Rome's Gothic Wars: From the Third Century to Alaric (Key Conflicts of Classical Antiquity) (2 page)

That expedient had worked more than once, for no amount of aristocratic resistance could blunt the power of famine.
Alaric held
Portus, the key to whether Rome ate or went hungry, and he could cut off the food supply more or less whenever he chose to. The plebs might be the first to starve, but they would vent their rage on their senatorial neighbours before they collapsed. It was this threat, more than anything, that had served in the past to reconcile the Roman senate to Alaric.
Some
senators actually came to prefer Alaric to the emperor in Ravenna, and nearly all feared Alaric on their doorstep far more than they trusted
Honorius. It was not just that Honorius was feeble, but that he was the son of
Theodosius. The same dynastic legitimacy that
conferred on Honorius a certain resilience also earned him the dislike of many Roman aristocrats who had resented the strident Christianity of Theodosius himself.
By the later 300s, the cities of the empire were very largely Christian, and the mass of the population in Rome itself was as well. But more so than elsewhere in the empire, the city of Rome was filled with reminders of the pagan past, generations’ worth of enormous temples, some of them half a millenium old. An eclectic paganism remained a badge of honour among some of the oldest and most distinguished senatorial families. With them, devotion to the old gods was both a sincerely held belief and a reproof to all the petty aristocrats and jumped-up provincials who ruled the Christian empire and packed the imperial court. Little as they liked Alaric, many senators felt a certain satisfaction in his open defiance of Honorius. Indeed, a few went so far as to place their bets on Alaric rather than Honorius, and for a short while in 409 and 410,
a member of the Roman senate had taken up the imperial purple and challenged Honorius’ right to the throne with Alaric as his backer. That experiment had gone badly for all concerned, and by August 410, even those Romans who had been most willing to accommodate the Goths had little to hope of their mercy at this point.

Worse still, the threat from outside led to bloodletting within. Roman culture had always viewed a purge as a good way to stabilize the body politic in the face of external threat, and many a Roman vendetta was settled while the Gothic army camped before the walls and people looked for a neighbour whom they could blame.
Serena, niece of Theodosius, widow of Stilicho, and thus cousin and mother-in-law of the reigning emperor, was strangled on suspicion of collusion with Alaric, with the open approval of the emperor’s sister
Galla Placidia. She was not the only victim, and famine and disease soon made matters worse: ‘Corpses lay everywhere’, we are told, ‘and since the bodies could not be buried outside the city with the enemy guarding every exit, the city became their tomb. Even if there had been no shortage of food, the stench from the corpses would have been enough to destroy the bodies of the living’. We can gauge the scale of discontent by a totally unexpected reversion
to the old
gods. Roman pagans not only blamed the Gothic menace on the Christian empire’s neglect of Rome’s traditional religion, but were emboldened to say as much in public. They claimed that Alaric had bypassed the town of
Narnia in nearby
Etruria when the old rites were restored, and argued that pagan sacrifices – banned for twenty years – should be offered on the Capitol, the greatest of Rome’s hills on which sat the temple of Jupiter Capitolinus, the foremost god of the Romans. Some Roman Christians, impressed by such arguments, sought the views of the bishop of Rome, who forbade any public sacrifices but gave permission for the rites to be carried out in secret. Such secrecy would have robbed the rites of their efficacy, and the whole project was abandoned. This dramatic story may not be entirely authentic, yet the fact that contemporaries could imagine that the head of the Roman church might consent even to the secret performance of pagan rites – in a city so pious that disputed elections for the city’s bishop could end with hundreds of partisans lying dead in church aisles – is the best possible testimony to the fear that Alaric had instilled. However, given that parts of the population had turned to cannibalism to feed themselves, we should perhaps expect any number of extreme measures.

