Social Structure of Pompeii and Herculaneum

Social Structure of Pompeii and Herculaneum Many written and archaeological sources have revealed different information about the social structure in Pompeii and Herculaneum. Pompeii and Herculaneum housed over 10 000 to 20 000 people, all separating into three main social classes; Freeborn, Freedmen and Slaves. All people were either permanently born into a specific group or rarely had the ability to change their status.  [1]  Pompeii and Herculaneum consisted of a range of mixed social groups which included rich land-owners, merchants, artisans and slaves. Both towns were lead by men following the patriarchal system. All elite people were determined by their previous families.  [2]  Men and women were treated differently, as the women had less responsibility to the community then the men had.  [3]   On the top of the social structure in Pompeii and Herculaneum was Freeborn. Freeborn men and women were classified as the high-class residents of Pompeii and Herculaneum, both politically and socially.  [4]  Freeborn people lived on altering their lives to satisfy and impress the people of Pompeii and Herculaneum.  [5]  It was important to publicly show that they were elite and important and in doing so freeborn men and women dressed with discrete details (toga for men and stola for women, (Refer to Appendix 9 and 10) that made them stand out amongst the rest of the public.  [6]  All freeborn people in Pompeii and Herculaneum came from either their ancestors or by property.  [7]  They included wealthy landowners and businessmen. Freeborn men had many advantages and satisfactions in being so highly ranked. Men had full legal rights and could become candidates for political office. They could become part of the council and dominate the community finances, spaces and rel igion. Freeborn men were very influential people who had statues devoted to them and had honorary tombs made for them. Freeborn men had reserved seating in the amphitheatre.  [8]   An archaeological fresco has shown a wealthy freeborn man and women in a banquet scene which indicates the social standing, where servants and slaves are typically displayed as smaller and lower people in the picture.  [9]  ( Refer to Appendix 5) Women in Pompeii and Herculaneum were expected to run the household, take care of children and manage the finances.  [10]  High-class women unlike men could not be in the political office. They were under the legal administration of their fathers and husbands which meant that they would belong with whichever social class their husband or father were in  [11]  . Freeborn women could own their own property, have an education and become businesswomen and priestesses. An example of a woman was Eumachia who was both business woman and a city priestess.  [12]  (Refer to Appendix 1).Another example is Julia Felix who was a very wealthy women who owned an entire block of land in Pompeii.  [13]  (Refer to Appendix 4). Like freeborn men, women received statues and tombs in their honour. Women also helped with the construction of buildings and tombs.  [14]  Women in Pompeii and Herculaneum were not classified as citizens, education was a symbol of respect but motherhood was the most valued occupation.  [15]  They could not control the political office as they required particular characteristics such as power and rights which they lacked.  [16]  Unlike many other Roman women Pompeian women had more freedom and could participate in the public, religious and business life.  [17]  Several wall paintings, inscriptions and frescoes have displayed Pompeian and Herculaneum women actively engaged in public activities and walking around the city freely.  [18]  (Refer to Appendix 6 and 7). Eumachia was a very influential women in Pompeii and Herculaneum. She owned a large building in the Forum of Pompeii which was the Fullers (Refer to Appendix 3). An inscription signifies that she built it with her own money, in honour of Augustan concord. Eumachia was the patron of the Fullers who worked in the building. The Fullers made a statue in her honour.  [19]   Freed people were known as liberti who were formerly known slaves. In order to become a Freedmen one must buy their freedom or be granted it by their owner.  [20]  Freed men were men and women who were freed from slavery and no longer had to serve anyone.  [21]  The process and ceremony of being set free was called Manumission and in this process the former slave was beaten for the last time to remind them that they were still in debt to their master.  [22]  Freed mens names gave evidence to the status they belonged to.  [23]   The freed people had numerous restrictions on their rights as they owed duties and responsibilities to their previous owners. This is where the patronage system comes into action where the former slave has become the client for their master. Freedmen had low social status and were poor, but it was possible for them to succeed in trade and become wealthy.  [24]  Many freedmen became wealthy and influential; an example is the Vetii Brothers, 1895.  [25]  The Vetii Brothers Aulus Vettius Restitutus and Aulus Vettius Conviva were former slaves who had been freed and became wealthy tradesmen. The House of the Vetii was owned by the Vettii brothers and one of the most well known and admired houses, it displayed a range of different frescoes which indicated their wealth through trade. Evidence has proven that they were wine merchants and became very well known and influential people in Pompeii and Herculaneum.  [26]   A fresco in their home portrayed Hermes god of Trade, located in their triclinium trying to profess their thanks to him.  [27]  (Refer to Appendix 8). Another archaeological source was a poster which said: [A VETTIUS] RESTITUTUS ROG[AT] VETTI CONIVA, AUGUSTALIS [FAC]. This poster was used to help the former owners of the brothers in the political votes as they had gained many connections through trade. The House of the Vettii contained many archaeological sources which helped reveal information about the social structure in Pompeii and Herculaneum. (Appendix 11 shows a picture of Priapus weighing his phallus, which was located at the front door greeting the guests). Freedmen participated in religious cults and could have their own businesses. Freedmen could not have political power like Freeborn men could but they could vote in the elections. Freed women like men could not hold formal political office and could also work for their former master through the patronage system.  [28]   In Pompeii and Herculaneum little evidence has been found about the slaves and their lives.  [29]  Slaves came from a range of different countries and could be bought and sold by their masters.  [30]  Slaves had no rights, privileges  [31]  and no permanent home as their owners could sell and dispose of them at anytime.  [32]  Many owners bought slaves for sexual intentions.  [33]  Several slaves were educated sometimes more than their owner. Their duty was to clean and cook , some took on the role of doctors and teachers.  [34]   In Pompeii slaves came from debtors and prisoners from wars usually consisted of women and children.  [35]  Slaves made up for forty percent of the population in both Pompeii.  [36]  Slaves worked for Freeborn people, Freedmen and the town council.  [37]  A range of evidence identifies that some slaves lived with their owners as they were considered by law as part of the property.  [38]  The House of Menander and the House of the Centenary are some examples of houses where specific rooms were assigned only to the slaves.  [39]  Tombs that were owned by slaves was rare, seemingly as most slaves were buried in random unmarked places.  [40]  An example of a tomb that was owned by a slave is shown through inscriptions Conviva, slave of Veia, lived 20 years.  [41]   The main goal was to be granted freedom and no longer be a slave for anyone. In order to be free it was required by the slave to either pay off their freedom or be granted freedom by their owner. The freedom converted the slaves to Freedmen.  [42]  Freedom for the slaves came with a ceremony called Manumission.  [43]  Many slaves resumed work with their previous owners but did not get the benefit of citizenship.  [44]   The relationship between the client and patron was a very common characteristic in all social classes in Pompeii and Herculaneum. It was a patronage system where high status people became leaders to the lower class people making them the client. In return the client was expected to support their master through political elections and any other services needed. In doing so the client was rewarded with a gift ,free meal or guidance with their the legal affairs. Clients were supported politically, socially, economically and legally. After many years of serving the owner the slave is granted freedom and adopts the owners name and become their client.  [45]   An example of this relationship was Eumachia and the guild of fullers. A statue of Eumachia was dedicated to her in her honour by the Fullers. (Refer to Appendix 1).Also there was an inscription on the statue that read The Fullers (dedicated this statue) to Eumachia, daughter of Lucius, Public priestess.  [46]  (Refer to Appendix 2). In conclusion written and archaeological sources have created a wide range of knowledge about the social structure in Pompeii and Herculaneum. The social structure branched out into three main categories freeborn, freedmen and slaves, people were either born into the social class or rarely changed into another status. Appendix Appendix One- http://farm2.static.flickr.com/1058/739235616_e3e5b19055.jpg Appendix Two- http://www.vroma.org/images/mcmanus_images/eumachia_inscript.jpg inscription on Eumachias building Appendix Three- scan from book. Appendix Four- Insulae of Julia Felix. http://wings.buffalo.edu/AandL/Maecenas/italy_except_rome_and_sicily/pompeii/ac880526.jpg Refer to Appendix 5- http://www.scalarchives.com/scalapic/foglia1/b/AF00125b.jpg Appendix Six- Three women conversing in Herculaneum. (Fresco) http://www.corbisimages.com/images/67/8C223073-D171-4282-86AB-9CFCDFA59F18/MI001617.jpg http://www.corbisimages.com/Images/spacer.gif Appendix Seven- Women playing the Lyre. http://www.the-romans.co.uk/g5/22.woman_with%20_lyre_small.jpg Appendix Eight- Hermes god of Trade. Priapus-Hermes (Mercury), phallic fertility god, with caduceus | Roman fresco Pompeii Appendix 9- Stola for Women. http://www.fashion-era.com/images/all_greeks_romans/faustina-roman-flora2.jpg Appendix 10- Toga for Men. Appendix 11- http://0.tqn.com/d/ancienthistory/1/0/0/l/2/HouseoftheVetii.jpg

