Holland Tom
Pax: War and Peace in Rome’s Golden Age
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© Copyright
Holland Tom
Размещен: 30/10/2025, изменен: 30/10/2025. 1129k.
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Table of Contents
Title
Copyright
Contents
Acknowledgements
List of Maps
Preface
Part One: War
I. The Sad and Infernal Gods
II. Four Emperors
III. A World at War
Part Two: Peace
IV. Sleeping Giants
V. The Universal Spider
VI. The Best of Emperors
VII. I Build this Garden for us
Timeline
Dramatis Personae
Notes
Bibliography
Index
Picuture Section
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Also by Tom Holland
RUBICON:
The Triumph and Tragedy of the Roman Republic
PERSIAN FIRE:
The First World Empire and the Battle for the West
MILLENNIUM:
The End of the World and the Forging of Christendom
IN THE SHADOW OF THE SWORD:
The Battle for Global Empire and the End of the Ancient World
DYNASTY:
The Rise and Fall of the House of Caesar
DOMINION:
The Making of the Western Mind
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ABACUS
First published in Great Britain in 2023 by Abacus
Copyright (C) Tom Holland 2023
The moral right of the author has been asserted.
Maps by John Gilkes
All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any
form or by any means, without the prior permission in writing of the publisher, nor be otherwise
circulated in any form of binding or cover other than that in which it is published and without a
similar condition including this condition being imposed on the subsequent purchaser.
A CIP catalogue record for this book
is available from the British Library.
ISBN 978-1-4087-0699-2
Abacus
An imprint of
Little, Brown Book Group
Carmelite House
50 Victoria Embankment
London EC4Y 0DZ
An Hachette UK Company
www.hachette.co.uk
www.littlebrown.co.uk
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To Bill Heald: without whom the writing of this book
would have been very much more of a challenge.
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CONTENTS
Acknowledgements
List of Maps
Preface
PART ONE: WAR
I.
THE SAD AND INFERNAL GODS
II.
FOUR EMPERORS
III.
A WORLD AT WAR
PART TWO: PEACE
IV.
SLEEPING GIANTS
V.
THE UNIVERSAL SPIDER
VI.
THE BEST OF EMPERORS
VII.
I BUILD THIS GARDEN FOR US
Timeline
Dramatis Personae
Notes
Bibliography
Index
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ACKNOWLEDGEMENTS
My chiefest thanks are to my brother, James Holland, who introduced me to
Bill Heald. Bill, one of the world’s great cancer surgeons, came to my
rescue midway through the writing of the book, and pretty much personally
ensured that I was able to finish it. I would also like to thank Amyn Haji,
Andrew Emmanuel, Margaret Burt and all their teams at King’s College
Hospital for the meticulous care they have given me over the past year. As
ever, I owe more than I can say to Richard Beswick and everyone at Little,
Brown; to Lara Heimert and everyone at Basic Books; and to Patrick
Walsh, the best of agents, and everyone at PEW Literary. My devotion to
the staff of the British Library, the London Library and the Hellenic and
Roman Library knows no bounds. Jamie Muir not only read the book in
manuscript, but took the most wonderful photographs of my coins for me.
Llewelyn Morgan, the kindest and most generous of scholars, assisted me
with eunuchs and elephants alike. Sophie Hay, that tutelary guardian of
Pompeii, allowed me to use some of her beautiful photographs. Matei Blaj
not only invited me to Romania, but drove me all the way to Sarmizegetusa.
Dominic Sandbrook and everyone at Goalhanger did all they could to stop
me finishing this book – but to such enjoyable effect that I cannot begrudge
them their many, many, many demands on my time. My beloved family –
Sadie, Katy and Eliza – were, as they have ever been, the rock on which I
build everything.
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MAPS
The Roman World in AD 68
Nero’s Rome
Central Rome in AD 65
The German Frontier
Judaea
Italy
The Siege of Jerusalem
Campania
Pompeii
Britain
Bithynia and Pontus
Parthian Empire
Greece
Hadrian’s Rome
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PREFACE
In AD 122, the world’s most powerful man arrived on the banks of the Tyne.
The river – which flows through what today is the city of Newcastle – was
the most northerly point that had ever been visited by a Roman emperor.
Below it stretched lowland Britain, the fertile southern half of the island,
which over the course of the previous eighty years had been conquered,
pacified and tamed by the legions. Beyond it lay the wilds of the north,
lands too savage and poverty-stricken to merit conquest. Such, at any rate,
was the judgement of the visiting Caesar. Publius Aelius Hadrianus –
Hadrian – was a man well qualified to distinguish between civilisation and
barbarism. He had studied with philosophers, and ridden to war against
headhunters; lived both in Athens and on an island in the Danube. Prior to
his arrival in Britain he had been on a tour of military bases along the
Rhine, and given orders for a great palisade to be built beyond the river’s
eastern bank. Now, standing beside the grey waters of the Tyne, Hadrian
had plans for an even more formidable marvel of engineering.
The boldness of the project was evident from the very presence of
Caesar in Britain. It was not only his legions who needed squaring. So too
did the gods. Sacrifices had to be made both to the Ocean, that immense
and fearsome expanse of water in which Britain was set, and to the Tyne
itself. Hadrian, a man punctilious in his dealings with the supernatural,
knew better than to commission a bridge without assuaging the spirit of the
divine that was manifest in every river. Pons Aelius, the structure was
named: Hadrian’s Bridge. This, for an obscure spot on the margins of the
world, was a signal honour. Only bridges in Rome were normally named
after emperors. In due course, a decade later, when Hadrian came to
commission a huge mausoleum for himself on the far bank of the Tiber, and
wished to provide ready access to it from the capital, Pons Aelius was the
obvious, the only name for the resulting structure. There were now, with its
completion, two very different bridges bearing the imprimatur of Hadrian’s
favour. The result, upon the distant outpost in Britain, was the bestowal of
an even more solemn dignity.
