#cornelia Sulla

[astirastyr]

Also was thinking about Sulla’s first daughter (according to Colin’s lore)

[catilinas]

poking mamercus aemilius lepidus livianus with a stick. if cato was engaged to his daughter aemilia lepida 'when he thought that he was old enough to marry' + probably before the servile war and so. i would guess 75 bce ish? maybe as late as 73? and the only spouse we Know of for mamercus is cornelia sulla. and cornelia sulla's previous husband was killed in 88. and as far as i know the date of her marriage to mamercus is Unknown. and sulla fucked off to fight mithridates in like 87. WHAT is the timeline here. like i dont see how aemilia lepida could be old enough to get married in 73 at the latest unless cornelia sulla and mamercus were married almost immediately after the death of cornelia's first husband. which. i guess?????? i can't remember what mamercus was doing in the mid 80s either which doesn't help. did he do well enough in the social war for sulla to want a marriage alliance or did that come later. but if mamercus only married cornelia after sulla's return to italy i think aemilia lepida must have had a mother who was Not cornelia. why am i pondering this at 1:14am you ask. because i was thinking about the cursed onion tree in a world where cato did marry aemilia lepida, who was also his half cousin.

[pleasingnight]

Interesting that not only Faustus married the daughter of Pompey, but also Fausta married the nephew (and namesake) of Pompey's devoted brother-in-law (Gaius Memmius).

Pompey's custody battle for someone else's children is never not funny.

[sforzesco]

What do you mean when you say that Pompey is a lover in a story of inescapable violence? I am extremely intrigued

the Late Republic is a stage of violence intent on gorging itself on this violence, the structure of the system leaves no other outcome.

Pompey is both someone born into this cycle and someone who is an acting hand of violence. He fashions himself after a military ideal, Alexander the Great, he positions himself as Sulla’s successor in the arena of political spectacle (rising/setting sun), he is Rome’s conquering hand.

He’s also, in Plutarch’s biography, intensely aware of matters of love and romance and does not treat them as an idle and casual affair. It is, in some way, an inherent part of his character. He is the ideal of a husband, even if it conflicts with whatever other ideals he’s supposed to embody, and apparently trades in his role as a general to remain in Rome with his wife.

We are told that Flora the courtesan, when she was now quite old, always took delight in telling about her former intimacy with Pompey, saying that she never left his embraces without bearing the marks of his teeth. Furthermore, Flora would tell how Geminius, one of Pompey's companions, fell in love with her and annoyed her greatly by his attentions; and when she declared that she could not consent to his wishes because of Pompey, Geminius laid the matter before Pompey. Pompey, accordingly, turned her over to Geminius, but never afterwards had any thing at all to do with her himself, although he was thought to be enamoured of her; and she herself did not take this treatment as a mere courtesan would, but was sick for a long time with grief and longing. (…) Moreover, Pompey also treated the wife of Demetrius his freedman (who had the greatest influence with him and left an estate of four thousand talents) with a lack of courtesy and generosity unusual in him, fearing lest men should think him conquered by her beauty, which was irresistible and far-famed. But though he was so extremely cautious in such matters and on his guard, still he could not escape the censures of his enemies on this head, but was accused of illicit relations with married women, to gratify whom, it was said, he neglected and betrayed many public interests.

Plut. Pomp. 2

All this won him admiration and affection; but on the other hand he incurred a corresponding displeasure, because he handed over his provinces and his armies to legates who were his friends, while he himself spent his time with his wife among the pleasure-places of Italy, going from one to another, either because he loved her, or because she loved him so that he could not bear to leave her; for this reason too is given. Indeed, the fondness of the young woman for her husband was notorious, although the mature age of Pompey did not invite such devotion. The reason for it, however, seems to have lain in the chaste restraint of her husband, who knew only his wedded wife, and in the dignity of his manners, which were not severe, but full of grace, and especially attractive to women, as even Flora the courtesan may be allowed to testify.

