Part 10

A contract of legal marriage was made in three different ways, called, respectively, _usus, confarreatio,_ and _coemptio. Us us,_ or usage, was when a woman, with the consent of her parents or guardians, lived with a man a whole year without dowry, whom he cannot portion off to anyone. And Horace says that "Queen Money, when she gives a spouse with an ample dowry, seems to give at the same time beauty, nobility, friends, and conjugal fidelity." Juvenal supposes someone to argue that Cesennia, a woman of his time, is, by her husband's showing, the best of wives. But he answers: "She brought him a thousand sestertia; that is the price at which he calls her chaste. It is not with Venus's quiver that he grows thin, or with her torch that he burns. It is from that his fires are fed; from her dowry it is that the arrows are sent. She has purchased her liberty; therefore, even in her husband's presence she may exchange signals, and answer her billets-doux. A rich wife, with a covetous husband, has all a widow's privileges."

In the early days of the Republic, dowries were very small. The daughters of the greatest men, says Valerius Maximus, often brought nothing in marriage save the glory of their fathers or of their families. Scipio, when commanding in Spain, petitioned the Senate to allow him to return, so that he might arrange the marriage of his daughter. The Senators, in order that the State might not be deprived of the services of so able a general, refused his request, but took upon themselves the duty of marrying the maiden. They chose for her a husband, and assigned to her from the public treasury a marriage portion of eleven thousand ases. This doubtless was at the time considered ample, though Seneca, in the later days of luxury, declared that it would not suffice to purchase a mirror for the daughter of a freedman. In those same early days, when wealth was reckoned in small figures, a woman called Megulla was surnamed Dotata, or "The Great Fortune," because she had fifty thousand ases, less than eight hundred dollars of our money. But as wealth increased, the marriage portions of the women became correspondingly great, until in the time of Martial a dowry equivalent to three-quarters of a million dollars was not uncommon. The wife's dowry was, of course, at the disposal of her husband; but his right to it ceased in case of the dissolution of the marriage, except when the wife sought divorce without just cause, in which case the husband was allowed to keep a sixth of the dowry for each of their children, to the amount of three-sixths. If, however, the wife died before her husband, and left no children, her dowry reverted to her father, so that he might not suffer the double affliction of losing both his money and his daughter. Sometimes the wife reserved to herself a part of the marriage portion, in order that she might have something to spend for which she had not to give account to her husband; occasionally also, there went with the bride a slave, who, it was stipulated, was not to be subject to the husband's disposal or command. The wife of Apuleius, who married him when she was a widow and possessed four million sesterces in her own right, transferred only three hundred thousand in the marriage settlement. This power of the wife to own personal property of a non-distrainable character afforded the Roman an opportunity, such as is frequently seized to-day by men on the verge of bankruptcy, to secure his assets by making them over to his wife.

It often happened, of course, that a maiden's family, though honorable, was not in such circumstances that she could base her hopes of marriage upon the tempting bait of a rich dowry. Then her personal qualities were her sole reliance. In the later days of the Republic, Roman parents seem to have been fully appreciative of the desirability of a liberal education for their daughters. Even in the most wealthy families, before the days when Roman society entered upon its decadence, the girls were zealously instructed in those domestic duties which would prepare them to become good housewives. In addition to this, they were thoroughly trained in both Greek and Latin literature, especial attention being given to the poets. Their accomplishments also included music, singing, and dancing; for these, says Statius, helped to procure a husband. But we may be certain that in those times, as in the present, the natural anxiety of many a mother caused her to resort to other arts besides that of music, in order to provide a good match for her none too much sought after daughter. If the comedies are to be credited, that which the father's wealth could not accomplish it was hoped might be attained through the mother's wiles. "Look at the mothers," says one of Terence's characters; "they are carefully occupied in lowering their daughters' shoulders, in drawing in their waists to make them look slender. Is there one of them who is inclined to be stout? The mother immediately exclaims, 'she is an athlete,' and diminishes the girl's meals until, in spite of constitutional tendencies, she has rendered her daughter as thin as a spindle."

