馬可·奧勒留的戰爭The Wars of Marcus Aurelius

西方雕塑探索
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19 次觀看·2024年7月17日
Spring, 172 A.D.
The Danube rushes past the log walls of a legionary fort,
at a bend where a pontoon bridge has been thrown across the river,
a line of soldiers marches into barbarian territory.
Standard bearers and trumpeters lead the way,
followed by troops in plate armor,
a squadron of the Praetorian Guard,
and finally, Emperor Marcus Aurelius himself,
distinguished by his long general's cloak.
At the first marching camp,
the army, now joined by troops of cavalry,
assembles to watch the emperor perform
the traditional sacrifice of purification.
A courier, bearing news of the barbarians' movements,
rushes into camp.
Warned of the enemy's proximity,
the legions set forth,
furning barbarian fields and villages as they march.
Barbarian outriders are captured,
interrogated, and executed.
At a river deep in the German forests,
the Romans encounter a small party of barbarians,
who pelt the emperor and his guards with sling stones
before melting into the woods.
Shortly thereafter,
a large barbarian force surrounds the Roman camp.
The Germans roll a siege tower forward,
but miraculously, just before it reaches the camp wall,
it is incinerated by a lightning bolt.
A sortie scatters the barbarians.
The Romans cross a stream in the teeth of barbarian opposition
and pursue war bands through trackless mountains.
And so on and on,
as the reliefs of the column of Marcus Aurelius
spiral upward.
Roman soldiers march in neat ranks.
Barbarians die.
Villages burn.
And through it all,
the emperor stands aloof, godlike and alone.
Though intended to emphasize his quasi-divine power,
this representation neatly evokes
the austere personality of Rome's philosopher-emperor.
Marcus Aurelius was a Stoic.
He believed that virtue was the only good
and that the essence of virtue lay in self-governance.
That, in short, it was imperative to accept,
without joy or sorrow,
all things beyond one's control.
Over his long years of campaigning,
he jutted down, apparently for his eyes only,
the series of moral reflections
we know today as his meditations.
In this philosophical diary,
Marcus reminds himself
to accept misfortune with understanding,
to never fear death,
and to always be mindful of his duties.
One is left with a picture of a thoughtful
and rather melancholy man,
doggedly pursuing moral perfection.
Marcus had begun his studies of Stoicism in childhood,
when, as a distant relative of Hadrian,
he had been tutored by the foremost scholars
in the empire.
We still possess some of Marcus's letters
to his tutor Franto,
which show a precocious
and very earnest teenager
already imbued with a sense of duty.
This sense was only strengthened when,
at the age of seventeen,
Marcus was formally adopted
by Hadrian's chosen successor,
Antoninus Pius.
From a combination of skill and good luck,
the twenty-three-year reign of Antoninus Pius
was characterized by
virtually unbroken peace and prosperity.
Marcus, as heir apparent,
continued his education
and assumed the traditional senatorial offices,
taking an increasingly important role
in the imperial administration
as Antoninus aged.
Upon Antoninus's death,
Marcus was immediately declared emperor by the Senate.
In keeping with a promise
he had made decades before to Hadrian,
he insisted that the Senate
declare his adoptive brother,
Lucius Verus, co-emperor.
For the next eight years,
Marcus and Verus ruled in concert,
though in practice Marcus
was always the senior partner.
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Back to Marcus Aurelius.
During the summer of 161,
only a few months after Marcus's accession,
the Parthian king,
Vilagus Caesar IV,
invaded the Roman protectorate of Armenia
and installed a new ruler.
Shortly thereafter,
the legion led by the Roman governor of Cappadocia
was decisively defeated by Parthian forces.
To stand the crisis,
Marcus sent Lucius Verus
to the eastern frontier
with a retinue of experienced generals.
These officers performed admirably,
swiftly retaking Armenia
and pushing into the Parthian heartland.
In 165,
the brilliant general,
Ovidius Cassius,
took the Parthian capital at Ctesiphon,
effectively ending the war.
