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Dynasty: The Rise and Fall of the House of Caesar

Dynasty: The Rise and Fall of the House of Caesar

by Tom Holland

Narrated by Derek Perkins

Unabridged — 16 hours, 5 minutes

Tom Holland
Dynasty: The Rise and Fall of the House of Caesar

Dynasty: The Rise and Fall of the House of Caesar

by Tom Holland

Narrated by Derek Perkins

Unabridged — 16 hours, 5 minutes

Tom Holland

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Author and historian Tom Holland returns to his roots in Roman history and the audience he cultivated with Rubicon-his masterful, witty, brilliantly researched popular history of the fall of the Roman republic-with Dynasty, a luridly fascinating history of the reign of the first five Roman emperors.

Dynasty continues Rubicon's story, opening where that book ended: with the murder of Julius Caesar. This is the period of the first and perhaps greatest Roman emperors. It's a colorful story of rule and ruination, from the rise of Augustus to the death of Nero. Holland's expansive history also has distinct shades of I, Claudius, with five wonderfully vivid (and in three cases, thoroughly depraved) emperors-Augustus, Tiberius, Caligula, Claudius, and Nero-featured, along with numerous fascinating secondary characters. Intrigue, murder, naked ambition and treachery, greed, gluttony, lust, incest, pageantry, decadence-the tale of these five Caesars continues to cast a mesmerizing spell across the millennia.

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Editorial Reviews

The New York Times - Michiko Kakutani

…a history of early Rome that has all the gripping detail and narrative momentum of a novel. Mr. Holland does not gloss over the holes or uncertainties in his story, but instead uses his knowledge of the period…to place early and sometimes disputed accounts in context, and to give the reader a startlingly visceral sense of the violence and brutality and wretched excess of ancient Rome…Mr. Holland…writes with great authority and relish…he does a compelling job of conjuring ancient Rome and its often monstrous rulers, and providing us with an understanding of its complicated class dynamics and animating mythology. He leaves us with insights into the reach and sweep of its empire and an appreciation of how precarious life was for slaves and freemen and soldiers. And for the ruling class, too, caught up in "the great game of dynastic advancement" that was played out with conspiracies, secret alliances and mortality dispensed in an infinitude of ways…

From the Publisher

Startlingly visceral.... Holland has crafted a history of early Rome that has all the gripping detail and narrative momentum of a novel.” —The New York Times
“Holland is a master of narrative history. On the strength of Dynasty, he deserves a laurel wreath.” —The Washington Post

Dynasty surely secures [Holland’s] place among the foremost writers of popular history practicing today.... His ability to operate at small and large scale simultaneously . . . is one of his great talents.” —The Wall Street Journal
“Fascinating.... [Dynasty] has Holland’s usual novelistic ability to bring a narrative alive, together with his extraordinary command of ancient sources.” —Matt Ridley, The New York Times Book Review

“[A] rollicking account of the Julio-Claudians.... A meditation on the enduring power and possibilities of storytelling.” —Financial Times
“Excellent.... Engrossing.... [Holland] is a witty and skillful storyteller, capable of penning penetrating psychological portraits of the monsters who form his subject.” —New Statesman
“Gripping.” —The New York Review of Books
“A richly panoramic picture of Rome in the first century AD, dwelling on its manners and morals.... Holland writes about [his subjects] with great verve and insight.” —The Literary Review
“Among the many virtues of Tom Holland’s terrific history is that he does not shrink from seeing the Roman emperors for what they were.... He knits the history of ancient Rome into his narrative—its founding myths, the fall of the republic, the religious superstitions—with a skill so dextrous you don’t notice the stitching. Dynasty is both a formidable effort to compile what we can know about the ancient world and a sensational story.” —The Observer (England)
“A swaggering history of the dynastic house that Julius Caesar built.” —Sunday Express
“Holland’s masterly account of this first wicked century of the Roman empire is, at its heart, a political analysis.... It is down to his skill as a storyteller that there’s no difficulty in imagining that it might all happen again tomorrow.” — The Sunday Times (London)
“Thrilling.... [A] fast-paced historical narrative.” —Evening Standard
“Brilliant, terrifying and compelling.” —Alex Preston, The Observer (England)
“A wonderful, surging narrative—a brilliant and meticulous synthesis of the ancient sources.... This is a story that should be read by anyone interested in history, politics or human nature—and it has never been better told.” —The Mail on Sunday
“Impressive.... First-rate ancient history and a compulsively good read.... This is history in which fact and fiction overlap, rigorously researched and lightened with dashes of humour.” —Daily Mail
“A vivid account.” —Kirkus Reviews
“A lurid, ripping yarn, peopled by characters whose propensity for self-indulgence, cruelty and sheer tyrannical excess has not lost its ability to shock.” —Sydney Morning Herald