A girl, by means of either her real or artificial qualities, has won the regard of some young Roman; let us witness, so far as they may be ascertained from the ancient authors, the ceremonies of her betrothal and nuptials. The consent of the parents of both parties must first be obtained. If the suitor is regarded with favor, the father of the maiden says: "I give up to you my dear daughter, and may it be happy for me, for you, and for her." Then the betrothal or espousal takes place. This is a family festival; everyone connected with the house makes it a holiday. The relatives are invited to share in the rejoicing and also to witness the contract of engagement. The Roman maiden did not engage herself to be married in the manner Ruskin complained of as characterizing modern times,--by moonlight, starlight, gaslight, candlelight, or anything but daylight. Her engagement was a solemnity which took place under the eyes of all her relatives and as many friends as her father cared and could afford to invite. The inevitable augurs are also present, in order that they may ascertain, by examining the entrails of some bird, whether or not the Fates will be propitious. Their verdict will largely depend upon the manner in which they are treated by the parties concerned; for Cato declared that he never could understand how two members of this profession could look each other in the face without laughing. One wonders if any Roman girl ever availed herself of the science of these gentlemen to escape an undesirable suitor; for in the minds of most of the people the superstition was so firmly implanted that if an augur could have been induced to perceive misfortune in the auspices, that would have been sufficient to prevent the engagement. But we will suppose that the signs are pronounced favorable. A _stipula_, or straw, is broken between the parties, signifying that a contract is made. The agreement is also put in writing, for the sake of future reference. The man gives the maiden a plain iron ring, which he places upon the finger next to the smallest on the left hand, there being a belief that a nerve runs from that finger directly to the heart. He also gives presents to those who have made themselves useful in helping to bring about the engagement, and he receives a present from the girl. The contract of betrothal was not irrevocable; but for either party to withdraw from it was much more likely to result in a suit at law than is the case at the present time; and the Roman had the advantage over the jilted man in our day, in that it was not considered that damages for a breach of promise were properly due only to a woman. Marriage engagements were frequently of long continuance among the Romans; for sometimes even infants were betrothed. The minimum age at which the marriage could legally take place was twelve for the girl and fourteen for the man.

The selection of the wedding day was a matter in which more than the inclination and the convenience of the parties concerned had to be considered; the important thing was to choose a fortunate day. Ovid says: "There are days when neither widow nor virgin may light the torch of Hymen; she who is married then will surely die." The Calends, the Ides, and the Nones were especially to be avoided. The whole month of May was considered particularly unfavorable, because it was devoted to the propitiation of the Lemurs, or the evil spirits. It was a common saying that no good woman would marry in the month of May. February was also avoided. June, on the contrary, of all the months in the year, was believed to be the most propitious for marriages, but not until after the Ides, or the thirteenth day. Ovid states, on the authority of the wife of the _flamen dialis_, that for a fortunate marriage it was necessary to wait until the refuse from the Temple of Vesta had been carried by the Tiber to the sea; and this was not supposed to be accomplished until the thirteenth of June.

The friends of our couple have decided upon a day which, in the common opinion, has no predilection for mischief. Everything necessary for the performance of the marriage ceremonies is provided. These ceremonies are of the nature of ancient usages rather than legal requirements. They are intensely symbolical, and are calculated to impress upon the minds of the bride and bridegroom a lively sense of the duties belonging to the new relationship into which they are entering.

This Roman bride is relieved of one grave anxiety which usually accompanies the anticipatory pleasure in an approaching modern wedding. It is not necessary for her to give any thought as to the color and fashion of her wedding dress. This was always the same among the Romans; and even if that worn by the maiden whose marriage is now being described should happen to be an heirloom from her great-grandmother, she need not fear that it is out of style. It consists of a long white robe, woven in a particular manner. If the circumstances of her family have improved, she may perhaps sew a purple fringe around the border; but that is absolutely the only change allowed. This robe will be fastened around her waist with a woollen girdle, white wool being always a symbol of chastity. This will be tied in a Hercules knot, to loose which, at the end of the ceremonies, will be the husband's privilege. Her hair, allowed to fall around her shoulders, on the wedding morn is parted with the head of a spear. Plutarch and other writers say that this custom had its origin in the rape of the Sabines, and betokened the fact that the first Roman marriages were brought about by capture, and that it accordingly also indicated that a wife should be in subjection to her husband. Over her head the bride wears a yellow or flame-colored veil, this hue being held to be of good significance. Her brow is also crowned with a chaplet of vervain, gathered and wreathed by her own hands, for this herb signifies fecundity. Her shoes are also of yellow, and so constructed as to make her appear taller than her real height.

Thus attired, the bridal party go first to the temple, for the purpose of offering sacrifice, as Virgil says, "above all, to Juno, whose province is the nuptial tie." The victim considered as most appropriate is a hog; and care is to be taken to throw the gall of the animal as far away as possible, with the hope that in like manner all bitterness will be put far away from this conjugal union. Then, if the ceremony of _confarreatio_ is used, the couple, having returned to the bride's home, are seated side by side, with a sheepskin covering both chairs; by which it is signified that although the man and the woman occupy two different parts of the house, they are nevertheless united by a common bond. The chief priest now gives the wedded pair the sacred cake, which they eat together in token of the fact that they are henceforth to share with each other the necessaries of life. Although the modern wedding cake has developed into something far more elaborate than the simple Roman wafer of flour, water, and salt, the probability is that the former had its origin in the latter.

