The paper studies Livy's account in Book 45 of the aftermath of Aemilius Paullus' conquest of Macedon employing two interpretative methods, both common in recent studies of historians. The first is “metahistory,” in other words interpreting events within a historical narrative as commenting covertly on the genre of history and on the work as an example of that genre. The second is seeing how internal audiences provide a guide for the reader's interpretation. These, though theoretically independent, are in practice often (...) related, with internal audiences being used as a trigger for wider reflections on the text and the genre. Four linked passages from Livy 45 are discussed in detail. One invites a systematic metahistorical reading without the use of an internal audience, partly to endorse Livy's own manner of “secondary” history, partly to promote a moral reading of the text. The other three employ internal audiences to similar effect: first, Aemilius' meeting with the defeated Perseus, and the lesson which he draws about the mutability of fortune; second, the spectacular games he organizes at Amphipolis; and third, his eventual triumph in Rome, along with the speech that Servilius gives in its support. The understanding of the genre of history that Livy promotes through these passages is, however, astonishingly narrow and didactic, ignoring even central aspects of his own work which do not conform to that understanding. The paper concludes by considering why Livy would wish to present himself and his genre as single-mindedly moralistic when neither he nor it actually was. (shrink)

That Sallust owed a considerable debt to the writings of Cato the Censor was observed in antiquity, and the observation has often been discussed and expanded on by modern scholars. The ancient references to Sallust's employment of Cato are mainly in the context of his adoption of an archaic style, and specifically Catonian vocabulary. But the choice of Cato as a model had an obvious significance that went beyond the purely stylistic. Sallust's works articulate extreme pessimism at the moral state (...) of late-Republican Rome, and do so partly by contrasting the modern age with a prelapsarian time of near-untrammelled virtue, brought to an end only by the fall of Carthage and the consequent dominance of Roman power, which in turn led to moral corruption. Similarly, Cato famously stood in his own day for moral rectitude—and specifically appealed to past virtue as the standard to which he wished to hold his contemporaries. Sallust, by writing in a Catonian style, aligns himself with that tradition. (shrink)