Livy's Exemplary History (review)

Hoc illud est praecipue in cognitione rerum salubre ac frugiferum, omnis te exempli documenta in inlustri posita monumento intueri; inde tibi tuaeque rei publicae quod imitere capias, inde foedum inceptu foedum exitu quod vites.

—Livy, Preface 10

Livy's programmatic assertion has served as the point of departure for a number of recent studies. Indeed, the book one writes seems to depend on which word or words provide inspiration: intueri (Feldherr) and monumentum (Jaeger) have had their day; now it is the turn of exempli documenta. In this beautifully argued study, Chaplin argues that close readings of scenes involving exemplary figures produce a misleadingly static view of Livy's history as a repository of fixed lessons; by studying exempla, not just at their moment of generation but as they are invoked, altered, and allowed to die away over the course of the narrative, one can see Livy showing historical processes at work and thus gain appreciation of Livy as an historian as well as a literary artist.

Chaplin defines exemplum broadly, including not only what the text points to as exempla or documenta but also "any specific citation of an event or an individual that is intended to serve as a guide to conduct" (3). Exempla occur at various levels of the narrative: in the historian's own voice; focalized through characters who remember the past and use it as a guide to conduct; and most frequently, in speeches. Throughout the book Chaplin is careful to distinguish between the external, reading audience and the various audiences of speeches and spectacles within the text. She points out that the reading audience has information that audiences within the text do not and thus can draw conclusions that they cannot. In showing characters within the text interpreting, reinterpreting, and learning from the past, Livy's history teaches its reading audience how to engage constructively with history, both past events and the narrative of past events.

The introduction briefly reviews the use of exempla in rhetoric, the didactic features of Greek and Roman historiography, the Roman tendency to teach by example (fathers pointing out models to sons, the trappings of aristocratic funerals, statues in public places), exempla in Livy's annalistic predecessors, and their use in Polybius, and Sallust. It is hardly surprising that Livy employs exempla, but Chaplin argues well from the meager evidence that Livy surpasses his Roman predecessors in the depth and complexity with which he uses them.

A close reading of Caudium in chapter 1, first the narrative of the defeat and comeback, then as an exemplum both focalized through the thoughts of others and included in various speeches, shows that great events do not have one meaning. Even the recent past is subject to interpretation, misinterpretation, and reinterpretation. The Romans' expression after their defeat has a different meaning depending on one's knowledge of the Roman character. In its early appearances as an exemplum, Caudium is a model of behavior to avoid; later, ominously invoked among other Roman comebacks by a person about to lead Romans to near disaster (22.14.4-14), it becomes an example of behavior to imitate. Chaplin's discussion of Cannae (chapter 2) reinforces this claim that exempla are malleable; which aspects of an exemplum are invoked depends on the speaker, the audience, and the immediate situation. The reading audience can see that Romans use exempla better and learn from the past better than Carthaginians do. They also learn that history does not achieve closure; rather, people move beyond it as the Romans moved beyond Cannae, because they have learned its lessons.

Concluding her discussion of Cannae, Chaplin observes that "the ability to manipulate an audience's perception of the past may come from oratory, but Livy converts it into a tool of historical interpretation" (72). Chapter 3, "Reading the Past," expands on this observation. Various figures in Livy (the Praenestines at the second battle of the Allia...