An audience’s responce to Hedda gabler Essay

Hedda Gabler is a dramatic, exciting, confusing and at times unpleasant character, who is frustrated by a lack a freedom where she cannot be the wild and unstable free spirit that she wishes and this shines through throughout the play. From this frustration comes immense boredom which is in her case very deadly. She embodies some of the typical Aristotelian qualities of a tragic protagonist but Ibsen has put a strange twist on it. For example she is a woman of fortune. It has been made clear in the book that she was born into this high class lifestyle and has this fortune by no endeavour of her own. Therefore, by being placed at the top of the hierarchy, she has further to fall and there is more at risk than the average person. However, she is not really someone that people can identify or can have sympathy for, as neither generous nor courageous. Also, as is common her fatal flaw is her snobbery or pride. However, Aristotle’s notion of hamarita states that it is a ‘ matter of action’ not the character themselves. I don’t believe this applies her and agree with the 20th century interpretation. This is not brought about by the unfortunate circumstances more than the character themselves. This applies very much to Hedda as her ‘conflicted individual moral psychology which brings about the opposite of what the character intends’. The Norwegian playwright, Henrik Ibsen was very specific about the time when he set Hedda Gabler. The late 19th century was a time where woman were secluded and deluded into an oppressive and subjugate lifestyle. Ibsen puts Hedda in this male dominated were she challenges the conventional middle class bourgeois housewife by acting in a dictating and manly way witch were to shock the 19th century audience at this truly outrageous and outspoken character. The audience can therefore not identify with Hedda because in more ways than one she brings about her own demise. The local newspapers and media were disgraced; such as the daily telegraph which said ‘What a horrible story! What a hideous play! †¦ The play is simply a bad escape of moral sewage-gas’ Describing Hedda’s feelings as ‘the foulest passions in humanity’. This shows that the most tragic thing to me is that there are people her in this world. The play is started off with the stage layout, witch Ibsen perceptibly and carefully layout, giving a very bourgeois atmosphere each object has a lot of meaning to show the tragic nature of the play and Hedda. For example there are a lot of dark and dull colours hinting to things; such as saying ‘autumn colours’. Ibsen is using pathetic fallacy to show Hedda’s state of mind. Autumn is a time were everything around us is dying, dead leaves on the floor and animals hibernating. A time were there seems to be a deafening silence in the air following the summer which is usually buzzing with life. This could mean that maybe Hedda has passed the summer time in her life. A time when she was herself bloom perhaps and a time when she was also buzzing with colourful life. It is mentioned that Hedda used to go to parties and be a socialite. Then we see her state of mind at the present which is autumn. This already sets the scene of this play as pessimistic and cold. This is unusual for Ibsen’s targeted audience as they were used to cheerful and uplifting entertainment. Something to bewitch them into thinking their lifestyle was perfect as it was, which Hedda Gabler does not do in the slightest. Another thing that might have stunned the audience is Hedda’s awkwardness towards Miss Tesman and Mrs Elvsted. At a time were woman only socialized with woman it is interesting to see how she treats her fellow females in such a horrible manner. This is shown towards the beginning of Act1 were she call’s Miss Tesman’s hat to be servants hat. As Miss Tesman is Mr Tesman’s mother figure she should also traditionally be Hedda’s too, so by disrespecting like that would cause the audience to empathise with Miss Tesman and detest Hedda and her behaviour. Hedda also has a very unusual characteristics she presented by Ibsen in a very masculine way. By doing this she is emasculating George Tesman. To begin with he does this himself with Mrs Tesman, the keyword for the first is claustrophobic for Hedda; witch, with me, causes some sympathy for Hedda. With a combination of the childish nicknames (like Georgie and aunty juju) and the dreaded flowers make it as much cringe worthy to the audience as it was to Hedda, which is shown when they leave when The most prominent way that this is done is through the pistols, General Gabler’s pistols.

Annotated Bibliography Of Researched Information - 1108 Words

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Upon approval by both parties, the document is sealed with signatures from the appropriate representatives of both parties on the MOU. Negotiating an MOU can be tasking usually requiring considerable amount of time, energy and resources.(3) There is no standard MOU format but the idea of partnering agencies should be reflected in the format.(5) During the process of negotiating the establishment of an MOU, the following should be considered: i. The goals and objectives of the document should be kept broad and in a simple language.(5) ii. The roles of parties involved should be well defined and the resources to be provided by each member stated. (5) iii. The terms, units of service, service definition, procedures for amending the MOU and proposed review dates should be well defined. (5) iv. Expectations regarding the functions of each party should be realistic and specific.(5) v. 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The Importance Of Play For Early Childhood Education Programs

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