The appearance of the star Venus in the sky is the signal for the bride's departure to her new home. In a formal manner, her father hands her over to her husband's family, for he only can sever the bond which holds her to his guardianship. Henceforth her husband has the right by law to exercise over her that authority which has been held by her father. There is a pretence made of taking her by force from the arms of her mother or her sisters, in memory of the violent abduction of the Sabine women. Then the bridal party walk in procession to the husband's house. Preceding them, lighting the way, are four married women carrying torches. The bride is directly attended by three boys, in selecting whom the important thing to be borne in mind is to take only those who have both parents living, otherwise it would be an extremely bad omen. Two of these support her by the arms, while the other carries a flambeau of white pine before her to dissipate all lurking enchantments and dispel all evil incantations. Then follow maid-servants with a distaff, a spindle, and wool, intimating that she is to labor at spinning, as did the Roman matrons of the old time. After these comes a boy, who for this occasion is named Camillus; his office is to carry in an open basket other instruments for feminine work; and especially it has been remembered to include playthings and toys for the bride's prospective children. All the relatives and friends join in this festive procession. In place of the rice which in these days accompanies the adieus bestowed on a newly wedded pair, the Roman bride was the target for all the jests and raillery which the wit of the spectators might suggest. When she reaches her new home, the bridegroom, standing in the doorway, which is decked with garlands of flowers, inquires who she is. Her reply is: "Where thou art Caius, there am I Caia;" thus beautifully intimating that comradeship in all things which is the ideal of marriage. Then, after the bride has anointed the doorposts with the fat of swine in order to turn away all enchantments, she is lifted over the threshold, which, being consecrated to Vesta, it would be a bad omen for the bride to touch with her foot. Her husband now presents her with the keys, for she is henceforth to be intrusted with the management of his house. Both touch fire and water, in token that they together share these essentials of life and well-being. A yoke is placed about their necks, symbolizing that which they have taken upon themselves in their marriage; from this comes the word _conjugium_. The first joint act of the bride and bridegroom is to unite in the worship of the household gods, the husband thus introducing his wife to the guardian spirits of his home--the most sacred things of his family. She is henceforth to be associated with him in his domestic worship, and she has become a sharer in the inheritance of fame left by his ancestors, who are venerated in the adoration of their Manes. These solemn observances being ended, now follows the banquet. At this, the bride reclines on the same divan with her husband at the head of the table; for she is already hostess where he is host. Now has come the opportunity for boisterous hilarity. The solemnities are all completed, and the remaining time is wholly given up to the merriment which is always deemed a fitting accompaniment to the first adventure of a couple among the changes and chances of the marriage state. All the guests join in singing the Thalassius,--a chant in which every bridegroom is congratulated on being as fortunate in his lot as was that traditional Quirite who obtained the brightest flower of the Sabine maidens.

The banquet being ended, the bride is conducted by the matrons to the nuptial chamber, which is always the atrium, or the central room of the house. Here is placed the _lectus genialis_, richly adorned and covered with flowers. The bridegroom throws nuts among his former companions, as a sign that he is now forsaking the life of his boyhood for the responsibilities of man's estate. After his departure, the young people entertain the newly married couple by singing outside the door fescennine verses, in which is indulged a liberty of expression to which modern ears are unaccustomed.

Commonly, the songs chanted at the celebration of Roman marriages had no literary merit whatever, and were chiefly characterized by their grossness; but sometimes these occasions inspired the genius of the best poets, from which resulted some of the most beautiful Latin verse. Catullus has three such pieces. In his _Nuptial Song_, youths and maidens are represented as contending with each other in improvised versification. Hesperus, the evening star, is reproached by the virgins and lauded by the young men as being the signal for the bride to leave her mother's arms for those of her husband. In the last chorus, both parties unite in exhorting the young wife to use complaisance with her husband, and not to "strive against two parents who have bestowed their own rights along with thy dowry on their son-in-law." _The Marriage of Peleus and Thetis_, the longest of the poems of Catullus, may not have been intended to be sung at a wedding; though that is a question on which classic scholars are not agreed. It treats of marriage, however, in a very interesting and original fashion; and may throw some light on Roman customs, notwithstanding the fact that the characters introduced are the offspring of the gods. "The mansion, in every part of its opulent interior, glitters with shining gold and silver; white are the ivory seats; goblets gleam on the tables; the whole dwelling rejoices in the splendor of regal wealth. In the midst of the mansion is placed the genial couch of the goddess, inlaid with polished Indian tooth, and covered with purple dyed with the shell's rosy juice. This coverlet, diversified with figures of the men of yore, portrays the virtues of heroes with wondrous art." Then follows the principal part of the poem, which is a description of the pictures worked upon the tapestry of the bed. The subject of these is the history of Ariadne. We are to imagine the poet standing by the couch and pointing out the incidents portrayed, with their causes and consequences. This being concluded, the gods, and especially the Parcæ, are introduced to the marriage feast; and the latter, as they spin their thread, "utter soothsaying canticles."