And so, in the scalding heat of August 410, neither Alaric nor the Romans could take much more. On the night of the 23rd, Alaric decided to make the ultimate confession of failure, to countenance the overthrow of all his hopes and dreams. He would let his Goths
sack Rome. On the morning of the next day, they did, and for three days the violence continued. The great houses of the city were looted and the treasures seized were on a scale that remains staggering: five years later, when Alaric’s successor
Athaulf married his new bride, he gave her ‘fifty handsome young men dressed in silk, each bearing aloft two very large dishes, one full of gold, the other full of precious – nay, priceless – gems, which the Goths had seized in the sack of Rome’. Supposedly out of reverence for Saint Peter, Alaric left untouched the church on the Vatican that housed his tomb, and in general the Goths made an effort not to violate the churches. But however much some might take comfort in that slight forebearance, the verdict of the world was shock and horror: ‘The mother of the world has been
murdered’.
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Alaric’s sack of Rome was the climax of a career that had begun fifteen years before in the Balkans, where a very large number of Goths had been settled by Theodosius in 382. Those Goths, in turn, were for the most part veterans of the battle of Adrianople, the worst defeat in the history of the Roman empire, in which a Gothic force annihilated much of the eastern army and killed the emperor Valens. The Gothic history that culminated in Adrianople and the Theodosian settlement of 382 stretches back still further, to the first decades of the third century A.D. Alaric’s story, in other words, is just one among many different Gothic histories one can reconstruct from the third and the fourth centuries. But it is in some ways the most important one, and certainly the most symbolic: Romans at the time and later did not remember the sack of Rome by ‘some Goths’. For them, Rome had been sacked by Alaric and
the
Goths. We remember the sack of Rome in the same way, and a recent television series on the barbarians devoted almost the whole of its episode on the Goths to the story of Alaric. There is nothing wrong with remembering the past in this way, choosing a profoundly shocking moment to symbolize a much larger series of historical events. Alaric’s career was a watershed in both Roman and Gothic history, and no one can dispute that the sack of Rome was its climax. Symbolic dates and events help us remember, but historical reality is always more complicated, always messier.

We will return both to Alaric and to Rome,
the stricken ‘mother of the world’, before we reach the end of this book, but before that we have to deal with a great deal of just such messy historical reality. The book sets out to answer two main questions: first, how did Gothic history develop in such a way that the unprecedented career of Alaric became possible? And second, how do we know what we think we know about the Goths? That last question is very important, and it is not usually asked in an introductory book like this one. Most introductions to a subject try to adopt a tone of omniscience which implies that, even if complex historical events are being simplified, whatever is included can be regarded as certain fact. Unfortunately, however, there are large stretches of history
in which even the most basic facts are either unknown or else uncertain because of contradictory evidence. Many times, the way we resolve those contradictions has as much to do with how modern scholarship has developed as it does with the evidence itself. As far as I am concerned, the curious reader is not helped by attempts to disguise the difficulties we face in trying to understand the past. In fact, a false sense of certainty takes much of the excitement out of history. For that reason, I offer no apologies for introducing readers to uncertainty and controversy in the history of the Goths. The road to the past is bumpy, and there is often no single destination at the end of it. Reconstructing the past, and reaching conclusions about it, requires historians to make choices, and in this book I always try to offer explanations for the choices I have made. Throughout the book, we will look not only at Goths and their history, but at the ancient writers who give us our only access to Gothic history and are fascinating and important figures in their own right.

We will also look at modern debates about the Goths. Gothic history is a controversial subject among modern scholars, who support their own positions with an intensity that most people reserve for their favourite football team or rock band. Anyone who writes professionally about the Goths, even if only a little bit, has to take a position in the heated debate about who the Goths were, where they came from, and when their history can really be said to begin – I am no exception. But instead of merely outlining the possible options and explaining which one I choose, I have devoted a part of chapter 
three
to explaining exactly
why
the Gothic past is so controversial – after all, it is not football or music, which, if they are any good, are meant to inspire passionate controversy. By doing this, I hope to give readers a glimpse not just of how historians wrestle with the evidence that past ages have left behind, but how, in doing so, we are deeply affected by many centuries of modern thinking about the past. More so than is the case with many other historical problems, the history of the Goths is still caught up in questions that our ancestors were already asking in the Renaissance. Although such a long heritage of debate might be a cause for frustration, in fact part of the excitement of Gothic history is the way it puts us in touch
with the intellectual history of the culture we still live in, as well as the ancient history of barbarians and Romans. All the same, it is those Romans with whom we must begin, because it was the Roman empire that created the Goths as we know them, and Roman writers who tell us most of what we know about them.