Library Journal

The dynasty in question is the Julio-Claudian (27 BC–68 AD), which forms a dramatic subject for Holland's follow-up to his best-selling Rubicon: The Last Years of the Roman Republic. Beginning with a short return to the theme of that book with the fighting between Pompey and Caesar, the action picks up with the origin story of Augustus's wife, Livia Drusilla (also known as Julia Augusta), which is appropriate given her crucial role in forming the dynasty. Augustus and Livia make up the first section as the Padrone, in a term borrowed from the Sicilian Mafia. The next section carries on the theme as "Cosa Nostra," with chapters roughly corresponding to the reigns of Tiberius, Caligula, Claudius, and Nero. That Holland is also a novelist is clear from his epic scope and focus on moments of tension, which are plentiful with this set of leaders, whom Holland does a lovely job of humanizing while still presenting an accurate historical portrait, somewhat along the lines of Robert Graves's I Claudius but staying within what is evident from the historical record. VERDICT While fans of Roman history will certainly want to read this account, it's tone will also appeal to lovers of historical fiction.—Margaret Heller, Loyola Univ. Chicago Libs.

Kirkus Reviews

A decade after his award-winning life of Julius Caesar (Rubicon, 2004), veteran historian Holland (In the Shadow of the Sword: The Birth of Islam and the Rise of the Global Arab Empire, 2012, etc.) delivers biographies of five descendants who ruled after his death. This is well-trod ground for good reason: this period saw the foundation of the Roman Empire, whose emperors, after a prosperous start, revealed a distressing if entertaining tendency to self-indulgence, paranoia, and murder. Following Caesar's assassination in 44 B.C.E., his adopted son, Octavius, won a brutal civil war to assume power. Octavius restored the facade of the old republic while a compliant Senate granted him vast authority. As Augustus, he ruled efficiently and was widely mourned upon his death in 14 C.E., having expanded the empire and begun the 200-year "pax Romana." Several promising successors died during his long reign, and Rome was left with the sullen, reclusive Tiberius, who retired to Capri after a few years, leaving ruling to underlings and living a life of (according to later chroniclers) debauchery. The short, stormy reign of Caligula ended with him as the first emperor murdered by the Praetorian Guard, who crowned his successor, Claudius. Modern scholars have a fairly high opinion of Claudius and even of his adopted son, Nero, although the dynasty ended with widespread revolt and his suicide in 68 C.E. Holland makes liberal use of unreliable but lurid Roman sources, including Tacitus, Suetonius, Dio, and others, but he has done his homework and acknowledges modern scholars who take these with a grain of salt. The author also includes a timeline, a dramatis personae, and a family tree for the Julians and Claudians. A vivid account of five Roman emperors, emphasizing their vices and vicious behavior with less attention to the vast empire, which continued to prosper despite them.

Product Details

BN ID: 2940169550177
Publisher: Blackstone Audio, Inc.
Publication date: 10/20/2015
Edition description: Unabridged

