary art. Truth is a great but not a sufficient merit. The historian must be not only narrator but ornator rerum. He must carefully select and arrange the incidents, compose them into an effective group, and by the power of language make them memorable and alive. In these books Tacitus has little but horrors to describe: his art makes them unforgettably horrible. The same art is ready to display the beauty of courage and self-sacrifice. But these were rarer phenomena than cowardice and greed. It was not Tacitus, but the age, which showed a preference for vice. Moreover, the historian's art was not to be used solely for its own sake. All ancient history was written with a moral object; the ethical interest predominates almost to the exclusion of all others. Tacitus is never merely literary. The σεμνότης which Pliny notes as the characteristic of his oratory, never lets him sparkle to no purpose. All his pictures have a moral object 'to rescue virtue from oblivion and restrain vice by the terror of posthumous infamy'.2 His prime interest is character: and when he has conducted
