Ancient Rome in the English novel: a study in English historical fiction

In Short

Randolph Faries, 2d, presents a systematic critical inquiry into English historical fiction that depicts ancient Roman civilization. Originating as a doctoral dissertation, the study traces how the genre emerged from classicism and Byronic romance, matured through Sir Walter Scott's influence, and evolved into a rich literary tradition. Faries analyzes key works spanning a century to establish criteria for defining true novels of Roman life, evaluating how novelists reconcile historical scholarship, spiritual themes, and dramatic narrative. The work endures as a foundational blueprint for classifying and understanding classicism's role in the English novel.

The Story

The narrative arc of Faries’s critical study traces the origin, maturation, and ultimate diversification of the Roman novel in English literature. The treatise opens by defining the proper boundaries of the field. Faries establishes that a valid novel of Roman life must possess rigorous classical scholarship and a dedicated portrayal of Roman culture, distinguishing true historical fiction from mere popular stories or pedantic exercises using classical names. From this premise, the study examines the genesis of the genre, identifying John G. Lockhart’s 1821 novel Valerius as the earliest true exemplar. Faries demonstrates how Lockhart, drawing on Sir Walter Scott’s historical methods, successfully grafted modern narrative interest onto ancient settings, while early nineteenth-century Romantic influences like William Beckford’s Vathek and Byronic romance shaped the genre's aesthetic parameters.

The trajectory then moves to the genre's formal maturation, marked by Sir Edward Bulwer-Lytton’s The Last Days of Pompeii in 1834. Faries shows how Bulwer-Lytton established a complete and artistic framework that influenced all subsequent writers. As the study progresses through the nineteenth and early twentieth centuries, Faries maps out distinct lines of development driven by varying authorial motivations. He examines the prominent contribution of scholar-preachers like Charles Kingsley and Archdeacon Frederic William Farrar, who used Roman settings to explore universal moral truths, democratic ideals, and the contrast between Christian and pagan ethics.

Faries explores the profound impact of German scholarship and fiction. The meticulous antiquarian research of scholars like Wilhelm Adolf Becker and the narrative methods of German followers of Scott introduced a level of archaeological detail that forced English popular novelists and classical teachers to adopt rigorous historical accuracy. Faries tracks how the genre expanded beyond the city of Rome itself to encompass the entire Roman world, from Alexandria to Roman Britain, as seen in epic works like Lew Wallace's Ben Hur.

In its final movement, the study analyzes modern developments up to the early 1920s. Faries contrasts sensational popular romances with highly refined aesthetic novels, such as Walter Pater's Marius the Epicurean and Eden Phillpotts's Pan and the Twins, which emphasize philosophical nuance, spiritual atmosphere, and ideal physical beauty. Faries concludes by distilling a canon of twelve preeminent masterpieces, demonstrating that the genre achieves its highest artistic realization only when deep classical learning, realistic human characterization, and aesthetic harmony unite.

How It Unfolds

Defining the classic novel Faries begins by identifying a critical void in literary history: the lack of a clear definition that separates genuinely valuable classic fiction from superficial stories containing ancient names. He establishes criteria based on scholarly depth, thematic focus, and historical accuracy.

Establishing the origins The study traces the genre's birth to Lockhart's Valerius in 1821, showing how Scott's historical methods and classical scholarship combined to create the first authentic Roman novel. Early influences like Byronic romance and Vathek are shown shaping the narrative tone.

Achieving artistic maturity Bulwer-Lytton’s The Last Days of Pompeii marks the full realization of the genre's artistic form. Faries illustrates how this landmark text established a standard of vivid narrative and historical fidelity that set the benchmark for future novelists.

Evaluating the scholar-preachers Faries explores how religious scholars, including Charles Kingsley and Archdeacon Farrar, utilized Roman settings to examine moral philosophy. Books like Hypatia and Darkness and Dawn illustrate the tension between spiritual ideals, dogma, and societal structures.

Integrating German scholarship The analysis shifts to the profound influence of German archæological research and fiction. The meticulous methods of German writers pushed English novelists toward greater historical thoroughness and authentic depictions of daily Roman life.

