The introduction is an imagined narration of Augustus’ death. I take as my premise the proposition that the sometimes extraordinary stories told by the ancient sources are broadly correct, and attempt as satisfactory an explanation as possible. My central assumption is that the regime was, over-whelmingly and rightly, determined to effect as painless a transition as possible from Augustus to his successor. I note that the regime’s obsession with maintaining its power was accompanied by an undeviating patriotism and a willingness to sacrifice personal interests. Although there are problems and implausibilities with the stories, the explanation I offer is, just about, credible. This is how it might have happened. I use Suetonius’
I. SCENES FROM A PROVINCIAL CHILDHOOD
The main ancient sources for this chapter are Suetonius and Nicolaus. The stories classical writers tell of the childhood of famous men are unreliable. That of Augustus is no exception. Children were of little intrinsic interest to Roman adults and their doings were seldom recorded, so historians devised fictional beginnings appropriate to their subjects’ later lives and propaganda needs. I have tried to weed out obviously legendary material (to which I return when dealing with the period when it was probably invented). Nicolaus knew Augustus, who may have been the source of the more day-to-day events of his early life.
II. THE GREAT-UNCLE
Most of the personal characteristics I ascribe to Julius Caesar, Pompey, Crassus, Cato, and Mark Antony are drawn from the accounts given in Plutarch and Suetonius. Again Nicolaus is useful. Caesar’s own history of the civil war is accurate but self-serving. Appian is valuable.
III. A POLITICAL MASTER CLASS
Nicolaus remains a source for anecdotes about Gaius. Plutarch’s and Suetonius’ lives of Caesar throw light on Caesar’s activities, as do Appian and the commentaries on the Alexandrian war and the African war, written by Caesarian supporters. Plutarch’s life of Cato recounts his suicide. Here and elsewhere I am indebted to Michael Grant’s