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Lucius Tarquinius Superbus (died 495 BC) was the legendary seventh and final king of Rome, reigning from 535 BC until the popular uprising in 509 that led to the establishment of the Roman Republic. He is commonly known as Tarquin the Proud, from his cognomen Superbus (Latin for 'proud, arrogant, lofty'). Lucius Tarquinius Superbus, last king of Rome, being engaged in the siege of Ardea, sent his son, Tarquin, on a military errand to Collatia.Tarquin was received with great hospitality at the governor's mansion, home of Lucius Tarquinius Collatinus, son of the king's nephew, Arruns Tarquinius, former governor of Collatia and first of the Tarquinii Collatini.
Main article:Brutus was the son of, daughter of Rome's fifth king and sister to Rome's seventh king Tarquinius Superbus.According to Livy, Brutus had a number of grievances against his uncle the king. Amongst them was the fact that Tarquinius had put to death a number of the chief men of Rome, including Brutus' brother.
Brutus avoided the distrust of Tarquinius's family by feigning that he was slow-witted (in Latin brutus translates to dullard).He accompanied Tarquinius's sons on a trip to the. The sons asked the oracle which of them was going to be Rome's next king. The Oracle of Delphi responded that the first among them to kiss their mother 'shall hold supreme sway in Rome.' Brutus interpreted 'mother' to mean, so he pretended to trip and kissed the ground.Brutus, along with, and were summoned by to after she had been raped by, the son of the king Tarquinius Superbus.
Lucretia, believing that the rape dishonoured her and her family, committed suicide by stabbing herself with a dagger after telling of what had befallen her. According to legend, Brutus grabbed the dagger from Lucretia's breast after her death and immediately shouted for the overthrow of the Tarquins.The four men gathered the youth of Collatia, then went to Rome where Brutus, being at that time, summoned the people to the forum and exhorted them to rise up against the king. The people voted for the deposition of the king, and the banishment of the royal family.Brutus, leaving Lucretius in command of the city, proceeded with armed men to the Roman army then camped at. The king, who had been with the army, heard of developments at Rome, and left the camp for the city before Brutus' arrival. The army received Brutus as a hero, and the king's sons were expelled from the camp. Tarquinius Superbus, meanwhile, was refused entry at Rome, and fled with his family into exile.
The Oath of Brutus According to Livy, Brutus' first act after the expulsion of was to bring the people to swear an oath never to allow any man again to be king in Rome. The Lictors Bring to Brutus the Bodies of His Sons by, 1789Lucius Junius Brutus is quite prominent in English literature, and he was quite popular among British and American Whigs.A reference to L. Brutus is in the following lines from Shakespeare's play, (Cassius to Marcus Brutus, Act 1, Scene 2).' O, you and I have heard our fathers say, There was a Brutus once that would have brookt Th'eternal devil to keep his state in Rome As easily as a king.' One of the main charges of the senatorial faction that plotted against after he had the declare him for life, was that he was attempting to make himself a king, and a co-conspirator, enticed Brutus' direct descendant, to join the conspiracy by referring to his ancestor.L.
Brutus is a leading character in Shakespeare's and in 's tragedy (1680),.In, the protagonist Nanki-poo refers to his father the Emperor as 'the Lucius Junius Brutus of his race', for being willing to enforce his own law even if it means killing his son.The memory of L. Brutus also had a profound impact on Italian patriots, including those who established the ill-fated in February 1849.Brutus was a hero of during the and periods. In 1789, at the dawn of the, master publicly exhibited his politically charged masterwork, to great controversy.The profile of Lucius Junius Brutus is on a coin that was minted by following the assassination of. See also.References.
Crawford, Roman Republican Coinage, pp. 455–456.,.,. Davies, Norman (19961998) Europe. New York NY, Harper Perennial pg.
113.,.,.,., ed. R.S Conway & C.F. Walters (Oxford, 1914),. Livy, 'Ab urbe condita'.,.,.,.,.
(1980). New York: Harper & Row. Retrieved 2018-02-04.Bibliography., Roman Republican Coinage, Cambridge University Press, 1974.External links.