Plut. Pomp. 53

Nevertheless, the marriage was displeasing to some on account of the disparity in years; for Cornelia's youth made her a fitter match for a son of Pompey. 3 Those, too, who were more critical, considered that Pompey was neglect­ful of the unhappy condition of the city, which had chosen him as her physician and put herself in his sole charge; whereas he was decking himself with garlands and celebrating nuptials, though he ought to have regarded his very consul­ship as a calamity, since it would not have been given him in such an illegal manner had his country been prosperous.

Plut. Pomp. 55

The messenger, finding her in this mood, could not bring himself to salute her, but indicated to her the most and greatest of his misfortunes by his tears rather than by his speech, and merely bade her hasten if she had any wish to see Pompey with one ship only, and that not his own. When she heard this, she cast herself upon the ground and lay there a long time bereft of sense and speech. At last, however, and with difficulty, she regained her senses, and perceiving that the occasion was not one for tears and lamentations, she ran out through the city to the sea. Pompey met her and caught her in his arms as she tottered and was falling. "I see thee," she cried, "husband, not by thy fortune, but by mine, reduced to one small vessel, thou who before thy marriage with Cornelia didst sail this sea with five hundred ships. Why hast thou come to see me, and why didst thou not leave to her cruel destiny one who has infected thee also with an evil fortune so great? What a happy woman I had been if I had died before hearing that Publius, whose virgin bride I was, was slain among the Parthians! And how wise if, even after his death, as I essayed to do, I had put an end to my own life! But I was spared, it seems, to bring ruin also upon Pompey the Great."

So spake Cornelia, as we are told, and Pompey answered, saying: "It is true, Cornelia, thou hast known but one fortune to be mine, the better one, and this has perhaps deceived thee too, as well as me, in that it remained with me longer than is customary. But this reverse also we must bear, since we are mortals, and we must still put fortune to the test. For I can have some hope of rising again from this low estate to my former high estate, since I fell from that to this.”

Plut. Pomp. 74-75

I have some vague thought in here about how Pompey was entrusted with Rome’s safety, and that conflicts with his Lover status because you can’t love something more than Rome without Rome deciding to cast you out, and it also prevents him from reclaiming his Soldier role in the ensuing war with Caesar. Doomed by Rome, doomed by Love, doomed by Fortune, etc. but also simply the inevitable cycle of war and violence, the ever turning wheel of Rome.

[lunamagicablu]

“Lì i libri erano ammassati ovunque. Non erano solo sugli scaffali come nelle altre case, no: da loro erano accatastati sotto i tavoli, sulle sedie, negli angoli più remoti. Ce n'erano in cucina e in bagno, sul televisore e nell'armadio; pile basse e pile alte. Grossi, piccoli, vecchi, nuovi... libri e ancora libri. Accoglievano Meggie sulla tavola apparecchiata per la colazione, invitanti; l'aiutavano a scacciare la noia... e qualche volta la mandavano lunga distesa per terra!” – Cornelia Funke, Cuore d'inchiostro art by Lucas Lima ************************** “There were books piled up everywhere. They weren’t just on the shelves like in other houses, no: they were piled under the tables, on the chairs, in the most remote corners. There were them in the kitchen and in the bathroom, on the television and in the closet; low piles and high piles. Big, small, old, new . . . books and more books. They greeted Meggie on the breakfast table, inviting; they helped her to chase away boredom . . . and sometimes they sent her sprawling on the floor!” — Cornelia Funke, Inkheart art by Lucas Lima 

[xxmarvelouslifexx]

hello! dropped in to tell you that i really love your fics. they're some of my favorite things to chew upon in ao3. if you don't mind, i would be delighted to read anything crassus/sulla you can write. that tag's been sort of abandoned unfortunately.

Thank you! Your fic absolutely slaps as well! I actually don't have anything Sulla/Crassus in mind, though Sulla is a big character in the fic I'm currently attempting to write. Sorry I have not posted any new fics in a hot minute. I will eventually get to it, I keep getting distracted with the read alongs.