Expanding across the empire Faries tracks the broadening geographical and thematic scope of Roman historical fiction. Masterpieces like Ben Hur and late-nineteenth-century works demonstrate how writers depicted the vastness of the Roman world, contrasting imperial power with diverse provincial cultures.

Refining the aesthetic ideal The study concludes by examining modern aesthetic approaches in the late nineteenth and early twentieth centuries. Works by Walter Pater, Edward Lucas White, and Eden Phillpotts show a shift toward philosophical subtlety, realistic characterization, and pure aesthetic value.

The People

John G. Lockhart The author of Valerius (1821), Lockhart serves as the foundational figure in Faries's study. A classical scholar and son-in-law of Sir Walter Scott, he seeks to apply Scott's historical techniques to ancient Roman settings, successfully establishing the initial structural framework for the English novel of Roman life.

Sir Edward Bulwer-Lytton Author of The Last Days of Pompeii (1834), Bulwer-Lytton stands as the transformative craftsman who elevates the Roman novel into a fully developed, artistic literary form. His work demonstrates how high narrative interest and classic historical backdrops can be balanced effectively.

Charles Kingsley A scholar, teacher, and preacher whose novel Hypatia (1853) represents the intellectual line of development within the genre. Kingsley uses fifth-century Alexandria to explore philosophy, spiritualism, and Christianity, seeking to portray true Christianity as an inherently democratic creed against elitist philosophies.

Archdeacon Frederic William Farrar Author of Darkness and Dawn (1892), Farrar embodies the fusion of deep classical learning and detailed historical analysis. He meticulously reconstructs the era of Nero, using authentic historical detail to contrast pagan imperial society with early Christian life without overburdening his narrative.

Walter Pater Author of Marius the Epicurean (1885), Pater represents the aesthetic line of development. He seeks to explore internal philosophical growth and visual atmosphere, using detailed depictions of Roman customs and figures like Marcus Aurelius to create a contemplative, artistic masterpiece.

In Its Own Voice

"The year 1841 marks, as nearly as possible, the exact point at which the story of religious instruction branches off and becomes an entirely different thing from the novel of Roman life."

Faries clarifies the critical boundary separating genuine historical fiction from purely instructional religious literature.

"No important novel of Roman life has been written by an author who lacks classical scholarship of a very high order."

The author asserts his central thesis regarding the indispensable role of deep erudition in historical fiction.

"In the foreground of the picture appear always scenes amid the sunlight and pure air of the Roman country landscape."

Faries describes the aesthetic atmosphere achieved by Eden Phillpotts in his philosophical Roman novel Pan and the Twins.

What It's Really About

Underneath its survey of titles and dates, Faries's study explores the delicate balance between historical truth and imaginative art. The book investigates how modern authors recreate the human experience of an ancient civilization without collapsing into pedantry or superficial sensationalism. Faries grapples with the tension between pagan aesthetics and Christian ethics, demonstrating how historical fiction acts as a mirror for modern philosophical and political concerns. By examining how different generations of writers approach Rome—whether as a site of moral conflict, archæological fascination, or ideal physical beauty—the work ultimately argues that the past can only be authentically resurrected when meticulous scholarship is animated by a refined sense of literary form.

Why Read It Today

Ancient Rome in the English Novel appeals to literary historians, classicists, and avid readers of historical fiction who wish to understand the origins and critical standards of the genre. Faries writes with clear, unpretentious authority, offering a structured roadmap through a century of Victorian and early twentieth-century literature. Reading the book feels like sitting with a knowledgeable guide who meticulously separates forgotten novelistic experiments from enduring literary art.

Readers should be aware of the book's academic origins as a 1923 doctoral thesis. Its style is formal and systematic, organized around classification, influence, and bibliography rather than narrative drama. Faries focuses intently on classical accuracy, literary history, and thematic analysis, occasionally delving into detailed bibliographic categorizations. However, for those interested in how ancient Rome captured the British and American imagination, Faries provides a remarkably clear, grounded, and insightful critical evaluation that restores forgotten classics to their rightful place in literary history.

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