Media related to at Wikimedia Commons.Political officesPreceded byNew creationof thewiththen with (suff.)509 BCSucceeded by(suff.) and (suff.)509 BC.
Contents.Early Life and Marriage Lucretia is the daughter of and wife of. Prior to the rape, while her husband was an man of excellent social standing, he had no political power or standing in Rome. He lacked both the power and the wealth of his Tarquinius relatives. Her marriage was depicted as being the ideal Roman marriage as both Lucretia and Lucius were faithfully devoted to one another. She was described as beautiful and virtuous by Roman writer Livy. While her husband was away at battle, Lucretia would stay at home and pray for his safe return.
Similar to Livy, ' depiction of Lucretia, separates her from the rest of Roman women in a story about the men returning home from a battle. The narrative begins with a bet between the sons of Tarquinius and their kinsmen,. The men fight over which of their wives best exemplified. The men return home to find the women socializing with each other, presumably drinking and in conversation. In contrast, they find Lucretia home alone working with her wool in silence. Roman writers such as Livy, Ovid and Dionysus, described Lucretia as being the role model for Roman girls because of her devotion to her husband. Lucrecia, 1525, active in the studio c.
The most common type of depiction., last king of Rome, being engaged in the siege of, sent his son, on a military errand to. Tarquin was received with great hospitality at the governor's mansion, home of, son of the king's nephew, former governor of Collatia and first of the. Collatinus' wife, Lucretia, daughter of, prefect of Rome, 'a man of distinction,' made sure that the king's son was treated as became his rank, although her husband was away at the siege.In a variant of the story, Tarquin and Collatinus, at a wine party on furlough, were debating the virtues of wives when Collatinus volunteered to settle the debate by all of them riding to his home to see what Lucretia was doing. She was weaving with her maids. The party awarded her the palm of victory and Collatinus invited them to visit, but for the time being they returned to camp.At night, Tarquin entered her bedroom by stealth, quietly going around the slaves who were sleeping at her door. She awakened.
He identified himself and offered her two choices: she could submit to his sexual advances and become his wife and future queen, or he would kill her and one of her slaves and place the bodies together, then claim he had caught her having adulterous sex (see for Roman attitudes toward sex). In the alternative story, he returned from camp a few days later with one companion to take Collatinus up on his invitation to visit and was lodged in a guest bedroom. He entered Lucretia's room while she lay naked in her bed and started to wash her belly with water, which woke her up.Consequences In Dionysius of Halicarnassus' account, the following day Lucretia dressed in black and went to her father's house in Rome and cast herself down in the supplicant's position (embracing the knees), weeping in front of her father and husband. She asked to explain herself and insisted on summoning witnesses before she told them about her rape. After disclosing the rape, she asked them for vengeance, a plea that could not be ignored because she was speaking to the chief magistrate of Rome. While the men debated the proper course of action, Lucretia drew a concealed dagger and stabbed herself in the heart. She died in her father's arms, with the women present and lamenting on her death.
Dionysius' depiction of her suicide he stated that: 'This dreadful scene struck the Romans who were present with so much horror and compassion that they all cried out with one voice that they would rather die a thousand deaths in defence of their liberty than suffer such outrages to be committed by the tyrants.' In Livy's version, Lucretia did not go to Rome, but instead sent for her father and her husband asking them to bring one friend each to act as an witness. Those selected were from Rome and from the camp at Ardea. The men found Lucretia in her room and she explained what had happened to her.
After exacting an oath of vengeance—'Pledge me your solemn word that the adulterer shall not go unpunished.' — and while the men were discussing the matter, she drew a poignard and stabbed herself in her heart.In Dio's version, Lucretia's request for revenge is: 'And, whereas I (for I am a woman) shall act in a manner which is fitting for me: you, if you are men, and if you care for your wives and children, exact vengeance on my behalf and free your selves and show the tyrants what sort of woman they outraged, and what sort of men were her menfolk!' She follows her statement by plunging the dagger into her chest and promptly dying.In this version Collatinus and Brutus were encountered returning to Rome unaware of the incident, were briefed, and were brought to the death scene. Brutus happened to be a politically motivated participant. By kinship he was a Tarquin on his mother's side, the son of Tarquinia, daughter of, the third king before last. He was a candidate for the throne if anything should happen to Superbus.