Read an Excerpt

AD 40. It is early in the year. Gaius Julius Caesar Augustus Germanicus sits on a lofty platform beside the Ocean. As waves break on the shore and spray hangs in the air, he gazes out to sea. Many Roman ships over the years have been lost to its depths. Strange monsters are rumoured to lurk in its grey waters, while beyond the horizon there lies an island teeming with savage and mustachioed head-hunters: Britain. Perils such as these, lurking as they do on the very margins of civilisation, are fit to challenge even the boldest and most iron-willed hero.
The story of the Roman people, though, has always had about it an aura of the epic. They have emerged from dim and provincial obscurity to the command of the world: a feat like no other in history. Repeatedly put to trial, repeatedly surviving it triumphant, Rome has been well steeled for global rule. Now, seven hundred and ninety-two years after her founding, the man who ranks as her emperor wields power worthy of a god. Lined up alongside him on the northern beach are rank upon rank of the most formidable fighting force on the planet: armour-clad legionaries, catapults, battlefield artillery. The Emperor Gaius scans their length. He gives a command. At once, there is a blaring of trumpets. The signal for battle. Then silence. The Emperor raises his voice. 'Soldiers!' he cries. 'I command you to pick up shells. Fill your helmets with the spoils of the Ocean.' And the legionaries, obedient to their emperor's order, do so.
Such, at any rate, is the story. But is it true? Did the soldiers really pick up shells? And if they did – why? The episode is one of the most notorious in the life of a man whose entire career remains to this day a thing of infamy. Caligula, the name by which the Emperor Gaius is better known, is one of the few people from ancient history to be as familiar to pornographers as to classicists. The scandalous details of his reign have always provoked prurient fascination. 'But enough of the emperor; now to the monster.' So wrote Gaius Suetonius Tranquillus, a scholar and archivist in the imperial palace who doubled in his spare time as a biographer of the Caesars, and whose life of Caligula is the oldest extant one that we possess. Written almost a century after the Emperor's death, it catalogues a quite sensational array of depravities and crimes. He slept with his sisters! He dressed up as the goddess Venus! He planned to award his horse the highest magistracy in Rome! Set against the background of such stunts, Caligula's behaviour on the Channel coast comes to seem a good deal less surprising. Suetonius certainly had no problem in explaining his behaviour. 'He was ill in both body and mind.'
But if Caligula was sick, then so too was Rome. The powers of life and death wielded by an emperor would have been abhorrent to an earlier generation. Almost a century before Caligula massed his legions on the shores of the Ocean and gazed out to Britain, his great-great-great-great-uncle had done the same – and then actually crossed the Channel. The exploits of Gaius Julius Caesar had been as spectacular as any in his city's history: not only two invasions of Britain but the permanent annexation of Gaul, as the Romans called what today is France. He had achieved his feats, though, as a citizen of a republic – one in which it was taken for granted by most that death was the only conceivable alternative to liberty. When Julius Caesar, trampling down this presumption, had laid claim to a primacy over his fellow citizens, it had resulted first in civil war, and then, after he had crushed his domestic foes as he had previously crushed the Gauls, in his assassination. Only after two more murderous bouts of slaughtering one another had the Roman people finally been inured to their servitude. Submission to the rule of a single man had redeemed their city and its empire from self-destruction – but the cure itself had been a kind of sickness.
Augustus, their new master had called himself, 'The Divinely Favoured One'. The great-nephew of Julius Caesar, he had waded through blood to secure the command of Rome and her empire – and then, his rivals once dispatched, had coolly posed as a prince of peace. As cunning as he was ruthless, as patient as he was decisive, Augustus had managed to maintain his supremacy for decades, and then to die in his bed. Key to this achievement had been his ability to rule with rather than against the grain of Roman tradition: for by pretending that he was not an autocrat, he had licensed his fellow citizens to pretend that they were still free. A veil of shimmering and seductive subtlety had been draped over the brute contours of his dominance. Time, though, had seen this veil become increasingly threadbare. On Augustus's death in AD 14, the powers that he had accumulated over the course of his long and mendacious career stood revealed, not as temporary expediencies, but rather as a package to be handed down to an heir. His choice of successor had been a man raised since childhood in his own household, an aristocrat by the name of Tiberius. The many qualities of the new Caesar, which ranged from exemplary aristocratic pedigree to a track record as Rome's finest general, had counted for less than his status as Augustus's adopted son – and everyone had known it.
Tiberius, a man who all his life had been wedded to the virtues of the vanished Republic, had made an unhappy monarch; but Caligula, who had succeeded him in turn after a reign of twenty-three years, was unembarrassed. That he ruled the Roman world by virtue neither of age nor of experience, but as the great-grandson of Augustus, bothered him not the slightest. 'Nature produced him, in my opinion, to demonstrate just how far unlimited vice can go when combined with unlimited power.' Such was the obituary delivered on him by Seneca, a philosopher who had known him well. The judgement, though, was not just on Caligula, but on Seneca's own peers, who had cringed and grovelled before the Emperor while he was still alive, and on the Roman people as a whole. The age was a rotten one: diseased, debased, degraded.
Or so many believed. Not everyone agreed. The regime established by Augustus would never have endured had it failed to offer what the Roman people had come so desperately to crave after decades of civil war: peace and order. The vast agglomeration of provinces ruled from Rome, which stretched from the North Sea to the Sahara, and from the Atlantic to the Fertile Crescent, reaped the benefits as well. Three centuries on, when the nativity of the most celebrated man to have been born in Augustus's reign stood in infinitely clearer focus than it had done at the time, a bishop named Eusebius could see in the Emperor's achievements the very guiding hand of God. 'It was not just as a consequence of human action,' he declared, 'that the greater part of the world should have come under Roman rule at the precise moment Jesus was born. The coincidence that saw our Saviour begin his mission against such a backdrop was undeniably arranged by divine agency. After all – had the world still been at war, and not united under a single form of government, then how much more difficult would it have been for the disciples to undertake their travels.'
