Abstract

The great object of Augustus in celebrating Ludi saeculares in 17 b.c. was to encourage the belief in himself and the consequent active loyalty to himself, as the restorer of the pax deorum,—the good relation between the divine and human inhabitants of Rome. So far he had tried to attain this end by the ancient usual and proper means, i.e. by carrying out the various regulations of the ius diuinum, so many of which had long been neglected. But in that year he determined to undertake a special celebration, with the design of more effectually stamping the impression already made on the minds of the people; and it so happens that we have more detailed knowledge of this celebration than of any other Roman rite of any period. This is fortunate, for it stands on the margin between an old and a new régime, like the Aeneid of Virgil, who had died two years earlier: that great religious poem was just becoming known, and there is an allusion to it in the hymn of which I am going to speak. The Ludi were the outward or ritualistic expression of the idea immortalized by the poet, that a regeneration is at hand of Rome and Italy, in religion, morals, agriculture, government: old things are now to be put away, a new and glorious era is to open. Henceforward the Roman was to look ahead of him in hope and confidence, trusting in Augustus, the Aeneas of the actual State