By law, however, as he was a Junius on his father's side, and thus he was not a Tarquin and therefore could later propose the exile of the Tarquins without fear for himself. Superbus had taken his inheritance and left him a pittance, keeping him at court for entertainment. The less common subject of holding the dead Lucretia and swearing the oathCollatinus, seeing his wife dead, became distraught. He held her, kissed her, called her name and spoke to her. Dio stated that after seeing the hand of Destiny in these events, Brutus called the grieving party to order, explained that his simplicity had been a sham, and proposed that they drive the Tarquins from Rome.
Main article:The newly sworn revolutionary committee paraded the bloody corpse of Lucretia to the where it remained on display as a reminder of the dishonor committed. At the form, the committee heard grievances against the Tarquins and began to enlist an army to abolish the monarchy. Brutus 'urged them to act as men and Romans and take up arms against their insolent foes.' The gates of Rome were blockaded by the new revolutionary soldiers and more were sent to guard Collatia. By now a crowd had gathered in the forum; the presence of the magistrates among the revolutionaries kept them in good order.Brutus was the Tribune of the Celeres, a minor office of some religious duties, which as a gave him the theoretical power to summon the, an organization of patrician families used mainly to ratify the decrees of the king. Summoning them on the spot he transformed the crowd into an authoritative legislative assembly and began to address them in one of the more noted and effective speeches of ancient Rome.He began by revealing that his pose as fool was a sham designed to protect him against an evil king.
He levelled a number of charges against the king and his family: the outrage against Lucretia, whom everyone could see on the dais, the king's tyranny, the forced labor of the in the ditches and sewers of Rome. In his speech, he pointed out that Superbus had come to rule by the murder of, his wife's father, next-to-the-last king of Rome.
He 'solemnly invoked the gods as the avengers of murdered parents.' He suggested that as the king's wife, was in fact in Rome and probably was a witness to the proceedings from her palace near the forum. Seeing herself the target of so much animosity she fled from the palace in fear of her life and proceeded to the camp at Ardea.Brutus opened a debate on the form of government Rome ought to have, a debate at which many spoke. In summation he proposed the banishment of the Tarquins from all the territories of Rome and appointment of an to nominate new magistrates and conduct an election of ratification.
They decided on a republican form of government with two consuls in place of a king executing the will of a patrician senate. This was a temporary measure until they could consider the details more carefully. Brutus renounced all right to the throne.
In subsequent years the powers of the king were divided among various elected magistracies.A final vote of the curiae carried the interim constitution. Spurius Lucretius was swiftly elected interrex; he was prefect of the city already. He proposed Brutus and Collatinus as the first two consuls and that choice was ratified by the curiae. Needing to acquire the assent of the population as a whole, they paraded Lucretia through the streets summoning the plebeians to legal assembly in the forum.
Once there they heard a constitutional speech by Brutus not unlike many speeches and documents of western civilization subsequently. It began:In as much as Tarquinius neither obtained the sovereignty in accordance with our ancestral customs and laws, nor, since he obtained it—in whatever manner he got it—has he been exercising it in an honourable or kingly manner, but has surpassed in insolence and lawlessness all the tyrants the world ever saw, we patricians met together and resolved to deprive him of his power, a thing we ought to have done long ago, but are doing now when a favourable opportunity has offered. And we have called you together, plebeians, in order to declare our own decision and then ask for your assistance in achieving liberty for our country.A general election was held and the vote won in favor of the republic. This ended the monarchy, and during these proceedings Lucretia was still displayed in the forum.The constitutional consequences of this event were, prevented Rome from having another hereditary 'king,' were absolute rulers in all but name. This constitutional tradition prevented both and from accepting a crown; instead they had to devise a confluence of several onto their persons in order to secure absolute power. Their both in and in adhered to this tradition in form if not in essence, and the office of German remained elective rather than hereditary—up to its abolition in the, over 2300 years later. Two fair, but ladies most infortunate,Have in their ruins rais'd declining Rome,Lucretia and, both renown'dFor chastity.'