But here is a sneak preview of that fic. Definitely going to be the weirdest thing I've written so far.

tw: threat of sexual assault

As Caesar makes his way to the doorway of his mother’s house, the crowd turns and whispers. His mother waits there, with a grim look on her face, along with all her brothers. He is shocked to see even his Uncle Gaius is present, back from his exile.

She quickly embraces him, pressing a kiss onto his forehead.

“Gaius! How are you? Did they treat you hospitably? He swore they would.” Her questions tumble out in a rush. She is nervous. He hasn’t seen her in such a state since his father passed.

“Yes, he did. What is going on, mother? Where is Cornelia?”

His mother begins to respond but the words don’t come out. She is blinking away tears. His Uncle Marcus steps forward, he is holding a yellow veil.

“It is your wedding day. Cornelia declined her invitation, said she could not stomach it,” he says. He drapes the veil over Caesar, much to his confusion. There is the sound of an approaching litter and the crowd’s murmurs increase in volume. His mother wipes the tears from her eyes and takes a wreath from a nearby attendant.

Caesar takes a step back.

“No! No, I’m no woman. What are you doing?” They have lost their minds. Everyone has. Nothing makes any sense anymore.

“Gaius Julius Caesar, come here,” his mother demands. He shakes his head petulantly, like a child. Uncle Lucius grabs his arms and pulls him back. His mother adjusts the veil and places the wreath on his head. “This was the only way. This or your head out on the rostra with the others.”

“But what madman would want me as a wife?”

The crowd breaks into cheers. Caesar turns around to a sickening sight. Lucius Cornelius Sulla has arrived, and he is walking straight towards him. He is wearing a matching wreath.

He turns back to his mother and clutches her hands.

“You cannot make me do this! You can’t!”

Strong arms wrap around his waist and begin to pull him away. The moment had arrived, he remembered doing the same to Cornelia years ago. She wailed as he took her from her father’s household, a jest. Playing at being an unwilling bride so as not to offend the household’s lares.

He is not playing a part when he throws his arms around his mother’s shoulders. He holds on tight and Sulla struggles to break his hold. Caesar is making a scene, quite an embarrassment for his family he knows. His uncles try to pry his hands off and urge him to let go.

“Gaius this is enough!” His mother twists out of his grip.

He falls back against Sulla’s chest, who quickly grabs ahold of his hands and pins them to his chest. He is taller and broader than Caesar. He can feel Sulla breathing deeply behind him. He leans down, to whisper in his ear.

“Are you done, boy?”

Is he? He is trying to piece together what has transpired. But the pieces do not fit. Not in a way that makes any sense. He finally nods in response and Sulla lets go. Caesar can’t help but take the opportunity to throw a punch. It connects with Sulla’s jaw, not his best work but it is something. To remind the man he would not be defeated so easily.

Sulla stares him down and the crowd quiets. He receives a backhanded slap that sends him to the floor. Before he can reorient himself, he is pinned belly down. He has no hope of throwing off Sulla’s weight.

“Keep that up and I will consummate this marriage right now,” Sulla snarls in his ear. “In front of your uncles and your mother and all of Rome.”

[trialsinthelateromanrepublic]

trial of Lucius Sergius Catilina

date: 64 BCE charge: lex Cornelia de sicariis et veneficis (murder of those proscribed under Sulla) defendant: L. Sergius Catilina pr. 68 prosecutor: L. Lucceius perhaps pr., date uncertain iudex quaestionis: C. Iulius Caesar cos. 59, 48, 46, 45, 44 laudatores [character witnesses]: consulares

Cic. Att. 1.16.9; Sul. 81; Pis. 95; Asc. 91-92C; Suet. Jul. 11; Dio 37.10.3 Marshall (SCI 1976/77)

Marshall (CQ 1985) argues that the murder of M. Marius Gratidianus may have been one of the charges against the defendant. He also maintains that the charge was false.

[paoloxl]

La Procura della Repubblica di Roma ha chiuso le indagini sul pestaggio che ha avuto come vittime tre ragazzini di 16 anni. Gli autori dell’aggressione sono poliziotti. I fatti si sono consumati nella tarda serata del 9 giugno del 2022, e tutto è stato immortalato dalle videocamere di sorveglianza che hanno incastrato i tre agenti.

