Women of Early Christianity

by Alfred Brittain; Mitchell Carroll

XI

THE EMPRESS THEODORA

There are few stranger episodes in literary history than the fate of Theodora, the celebrated consort of the Emperor Justinian. To us in this day she is a Magdalene elevated to the throne of the Cæsars, a beautiful and licentious actress suddenly raised by a freak of fortune to rule the destinies of the Roman Empire. All this is due to the remarkable discovery made by Nicholas Alemannus, librarian of the Vatican, toward the end of the seventeenth century, of the Secret History of Procopius, a work which purported to reveal the private life of the Byzantine court in the days of Justinian. Before the publication of this work Theodora was in public opinion chiefly remarkable for the prominent place she occupied in Justinian's reign. Of her early life nothing was known, but from the date of her accession to the throne she had exercised a sovereign influence over the emperor. In an important crisis she had exhibited admirable firmness and courage. She had taken an active part in the court intrigues and religious controversies of the epoch, and to her sagacity the emperor attributed many of his happiest inspirations in legislation. The ecclesiastical historians accused her of serious lapses into heresy and of having laid violent hands on the sacred person of a pope; but, with all their vituperation, there never was in circulation a calumny affecting her personal character. Such is a brief resume of the history of Theodora as handed down unassailed for a thousand years.

Then suddenly a startling revelation was made to the world concerning the previously unknown period of Theodora's life. Alemannus disinterred from the archives of the Vatican library, where it had long lain forgotten, an Arcana Historia which purported to be from the pen of the celebrated historian of the Wars and the Edifices of Justinian. Edited with a learned commentary by a hostile critic, the work immediately attained wide circulation and universal credence. For the first time the character of the illustrious empress was presented in the blackest colors. The world, it seemed, had been really mistaken in its estimate. Theodora's antecedents and early life had been of the vilest character, and her public life signalized by cruelty, avarice, and excess. From the date of the publication of this chronique scandaleuse, and thanks to Gibbon's trenchant paraphrase of its vilest sections, Theodora was condemned. Her name became the connotation for all the depraved vices known in high life. The silence of eleven centuries was overlooked, and the garish picture of the Secret History has formed the modern world's estimate of Rome's most illustrious empress.

It becomes, therefore, an important problem to attempt to distinguish the Theodora of history from the Theodora of romance. We must inquire whether the startling "anecdotes" of the Secret History justly supersede the estimate and tradition of so long a period. Was Theodora the grand courtesan she is represented to be in the modern drama, or was she a great empress, worthy of the respect and admiration of Justinian and of succeeding ages? To answer these questions we must first briefly review the legendary history of Theodora, and then dwell more at length on the authentic history of the empress. This will merit a recital, for she appears to be a personality singularly original and powerful, possessing both the qualities of a statesman and the unique traits of a woman, a character of much complexity and of rare psychological interest. During the first years of the sixth century there lived in Constantinople a poor man, by name Acacius, a native of the isle of Cyprus, who had the care of the wild beasts maintained by the green faction of the city, and who, from his employment, was entitled the Master of the Bears. This Acacius was the father of Theodora. Upon his death, he left to the tender mercies of the world a widow and three helpless orphans, Comito, Theodora, and Anastasia, the eldest being not yet seven years of age. At a solemn festival these three children were sent by their destitute mother into the theatre, dressed in the garb of suppliants. The green faction scorned them; but the blues had compassion and relieved their distress, and this difference of treatment made a profound impression on the child Theodora, which had its influence on her later conduct. As the maidens increased in age and improved in beauty, they were trained by their mother for a theatrical career. Theodora first followed Comito on the stage, playing the rôle of chambermaid, but at length she exercised her talents independently. She became neither a singer nor a dancer nor a flute player, but she figured in the tableaux Vivants, where her beauty freely displayed itself, and in the pantomimes, where her vivacity and grace and sprightliness caused the whole theatre to resound with laughter and applause. She was, if the panegyrists may be believed, the most beautiful woman of her age. Procopius, the best historian of the day, says that "it was impossible for mere man to describe her comeliness in words or to imitate it in art." "Her features were delicate and regular; her complexion, though somewhat pale, was tinged with a natural colour; every sensation was instantly expressed by the vivacity of her eyes; her easy motions displayed the graces of a small but elegant figure; and either love or adulation might proclaim that painting and poetry were incapable of delineating the matchless excellence of her form." It is unfortunate that we have no likeness which portrays her exquisite beauty. The famous mosaic in San Vitale at Ravenna is the best authentic representation of the empress, but a mosaic can give but little idea of the original.