Eusebius could see, with the perspective provided by distance, just how startling was the feat of globalisation brought to fulfilment under Augustus and his successors. Brutal though the methods deployed to uphold it were, the sheer immensity of the regions pacified by Roman arms was unprecedented. 'To accept a gift,' went an ancient saying, 'is to sell your liberty.' Rome held her conquests in fee; but the peace that she bestowed upon them in exchange was not necessarily to be sniffed at. Whether in the suburbs of the capital itself, booming under the Caesars to become the largest city the world had ever seen, or across the span of the Mediterranean, united now for the first time under a single power, or in the furthermost corners of an empire whose global reach was without precedent, the pax Romana brought benefits to millions. Provincials might well be grateful. 'He cleared the sea of pirates, and filled it with merchant shipping.' So a Jew from the great Egyptian metropolis of Alexandria, writing in praise of Augustus, enthused. 'He gave freedom to every city, brought order where there had been chaos, and civilised savage peoples.'Similar hymns of praise could be – and were – addressed to Tiberius and Caligula. The depravities for which both men would end up notorious rarely had much impact on the world at large. It mattered little in the provinces who ruled as emperor – just so long as the centre held.
Nevertheless, even in the furthest reaches of the Empire, Caesar was a constant presence. How could he not be? 'In the whole wide world, there is not a single thing that escapes him.' An exaggeration, of course – and yet due reflection of the mingled fear and awe that an emperor could hardly help but inspire in his subjects. He alone had command of Rome's monopoly of violence: the legions and the whole menacing apparatus of provincial government, which existed to ensure that taxes were paid, rebels slaughtered, and malefactors thrown to beasts or nailed up on crosses. There was no need for an emperor constantly to be showing his hand for dread of his arbitrary power to be universal across the world. Small wonder, then, that the face of Caesar should have become, for millions of his subjects, the face of Rome. Rare was the town that did not boast some image of him: a statue, a portrait bust, a frieze. Even in the most provincial backwater, to handle money was to be familiar with Caesar's profile. Within Augustus's own lifetime, no living citizen had ever appeared on a Roman coin; but no sooner had he seized control of the world than his face was being minted everywhere, stamped on gold, and silver, and bronze. 'Whose likeness and inscription is this?' Even an itinerant street-preacher in the wilds of Galilee, holding up a coin and demanding to know whose face it portrayed, could be confident of the answer: 'Caesar's.' 
No surprise, then, that the character of an emperor, his achievements, his relationships and his foibles, should have been topics of obsessive fascination to his subjects. 'Your destiny it is to live as in a theatre where your audience is the entire world.'9 Such was the warning attributed by one Roman historian to Maecenas, a particularly trusted confidant of Augustus's. Whether he really said it or not, the sentiment was true to the sheer theatricality of his master's performance. Augustus himself, lying on his deathbed, was reported by Suetonius to have asked his friends whether he had played his part well in the comedy of life; and then, on being assured that he had, to have demanded their applause as he headed for the exit. A good emperor had no choice but to be a good actor – as too did everyone else in the drama's cast. Caesar, after all, was never alone on the stage. His potential successors were public figures simply by virtue of their relationship to him. Even the wife, the niece or the granddaughter of an emperor might have her role to play. Get it wrong, and she was liable to pay a terrible price; but get it right, and her face might end up appearing on coins alongside Caesar's own. No household in history had ever before been so squarely in the public eye as that of Augustus. The fashions and hairstyles of its most prominent members, reproduced in exquisite detail by sculptors across the Empire, set trends from Syria to Spain. Their achievements were celebrated with spectacularly showy monuments, their scandals repeated with relish from seaport to seaport. Propaganda and gossip, each feeding off the other, gave to the dynasty of Augustus a celebrity that ranked, for the first time, as continent-spanning.
To what extent, though, did all the vaunting claims chiselled into showy marble and all the rumours whispered in marketplaces and bars approximate to what had actually happened in Caesar's palace? To be sure, by the time that Suetonius came to write his biographies of the emperors, there was no lack of material for him to draw upon: everything from official inscriptions to garbled gossip. Shrewder analysts, though, when they sought to make sense of Augustus and his heirs, could recognise at the heart of the dynasty's story a darkness that mocked and defied their efforts. Once, back in the days of the Republic, affairs of state had been debated in public, and the speeches of Rome's leaders transcribed for historians to study; but with the coming to power of Augustus, all that had changed. 'For, from then on, things began to be done secretly, and in such a way as not to be made public.' Yes, the old rhythms of the political year, the annual cycle of elections and magistracies that once, back in the days of the Republic, had delivered to ambitious Romans the genuine opportunity to sway their city's fate, still endured – but as a largely irrelevant sideshow. The cockpit of power lay elsewhere now. The world had come to be governed, not in assemblies of the great and good, but in private chambers. A woman's whisperings in an emperor's ear, a document discreetly passed to him by a slave: either might have a greater impact than even the most ringing public oration. The implication, for any biographer of the Caesars, was grim but inescapable. 'Even when it comes to notable events, we are in the dark.'

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