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BANDITS IN THE ROMAN EMPIRE<br />
In contrast to Viriatus the dazzling hero, the Roman commanders appear<br />
as pallid creatures – corrupt and decadent. After years of fruitless campaigning,<br />
the only way they could rid themselves of him was through secret<br />
contrivance. But this policy of despair served only to crown Viriatus’ reputation<br />
of invincibility. Viriatus’ murder served also to confirm the stock theme<br />
of the invincibility of the ‘noble’ bandit, which (as in, for example, the story<br />
of the fair division of booty) was taken up and developed in the many robber<br />
romances of Roman literature. The most obvious sign of the continuation<br />
of the Viriatus legend is what the sources say about Sertorius, making the<br />
latter – whom Roman political circumstances made leader of Celtiberian<br />
resistance – a true copy of Viriatus.<br />
Quite different from Viriatus was Tacfarinas, the leader of rebellion in<br />
North Africa, the embodiment of the despised, ‘common’ bandit, who acted<br />
from motives unworthy of appreciation. Tacfarinas was a barbarian and,<br />
what is more, a deserter from the Roman army, who led a guerrilla war for<br />
booty and freedom. But these are not the only criteria that made him into a<br />
despicable bandit. Most important in this respect was Tacitus’ deliberately<br />
setting him, a despised enemy, up against Tiberius, a despised emperor. In<br />
other words, Tacfarinas is an element of Tacitus’ criticism of Tiberius.<br />
So Viriatus and Tacfarinas appear in the sources as <strong>latrones</strong> not least because<br />
Roman writers used them to exemplify their own historiographical<br />
thinking: Viriatus, the ‘noble’ bandit, stands as an exemplum bonum in sharp<br />
contrast to the faithlessness of his Roman opponents. The ‘bad’ example<br />
(exemplum malum), Tacfarinas, the ‘common’, ‘despicable’ bandit, served to<br />
strengthen Tacitus’ condemnation of Tiberius. Thus, for the first time, we<br />
can see that the latro, as we have him, is less a social type than a literary<br />
topos. This conclusion will be repeated in the following chapters.<br />
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