S play The Rape of Lucretia dates from 1607. The subject also enjoyed a revival in the mid twentieth century; 's 1931 play was adapted by librettist for, a 1946 opera by which premiered at Glyndebourne. Set 's (1940), a version in a contemporary setting.(died c. 1690) composed the allemandes ' and ' for baroque lute.In 's 1740 novel, Mr. Cites the story of Lucretia as a reason why Pamela ought not fear for her reputation, should he rape her.
Pamela quickly sets him straight with a better reading of the story. Colonial Mexican poet also mentions Lucrecia in her poem 'Redondillas,' a commentary on prostitution and who is to blame.In 1769, doctor wrote a tragedy in entitled Lucrecia. The play is written in the using a neoclassical style and is the most important work of the eighteenth century written in this language.In 1932, the play Lucrece was produced on Broadway starring legendary actress in the title part. It was mostly performed in.In 's 2009 Venetian novel, About Face, Franca Marinello refers to the tale of Tarquin and Lucrezia, as recounted in 's Fasti (Book II, for February 24, 'Regifugium') to explain her actions to Commissario Brunetti.Subject in Art Since the Renaissance, the suicide of Lucretia has been an enduring subject for visual artists, including, and others.
Most commonly, either the moment of the rape is shown or Lucretia is shown alone at the moment of her suicide. In either situation, her clothing is loosened or absent, while Tarquin is normally clothed.The subject was one of a group showing women from legend or the Bible who were either powerless, such as and, or only able to escape their situations by suicide, such as and Lucretia. These formed a counterpoint to, or sub-group of, the set of subjects known as the, showing female violence against, or domination of, men.
These were often depicted by the same artists, and especially popular in art. The story of lay somewhere between these two extremes.The subject of Lucretia spinning, with her ladies, is sometimes depicted, as in a series of four engravings of her story by, which also includes a banquet. Examples with articles. — life-size image of the rape by. —three scenes, of the rape, Brutus arousing the people, and the suicide.
—single figure painting. —distinctive depiction of Lucretia with a knife, and a shadowy male figure just behind. He is either Tarquin or her husband. By either Titian or.See also. V.1. Cornell, Timothy J (1995). The Beginnings of the Roman Republic: 2.
The Problem of Chronology'. The Beginnings of Rome: Italy and Rome from the Bronze Age to the Punic Wars (c. The Routledge History of the Ancient World. Pp. 218–225. Mallan, C (2014). 'THE RAPE OF LUCRETIA IN CASSIUS DIO'S ROMAN HISTORY'. The Classical Quarterly (2 ed.).
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64: 758–771. Wiseman, T.P (1998). 'Roman Republic, Year One'. Greece and Rome (1 ed.). 45: 19–26.
D.H. I.58. Mallan, C (2014).
'THE RAPE OF LUCRETIA IN CASSIUS DIO'S ROMAN HISTORY'. The Classical Quarterly (2 ed.).
64: 758–771. D.H. IV.70.
^ T.L. IV.78. 'The Tragedy of Lucretia,' c.
1500–01, Sandro Botticelli, Boston. Chaucer, Geoffery (2008). Poetry in Translation. Gower, John (2004).
Rochester. Lydgate, John (1923). Internet Archive. Shakespeare's Poems: Venus and Adonis, The Rape of Lucrece and the Shorter Poems, ed. By Katherine Duncan Jones (Arden Shakespeare, 3rd edn., 2007), 'Introduction', passim.
Metzger, Mary Janell (2016). 'Epistemic Injustice and the Rape of Lucrece'. Mosaic: A Journal for the Interdisciplinary Study of Literature (2 ed.). 49: 19–34.
John Webster 5.3.224. Russell, Nos 1–14. Russell, Nos 1, 15, 16., Story of Lucretia.Sources. (2007) 1939. 'Book IV, sections 64–85'. In Thayer, William (ed.).
Loeb Classical Library. Translated by Cary, Ernest. Cambridge MA, Chicago: Harvard University, University of Chicago. 'Book I, sections 57–60'. Russell, H Diane (ed), Eva/Ave; Women in Renaissance and Baroque Prints, National Gallery of Art, Washington, 1990,.
Donaldson, Ian. The rapes of Lucretia: a myth and its transformations. Oxford 1982.External links.
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