Aurelian; or, Rome in the Third Century — A Closer Reading

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In Category - Ancient Worlds
Ware, William, 1797-1852 Project Gutenberg 2007 Not confirmed
Historical fiction; Epistolary fiction; Rome -- History -- Aurelian, 270-275 -- Fiction; Tadmur (Syria) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 153,602
Reading time 668 min
Text sections 13

The source record for Aurelian; or, Rome in the Third Century — A Closer Reading measures this digital text at 153,602 words, 11 hr 8 min estimated reading time, and 13 detected text sections.

The text analysis averages about 22.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.

An epistolary novel set in third-century Rome and Palmyra, framed by a servant's editorial hand. The narrative voice shifts between Piso's letters and Nicomachus's commentary, with passages on grief, memory, and philosophical struggle.
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Editorial Edition Score 4.8/5

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Solon looked at me as if unwilling to credit his ears, hoping that something would be added more honorable to the affronted philosopher and myself. But nothing coming, he said:

'I penetrate--I apprehend. This, the very centre and post of honor, thou reservest for the atheistical Jews. The gods help us! I doubt I should straight resign my office. Well, well; let us hope that the increase of years will bring an increase of wisdom. We cannot look for fruit on a sapling. Youth seeks novelty. But the gods be thanked! Youth lasts not long, but is a fault daily corrected; else the world were at a bad pass. Rome is not fallen, nor the fame of the Stagyrite hurt for this. But 'tis grievous to behold!'

So murmuring, as he retreated to the farther part of the library, with his bundle of rolls under his arm, he again busied himself in the labors of his office.

I see, Fausta, the delight that sparkles in your eye and breaks over your countenance, as you learn that Solon, the incomparable Solon, is one of my household. No one whom I could think of, appeared so well suited to my wants as librarian, as Solon, and I can by no means convey to you an idea of the satisfaction with which he hailed my offer; and abandoning the rod and the brass tablets, betook himself to a labor which would yield him so much more leisure for the perusal of his favorite authors, and the pursuit of his favorite studies. He is already deep in the question, 'whether the walls of Troy were accommodated with thirty-three or thirty-nine gates,' and also in this, 'what was the method of construction adopted in the case of the wooden horse, and what was its capacity?' Of his progress in these matters, I will duly inform you.

But I weary your patience. Farewell.

Piso, alluding in this letter to the slaughter on the Coelian Hill, which happened not long before it was written, I will add here that whatever color it may have pleased Aurelian to give to that affair--as if it were occasioned by a dishonest debasement of the coin by the directors of the mint--there is now no doubt, on the part of any who are familiar with the history of that period, that the difficulty originated in a much deeper and more formidable cause, well known to Aurelian himself, but not spoken of by him, in alluding to the event. It is certain, then, that the civil war which then befel, for such it was, was in truth the breaking out of a conspiracy on the part of the nobles to displace Aurelian--'a German peasant,' as they scornfully designated him--and set one of their own order upon the throne. They had already bought over the chief manager of the public mint--a slave and favorite of Aurelian--and had engaged him in creating, to serve the purposes which they had in view, an immense issue of spurious coin. This they had used too liberally, in effecting some of the preliminary objects of their movement. It was suspected, tried, proved to be false, and traced to its authors. Before they were fully prepared, the conspirators were obliged to take to their arms, as the only way in which to save themselves from the executioner. The contest was one of the bloodiest ever known within the walls of the city. It was Aurelian, with a few legions of his army, and the people--always of his part--against the wealth and the power of the nobility, and their paid adherents. In one day, and in one battle, as it may be termed, fifteen thousand soldiers and citizens were slain in the streets of the capital. Truly does Piso say, the streets of the Coelian ran blood. I happily was within the walls of the queen's palace at Tibur; but well do I remember the horror of the time--especially the days succeeding the battle, when the vengeance of the enraged conqueror fell upon the noblest families of Rome, and the axe of the executioner was blunted and broken with the savage work which it did.

The novel opens not with a letter but with a preface by Nicomachus, a former servant of Queen Zenobia, who declares his intention to collect and arrange the letters of Lucius Manlius Piso. This framing device immediately establishes a layered narrative: the reader encounters Piso's voice through the filter of a devoted editor who admits his own bias. The epistolary form is thus doubled—letters within a memoir—and the editor's presence colors every subsequent page.

Ware's prose in the excerpted letter from Marcus to Piso is notably intense, employing rhetorical questions and vivid metaphors. Marcus describes memory as a 'true Nemesis' and grief as a 'giant' that holds him prisoner. The language is philosophical yet personal, blending Stoic reflection with raw emotion. This passage reveals a key tension in the work: the struggle between rational consolation and overwhelming sorrow.

The Editor's Voice and Narrative Distance

Nicomachus introduces himself as 'once the happy servant of the great Queen of Palmyra,' immediately establishing his partiality. He admits that a biography of Zenobia by his hand 'would be the portrait of a mother and a divinity, drawn by the pen of a child and a worshipper.' This self-awareness creates a deliberate gap between the events and their telling. The editor does not claim objectivity; instead, he frames his work as a labor of love and duty. His presence reminds readers that the letters have been selected and arranged, and that gaps in the record are filled 'out of the knowledge which more exactly than any one else, I have been able to gather.' This editorial layer adds a meta-textual dimension, inviting scrutiny of how the story is constructed.

Grief and the Rhetoric of Despair

In the excerpted letter, Marcus's grief erupts in a torrent of accusation against the gods. He writes, 'I can believe in nothing but capricious chance. We live by chance, and so we die.' The language is stark and repetitive, mirroring his obsessive state. He describes his loss as 'hewing us in two' and imagines that only 'Dark Pluto' or 'the avenging Furies' could have caused it. Ware uses this outburst to dramatize a crisis of faith. Marcus's words are not merely emotional; they are philosophical arguments against providence. The letter's structure—a series of exclamations and rhetorical questions—creates a breathless pace that contrasts with the more measured tones of Piso's own reflections elsewhere. This variation in pace is a deliberate narrative device, signaling shifts between composure and turmoil.

Epistolary Form and Temporal Layering

The novel is composed of letters, but the excerpts show that these letters are not simple reports. They contain embedded quotations—Marcus's letter is quoted within Piso's letter, which is itself part of Nicomachus's collection. This nesting creates multiple temporal layers: the moment of Marcus's writing, the moment of Piso's reading, and the later moment of Nicomachus's editing. Ware exploits this structure to explore how memory and distance alter perception. Piso comments on Marcus's 'frantic way,' and Nicomachus adds his own retrospective gloss. The reader is thus always aware of the gap between event and narration. This technique slows the pace when the editor intervenes, then accelerates when the letters speak directly. The result is a rhythm that mimics the process of recollection itself.

Readers should attend to the shifts in voice between the editor's introductions and the letters themselves. Ware uses these transitions to modulate pace and perspective. The epistolary form is not merely a container but an active element: letters are quoted, summarized, and commented upon, creating a layered narrative that rewards attention to who is speaking and when. The philosophical debates on grief and providence are best understood as dramatic dialogues, not authorial statements.

The rain kept me inside with Aurelian, tracing Piso’s grief through Nicomachus’s quiet margins. That ache of distant empire felt familiar. On a whim, I reached for The Viper of Milan: A Romance of Lombardy — Reading Notes, and found the same bitter calculus of loyalty and ruin, only colder, wetter, more medieval. Strange how one vanished world simply leads into another.

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