The History of Rome, Book 7
Ab Urbe Condita, liber 7
Headnote
Book Seven carries the recovered city from the first plebeian consulship of Lucius Sextius down to the opening of the First Samnite War, roughly 366 to 342 BC. It begins under the long shadow of the man who closed Book Six: the proem records the death of Marcus Furius Camillus in the plague, “a man without peer in every fortune” and the second founder of Rome after Romulus, and with him the annalistic frame settles back into its yearly rhythm of consuls, levies, prodigies, and border wars—now with two new patrician magistracies, the praetorship and the curule aedileship, set up as the fathers’ counterweight to the consulship they had been forced to share. Around that frame Livy hangs a sequence of his most famous set-pieces. The book holds the earliest history of the Roman stage (chapter 2)—Etruscan dancers, the medleys (saturae), the dramatist Livius and the first acted song, traced from “how sound a start” to a madness “scarcely to be borne even by wealthy kingdoms”; the archaic nail-driving rite and the harsh dictator Lucius Manlius Imperiosus (chapter 3), whose son Titus rescued him by forcing the prosecuting tribune at knifepoint to swear off the charge (chapters 4–5); and Marcus Curtius riding armed and self-devoted into the chasm that had opened in the Forum (chapter 6).
The wars of the book are fought against the Hernici, the men of Tibur, the Tarquinienses and Falisci, the Aurunci, and roving bands of Gauls, and they yield two great single combats that Livy sets as deliberate twins. On the Anio bridge the young Titus Manlius kills a challenging Gaul and strips his torque, winning the surname Torquatus (chapters 9–10); a generation later, in the Pomptine country, the young military tribune Marcus Valerius fights another Gaul with a raven beating at his foe’s face, and carries off the surname Corvus (chapter 26). Between and around them runs the unfinished domestic quarrel: the patricians twice seize both consulships against the Licinian law, debt grinds the plebs into bondage despite the cap on interest, and the crisis is at last eased by the five mensarii (chapter 21) and by the steady advance of plebeians into the highest honors—Gaius Marcius Rutulus, the first plebeian dictator and first plebeian censor. The most luminous act of clemency is the plea of Caere (chapter 20), spared for the hospitality it had shown Rome’s priests and rites in the Gallic sack, and granted a hundred-year truce.
The book’s second half opens the great theme of the rest of the decade. The proem to the Samnite wars (chapter 29) lifts the narrative to its full height, naming in one breath the Samnites, Pyrrhus, and the Carthaginians as the mounting trials through which the empire was “raised to this greatness, which is scarcely sustained.” The war comes from without: the Sidicini appeal to the luxury-softened Campanians, the Campanians to Rome, and when Rome, bound by treaty to the Samnites, refuses arms, the envoys surrender Capua outright into Roman faith (chapters 30–31)—so that the Republic fights to defend what is now its own. There follow the three victories of 343 BC: Valerius Corvus at Mount Gaurus (chapters 32–33), where the consul leads from the front and the Romans confess they never met a more stubborn enemy; Publius Decius Mus, the future self-devoting consul, seizing a hill to extricate Cornelius’s trapped army at Saticula and leading a night breakout that wins him the rare grassy crown of the siege (chapters 34–37); and Corvus again at Suessula. Carthage sends a golden crown of congratulation for the Capitol. The book closes on the great mutiny (chapters 38–42): the garrison left in seductive Capua plots to seize the city, the discharged and disaffected gather under the lamed veteran Titus Quinctius and march on Rome, and the dictator Valerius Corvus turns them back not by battle but by a speech on the horror of citizens’ blood, reconciling the army with an amnesty and a sacred military law. Livy ends, characteristically, by weighing the variant traditions—some annals make it no march at all, only a sedition composed at Rome—before noting that its fame, with the new Samnite war, had already begun to loosen Rome’s allies. The canonical chapter numbers of the scholarly tradition are preserved as markers (paragraph N of the source = chapter N); the dating follows the project manifest (composition under Augustus).