While in Mesopotamia,
however,
Ovidius's troops contracted
a strange new disease.
It began with fever and cramps.
After a few days of vomiting and diarrhea,
the victim's body was covered
with reddish spots,
which rapidly developed
into raised pustules.
Then, very often,
he died.
Smallpox had arrived in Europe.
The plague spread rapidly through the empire,
eventually killing hundreds of thousands.
One of its last victims
may have been Lucius Verus himself,
who died suddenly in 169.
At this critical moment,
as the legions reeled from loss of manpower,
the barbarians invaded.
For centuries,
two German tribes,
the Marcomanni and the Quadi,
had dominated the forested lands
along the left bank of the upper Danube.
Emboldened by the drain of Roman troops
toward Parthia,
chieftains of these tribes
had begun to lead raiding parties
into the provinces of Noricum and Pannonia,
roughly modern Austria and Slovakia.
Recognizing the severity of the threat,
Marcus reinforced the Danube frontier
and had begun to mass troops
for a major offensive
when the plague struck.
He was further delayed by Verus's death,
which compelled him to return to Rome
for several months.
When Marcus finally returned to the frontier
in the spring of 170,
the Marcomanni and Quadi were ready for him.
Just north of the legionary fortress at Carnuntum,
not far from modern Vienna,
the barbarians inflicted a serious defeat
on the hastily assembled Roman troops.
Then, led by their king Balamar,
they raced around Marcus
and made for Italy.
By late summer,
the Germans were besieging
the great city of Aquileia
near modern Venice.
Marcus summoned troops from every frontier
and managed, barely,
to drive the barbarians
from Italy and the Balkans.
Then, determined
to destroy the German threat,
he gathered the full might
of the Roman military machine
and, in the spring of 172,
crossed the Danube
into the territory of the Marcomanni.
Soon after,
the Romans faced the Marcomanni
in a major battle.
Although the fighting was intense,
Marcus's Praetorian prefect
was killed.
The Romans were victorious
and the Marcomanni
had been pacified
by the end of the campaigning season.
The next year, however,
the Quadi attacked Roman territory
and had to be subdued in their turn.
In 174,
having crushed the Quadi,
Marcus moved the legions east
to begin a campaign
against the Sarmatians,
a nomadic tribe famed
for its heavy cavalry.
After winning a series of victories,
Marcus was forced
to cut the campaign short
by the news
that his trusted lieutenant,
Ovidius Cassius,
the hero of the Parthian War,
had declared himself emperor.
Ovidius managed to gain control
of Syria, Palestine and Egypt.
But when the legions
of the Rhine and Danube
remained loyal to Marcus,
his support melted away
and he was conveniently executed
by his own troops.
After touring the eastern provinces
to confirm their loyalty,
Marcus returned to Rome
for the first time in eight years
and celebrated a grand triumph
over the Marcomanni,
Quadi and Sarmatians.
He seized the opportunity
to have his 15-year-old son,
Commodus, declare co-emperor,
a gesture that would prove
his greatest mistake.
Initially, however,
Commodus seems to have been
a dutiful heir apparent,
accompanying his father back to Germany
when the Marcomanni and Quadi
revolted and again attacked
Roman territory.
Commodus was with Marcus
when he died at Vindobona,
modern Vienna,
in March 180,
and it was likely Commodus
who commissioned the column
that celebrates his father's victories.
The column of Marcus Aurelius
was modeled on Trajan's column,
which had been dedicated 60 years before.
Like Trajan's column,
it was 100 Roman feet tall
and decorated with a scrolling band of reliefs.
But where the reliefs of Trajan's column
celebrated the establishment of order,
focusing more on construction and ritual
than on battle,
the reliefs of the column of Marcus Aurelius
show all the savage realities of war.
Men writhe and die on the battlefield.
Women scream as their homes are burnt.
Captives weep as they are led to execution.
But one figure rises above
the storm of hate and fear.
In scene after scene,
the emperor appears cool and composed,
with eyes that seem to look beyond
the horrors of the battlefield,
toward the impossible path of virtue.
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