Catullus has given us a veritable example of the Roman wedding song in his epithalamium on the marriage of Manlius and Julia. Of this Julia we know nothing further than that she was of the Cotta family; Manlius was of the illustrious lineage of the Torquati. If only there were historic warrant for believing that this couple were as charming in their personalities as they are described in this poem, and that all the good wishes therein expressed did really materialize, the marriage of Manlius and Julia might stand for all time as the _summum bonum_ of wedded felicity. A few stanzas from Lamb's translation will serve to illustrate the character of the epithalamium, and will also fairly indicate the place and nature of sentiment in the Roman conception of the marriage relation.

"When Venus claim'd the golden prize, And bless'd the Phrygian shepherd's eyes; No brighter charms his judgment sway'd Than those that grace this mortal maid; And every sigh and omen fair The nuptials hail, and greet the pair.

"Propitiate here the maiden's vows, And lead her fondly to her spouse; And firm as ivy clinging holds The tree it grasps in mazy folds, Let virtuous love as firmly bind The tender passions of her mind.

"Ye virgins, whom a day like this Awaits to greet with equal bliss, Oh! join the song, your voices raise To hail the god we love to praise. O Hymen! god of faithful pairs; O Hymen! hear our earnest prayers.

"Invoked by sires with anxious fear, Their children's days with bliss to cheer; By maidens, who to thee alone Unloose the chaste, the virgin zone; By fervid bridegrooms, whose delight Is stay'd till thou hast bless'd the rite.

"Raise, boys, the beaming torches high! She comes--but veil'd from every eye; The deeper dyes her blushes hide; With songs, with pæans greet the bride! Hail, Hymen! god of faithful pairs, Hail, Hymen! who hast heard our prayers.

"Riches, and power, and rank, and state, With Manlius' love thy days await; These all thy youth shall proudly cheer, And these shall nurse thy latest year. Hail, Hymen! god of faithful pairs! Hail, Hymen! who hast heard our prayers.

"Oh! boundless be your love's excess, And soon our hopes let children bless; Let not this ancient honor'd name Want heirs to guard its future fame; Nor any length of years assign A limit to the glorious line.

"Let young Torquatus' look avow All Manlius' features in his brow; That those, who know him not, may trace The knowledge of his noble race; And by his lineal brow declare His lovely mother chaste as fair.

"Now close the doors, ye maiden friends; Our sports, our rite, our service ends. With you let virtue still reside, O bridegroom brave, and gentle bride, And youth its lusty hours employ In constant love and ardent joy."

The bluntly practical disposition of the Romans reveals itself even in their attitude toward that phase of human life which preëminently furnished scope for romance. In their expressions concerning marriage, its physical basis is acknowledged with unnecessary frankness. No vestige is found among them of any pretence of belief in that exalted communion which, though it is probably nothing more than an imaginary refinement, is commonly talked of as Platonic love. There is no idealizing of the amatory emotions,--such as we are accustomed to in novels which are not "realistic"--thereby affording an opportunity to ignore the lower aspect.

A woman, after marriage, retained her former name; but it was joined to that of her husband, as, for example, Julia Pompeii, Terentia Ciceronis. She was also called _domina_, the mistress. On the day after her marriage, the Roman bride, by a sacrifice which she offered to the Lares, formally took possession of her position as mistress of the household. Then she assumed the control of the servants and slaves, setting them their tasks and taking upon herself the superintendence of all things in the home. By unwritten law, no servile work was required of the Roman matron, unless she were so poor as not to own a slave. She might spin, and, indeed, it was to her credit if she thus diligently employed herself, for this was an occupation which the most cherished traditions would not permit the noblest to despise. It was carried on in the atrium, where the matron sat surrounded by her husband's ancestral images and where she received her friends. When she went abroad, she was known to be a matron because of her _stola_; the inner side of the walk was given to her by every Roman citizen she might happen to meet; and if anything indecent was said or done in her presence, it was an offence which might be punished by law.