But Theodora possessed other fascinations besides beauty: she was intelligent, full of esprit, witty. However, with all these gifts there was in her a deficiency of the moral sense and a natural inclination to pleasure in all its forms. Sad to relate, her charms were venal. If the Secret History be believed, her adventures were both numerous and scandalous; to quote a piquant expression of Gibbon, "her charity was universal." Procopius recounts memorable after-theatre suppers and tableaux vivants that would be excluded from the most licentious of modern stages. After a wild career in the capital as the reigning figure of the demi-monde, Theodora suddenly disappeared. She condescended to accompany to his province a certain Ecebolus, who had been appointed governor of the African Pentapolis. But this union was transient. She either abandoned her lover or was deserted by him, and for some time the fair Cyprian, a veritable priestess of the divine Aphrodite, made conquests innumerable in all the great cities of the Orient. Finally, she returned to Constantinople, to the scenes of her first exploits, being then between twenty and twenty-five years of age. In her bitterest humiliation, some vision had whispered to her that she was destined to a great career.

Wearied of amorous adventures and of a wandering career, she began from this moment to adopt a retired and blameless life in a modest mansion, where she relieved her poverty by the feminine task of spinning wool. It was at this moment that happy chance threw the patrician Justinian in her path. Captivated by her beauty and her feminine graces, this staid, business-like, and eminently practical personage, already marked as his uncle Justin's successor to the Empire, wished to make the fair Theodora his wife. But there were obstacles in the way. The Empress Euphemia flatly refused to accept the reformed courtesan as a niece; Justinian's own mother, Vigilantia, feared that the vivacious and beautiful worldling would corrupt her son. It was even said that at this time the laws of Rome prohibited the marriage of a senator with a woman of servile origin or of the theatrical profession. But Justinian remained inflexible. The Empress Euphemia conveniently died; Justinian overrode the opposition of his mother; and Justin was persuaded to pass a law abolishing the rigid statute of antiquity and to make Theodora a patrician.

Soon followed the solemn nuptials of Justinian and Theodora; and when, in 527, Justinian was officially associated with his uncle on the throne, Theodora was also solemnly crowned in Saint Sophia by the hands of the Patriarch as an equal and independent colleague in the sovereignty of the Empire, and the oath of allegiance was imposed on bishops and officials in the joint names of Justinian and Theodora; while in the Hippodrome, the scene of her earlier triumphs, the daughter of Acacius received as empress the adulation of the populace.

Such, according to the Secret History, is the romance of Theodora. The reason why it has been given general credence is because the work purported to be that of a contemporary writer, the greatest historian of his age, who has weighted his charges with emphasis and detail, and because the recital received the convincing endorsement of Alemannus and of Gibbon. The principle which governed Gibbon was as follows: "Of these strange anecdotes a part may be true because probable, and a part true because improbable. Procopius must have known the former and the latter he could scarcely invent." Reassured by this argument, and seduced by the masculine taste for adventure, most historians have complacently accepted this piquant history and have applied to Theodora the vilest epithets. But recent writers, especially Debidour, Ranke, Mallet, Bury, and Diehl, have not regarded the case as proved, and through a careful analysis of the Secret History have presented convincing arguments against the reputed authorship of the work and the authenticity of its narrative.