Culture
Life in the Roman Republic revolved around the city of Rome, and its famed seven hills. The city also had several theatres, gymnasiums, and many taverns, baths and brothels. Throughout the territory under Rome's control, residential architecture ranged from very modest houses to country villas, and in the capital city of Rome, to the residences on the elegant Palatine Hill, from which the word "palace" is derived. The vast majority of the population lived in the city center, packed into apartment blocks.
Most Roman towns and cities had a forum and temples, as did the city of Rome itself. Aqueducts brought water to urban centers and wine and cooking oil were imported from abroad. Landlords generally resided in cities and left their estates in the care of farm managers. To stimulate a higher labour productivity, many landlords freed large numbers of slaves.
Beginning in the middle of the 2nd century BC, Greek culture was increasingly ascendant, in spite of tirades against the "softening" effects of Hellenised culture. By the time of Augustus, cultured Greek household slaves taught the Roman young (sometimes even the girls). Greek sculptures adorned Hellenistic landscape gardening on the Palatine or in the villas, and much Roman cuisine was essentially Greek. Roman writers disdained Latin for a cultured Greek style.
Read more about this topic: Roman Republic
Famous quotes containing the word culture:
“As the end of the century approaches, all our culture is like the culture of flies at the beginning of winter. Having lost their agility, dreamy and demented, they turn slowly about the window in the first icy mists of morning. They give themselves a last wash and brush-up, their ocellated eyes roll, and they fall down the curtains.”
—Jean Baudrillard (b. 1929)
“The time will come when the evil forms we have known can no more be organized. Man’s culture can spare nothing, wants all material. He is to convert all impediments into instruments, all enemies into power.”
—Ralph Waldo Emerson (1803–1882)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)