Manual Antonina; Or, The Fall of Rome

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Start by marking “Antonina, or the Fall of Rome” as Want to Read:​ A close friend of Charles Dickens from their meeting in March until Dickens' death in June , William Wilkie Collins was one of the best known, best loved, and, for a time, best paid of Victorian fiction.
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The Roman language and literature, thus enriched and improved, was destined to still prouder triumphs. The inhabitants of the greatest part of Europe and of the North of Africa, educated in every respect like the Romans, became in every respect equal to them. The impression which was then made will never be effaced. It sank so deep into the language and habits of the people, that Latin to this day forms the basis of the tongues of France and southern Europe, and the Roman law the basis of their jurisprudence. The barbarous hordes which triumphed over the arms, yielded to the arts of Rome. The Indians will, I hope, soon stand in the same position towards us in which we once stood to the Romans.

Tacitus informs us, that it was the policy of Julius Agricola to instruct the sons of the leading men among the Britons in the literature and science of Rome, and to give them a taste for the refinements of Roman civilization. We all know how well this plan answered. From being obstinate enemies, the Britons soon became attached and confiding friends; and they made more strenuous efforts to retain the Romans, than their ancestors had done to resist their invasion.

The culmination of this endeavour comes in the sixth book when Aeneas, having landed in Italy, visits the underworld and meets not only his own deceased loved ones, but a procession of great Roman statesmen — the greatest of these being Augustus — who have yet to be born.

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The existence of these great Romans, and of the empire itself, will depend on Aeneas fulfilling his duty to the gods by combining his own Trojan bloodlines with those of the Latin peoples of Italy, and thereby founding the Roman race. Aeneas, then, is the prototypical imperial father of western literature. The increasing popularity of the Aeneid in mid-Victorian culture speaks to a growing impulse to mythologize the racial and cultural heritage of the British imperial race.

In his eloquent and energetic speech to his troops before the battle of Mons Graupius, Calgacus articulates strongly anti-imperial sentiments, and defiance of the Roman imperial project: Robbers of the world, having by their universal plunder exhausted the land, they rifle the deep.

If the enemy be rich, they are rapacious; if he be poor, they lust for dominion; neither the east nor the west has been able to satisfy them. Alone among men they covet with equal eagerness poverty and riches. To robbery, slaughter, plunder, they give the lying name of empire; they make a solitude and call it peace. British readers, however, were not required to choose between Agricola or Calgacus. When describing the Roman elites, grown weak and lethargic on the spoils of empire, Collins uses the vocabulary of infirmity, imbecility, senility, and infancy to negate any hint of robust masculinity in this race, which has degenerated as its empire has grown decadent.

At the opposite extreme, standards of Gothic manliness are so grimly militaristic that a man who is incapable of bearing arms is refused the right to a place in society and even to life itself. Our ancestors slew themselves when they were no longer vigorous for the fight. It is better that he has died! The harsh terrain of the Italian Alps, where the Gothic armies are massing ahead of their assault on Rome, is a direct reflection of the national character of the invaders, and the hardness and brutality which exist at the core of their culture: No brightness gleamed from their armour; no banners waved over their heads; no music sounded among their ranks [ Neither the Romans, with their effeminate boy-emperor, nor the Goths seem likely to perpetuate themselves as a race for very much longer.

Goisvintha, as a fearsome defender of Gothic culture and racial purity, will never become an Aeneas-like progenitor of an imperial race.

Antonina, or, The fall of Rome. : a romance of the fifth century.

In the broader historical sense, the death of the child who would have been heir to the brutal customs of the Goths, marks the death knell for the less civilized societies of ancient Europe and, although none of the characters know it, the imminent arrival of a more modern, civilized and, crucially, a racially hybrid age. For the progenitors of this new age Victorian readers had to look neither to the Goths or the Romans in isolation, but to the heirs of Hermanric and Antonina, who would inherit at both a biological and cultural level the civilization of the Roman Empire coupled with Gothic vitality and vigour.

In a significant break from what would become the conventional position of Oxford movement authors like Newman, Collins positions Christianity as exercising a restrictive, even destructive effect on refined Roman arts. By distancing Antonina from both her father and her uncle Ulpius, who embody the more fanatical impulses of Christianity and paganism respectively, Collins allocates to her the role of representing the cultural and artistic accomplishments of ancient Roman civilization before its descent into decadence, as well as ascribing to her all the domestic virtues praised as part of a mid-Victorian stereotype of femininity.

Where Collins disassociates Antonina from the negative associations of Roman decadence and decline, so too is Hermanric distanced from the more brutal aspects of Gothic civilization. Physically, Hermanric possesses all the prowess and vitality that writers of empire had begun to praise more insistently as the British Empire demanded strong, healthy soldiers to continue its expansion in difficult climates and terrains.

Antonina, Or, The Fall Of Rome | Rome, Fall, Relationship

Thus when he is confronted with the sight of his mortally wounded nephew: The face and manner of the young man he had numbered only twenty years expressed a deep sorrow; manly in its stern tranquillity; sincere in its perfect innocence of display. The farmhouse setting too is significant: Far from being melancholy, there was something soothing and attractive about the loneliness of the deserted farm [ Certainly Antonina finds the prospect of racial union a more peaceful and unproblematic prospect than Hermanric. For Hermanric, caught as he is between the past and the future, between Goisvintha and Antonina and the very different sets of national values and gender ideals they represent, the struggle to break with his cultural roots and to adapt in pursuit of a more civilized masculinity is a difficult and ideologically dangerous one, since it requires him to gamble with his own sense of masculine identity and subjectivity.

It is a nightmarish image of individual masculinity overwhelmed by the collective identity of the nation. It also implies the regression or degeneration of civilization, with Hermanric being dragged backwards through time and absorbed into what we are invited to interpret as a less civilized past.

The Fall of Rome Explained In 13 Minutes

Rather, Collins uses the death of Hermanric and the tragic separation of the lovers to mythologize a notion of an imperial destiny for Britain and the British male. The heirs that Antonina and Hermanric would have produced in a single generation might not have come to fruition in the novel itself, it is suggested, but the migration, intermarriage and gradual assimilation of their respective cultures over the course of fifteen hundred years, have eventually produced the same qualities in the British race.

It is not overreaching, then, to suggest that Collins was aware of the reception conventions which governed the treatment of Rome in the antique novel, and the meanings assigned to the Roman legacy in that form, but that he knowingly reshapes and repurposes those legacies to interject in contemporary discourses about race and empire and, ultimately, facilitates a founding narrative of the British male, his Romano-Germanic heritage, and his cultural and racial credentials for imperial rule.

With several important treatises on race appearing in or around the year that Antonina was published, the shift in mid-Victorian racial discourses is crucial for understanding the changing significance of ancient Rome from the s and s. For Knox, the similarities between Roman and Napoleonic rule were abundantly evident across all aspects of imperial policy and cultural enterprise. By the high-imperial period of —, ancient Rome would become a primary framework for talking about the empire. The result for literary and cultural receptions of Rome was the emergence of a more purely Roman parallel, differentiated and distanced from the Germanic or Teutonic hybridity of much mid-century writing.

She holds a PhD in Victorian receptions of ancient Rome and has published and presented on topics including Victorian classical burlesque, imperial and decadent masculinities, and nineteenth-century receptions of Nero and Cleopatra. I would like to thank the anonymous reviewers at CRJ for their helpful suggestions. Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Sign In or Create an Account. Sign In. Advanced Search.

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