It was not just the bridge over the Tyne that was called Pons Aelius, but
the fort that had been constructed on the river’s northern bank. This fort, in
turn, was only one of a number of military encampments stretching in a
direct line from one shore of the Ocean to the other. Joining them, and
running for eighty miles, was a wall fashioned largely out of stone. Behind
the wall ran a metalled road. Behind the road ran a ditch, dug so deep that it
could only be scaled with ladders. Infrastructure of such an order, built on
such a scale, was as awesome a memorial to Hadrian as anything he had
sponsored in Rome. It proclaimed a degree of martial effort and a capacity
for intimidation that had no rival anywhere. The emperor’s visit to the Tyne
had been fleeting, the merest way-stop – but he had left behind him the
unmistakeable stamp of a superpower.
Not that many Romans ever saw the Wall. So distant was it from all that
made for civilization – ‘trade, seafaring, agriculture, metallurgy, all the
crafts that exist or have ever existed, everything that is manufactured or
grows from the earth’1 – that it tended to serve them as, at best, a rumour. In
time, they would come to forget that it was Hadrian who had built it at all.
For a millennium and more after the collapse of Roman rule in Britain, its
construction was attributed to another, later Caesar; and only in the mid-
nineteenth century was the Wall conclusively proven to have been the work
of Hadrian. Since then, thanks to the labours of generations of
archaeologists, epigraphers and historians, our knowledge of how and by
whom it was built has improved immeasurably. The study of Hadrian’s Wall
is now ‘littered with the bones of discarded hypotheses’. 2 Meanwhile, along
its spectacular central stretch – a section which in 1600 had been so infested
by bandits that the antiquarian William Camden was forced to omit it
altogether from his tour – visitors today are greeted by interpretative signs,
gift shops and toilet facilities.
Even so, a sense of the mysterious has not been banished entirely from
Hadrian’s Wall. In the early winter of 1981, when an American tourist by
the name of George R. R. Martin visited it, dusk was closing in. As the sun
set and the wind gusted over the crags, he had the site to himself. What
would it have been like, Martin began wondering, to stand there in
Hadrian’s time, to be a soldier from Africa or the Near East posted to the
very limits of civilisation, to gaze into the darkness and dread what might
be lurking there? The memory stayed with him. A decade later, when he
embarked on a fantasy novel called A Game of Thrones, his visit to
Hadrian’s Wall was to prove a particularly vivid influence: a wall, as he
would later describe it, ‘defending civilisation against unknown threats
beyond’. 3
In Martin’s fictional world of Westeros, the ‘unknown threats’ prove to
be the Others, pale demons formed of snow and cold who make slaves of
the dead. The Roman frontier system is recalibrated in his novels as a
seven-hundred-foot-high wall of ice, eight thousand years old and three
hundred miles long. It has ancient spells carved into it. Every so often it
gets attacked by mammoths. Martin’s version of Hadrian’s Wall, thanks to
the blockbusting success both of his novels and of the TV shows adapted
from them, has come to put the original somewhat in the shade. Yet it also
demonstrates, perhaps, just how firm the hold of a particular understanding
of Rome’s empire remains on our collective imagination. There is never any
question in A Game of Thrones that our sympathies lie with the Night’s
Watch, the soldiers who garrison the Wall, rather than with the Others.
Martin, after all, when he stood on the northernmost limit of Rome’s
empire, and gazed out into the dusk, had been imagining himself a Roman,
not a Briton. People visiting Hadrian’s Wall rarely identify with the natives.
Novels and films that feature it invariably adopt the occupier’s perspective.
To venture beyond the limits of Roman civilisation, whether with a doomed
legion or in search of a lost eagle, is to venture into a heart of darkness.
Rudyard Kipling, the great laureate of the British Empire, cast the Wall
itself as a monument to civilisation. ‘Just when you think you are at the
world’s end, you see a smoke from East to West as far as the eye can turn,
and then, under it, also as far as the eye can stretch, houses and temples,
shops and theatres, barracks and granaries, trickling along like dice behind
– always behind – one long, low, rising and falling, and hiding and showing
line of towers. And that is the Wall!’4 Even today, in an age infinitely less
keen on imperialism than it was in 1906, when Kipling published his stories
about Roman Britain, it is possible to cast the presence of soldiers on
Hadrian’s Wall from Morocco or Syria as a cause for celebration. It was to
emphasise this aspect of the Wall that the BBC, in a recent film made for
children about Hadrian’s arrival in Britain, amended chronology so as to
portray the governor of the province at the time as African. * The same
Roman Empire that built a wall across its most barbarous frontier, and ruled
perhaps 30 per cent of the world’s population, remains today what it has
been since the late eighteenth century: a mirror in which we feel flattered to
catch our own reflection. †
It was Edward Gibbon, in 1776, who originally cast the second century
AD as the most golden of golden ages. Famously, in the first volume of The
Decline and Fall of the Roman Empire, he defined the reigns of Hadrian
and of his immediate predecessors and successors as ‘the period in the
history of the world, during which the condition of the human race was
most happy and prosperous’. Everywhere from the Tyne to the Sahara, and