Il racconto delle tre vittime dell’aggressione

Si è trattato di 5 minuti di follia. I tre ragazzini, alle 23 e 55,  erano diretti al Mc Donald’s, come riporta La Repubblica, nei pressi della Circonvallazione Cornelia quando sono arrivati e subito dopo sono sopraggiunte anche due pattuglie della Polizia. Dopo quei fatidici 5 minuti le auto blu vanno via. Ma in quel lasso temporale cosa è successo? I tre 16enne racconteranno di essere stati picchiati dai poliziotti e a uno questi ultimi avrebbero anche spaccato il cellulare con il quale stava cercando di chiedere aiuto al padre. Fatti che hanno trovato conferme nelle immagini delle telecamere.

La chiusura indagini e le accuse nei confronti degli agenti

Ora la Procura ha chiuso le indagini a carico degli agenti e, sulla base dei racconti delle vittime e dei video reperiti dagli investigatori che confermerebbero il racconto dei ragazzini, l’accusa per tutti è di abuso d’ufficio e lesioni. A uno viene contestato anche il danneggiamento, mentre un altro di depistaggio, in quanto avrebbe negato i fatti realmente accaduti.

L’aggressione s’è consumata in un brevissimo lasso temporale. I poliziotti erano stati inviati sul posto dalla centrale operativa per una rissa tra stranieri. Ma una volta arrivati sul posto avevano trovato solo il gruppo di ragazzini che stava giocando con il carrello della spesa. A quel punto, secondo il racconto delle vittime, non ci sarebbe stato niente altro che l’aggressione. Una scarica di botte ingiustificate, come avrebbero poi raccontato agli investigatori.

[garland-on-thy-brow]

Another dream last night was that in 2019 I was going to change my legal name to Cornelia (but then changed my mind).

The fun fact here is that in the waking world Cornelia was a character I created for a fantasy game, and she was based on Sulla (climbing the ranks to restore her disgraced family name to greatness).

[octavianacidicbreastmilk]

that being said, the lex cornelia sullae de sicariis et veneficis is eminently fuckable

[delectablywaywardbeard-blog]

Sciopero trasporti, a Roma chiuse 5 stazioni della metro A 

Al via a Roma lo sciopero nazionale dei mezzi pubblici, proclamato da alcune sigle sindacali. Al momento, rende noto Atac (l’azienda pubblica di trasporti della Capitale), proseguono il loro servizio la metro A, la metro B e la metro C. Sulla linea A, a causa dello sciopero del personale di stazione, sono chiuse le fermate Cornelia, Baldo degli Ubaldi, Repubblica, Vittorio Emanuele, Ponte Lungo.…

[catilinas]

also didn’t cornelia sulla end up w marius’ sexy coastal villa via potentially nefarious means

or fausta. fausta was cool. also cornelia sulla didn’t she have an epic legal battle with i literally cannot remember who. edit: the epic legal battle was with her own son

[sforzesco]

Hi- hope you are well, I love your art! I was wondering if you had an opinion on whether or not Crassus would side with Pompey or Caesar in the event that they still ended up going to civil war if he lived (noting he'd probably have been able to prevent it if he wanted to)

I HAVE THOUGHT ABOUT THIS A LOT

the part of me that believes in the enduring romance of a good partnership says he picks Pompey, but the part of me that loves tragedy and also spends too much time reading anything that mentions Crassus is saying 'it would depend.'

specifically, I think the decision would be timeline dependent, in the sense that Crassus would be more inclined to bet on Caesar since Pompey opts to stay in Rome and fulfill his command through legates, and his behavior during all of this is kind of eyebrow raising for someone like Crassus, who would probably start writing up a Pros/Cons list

it would also be thematically in line with Pompey, since the desertion of everyone except for Cornelia is important, and the loss of Crassus would be devastating since Crassus is one of the characters who has been in Pompey's narrative the longest, and his longest alliance for sure. Crassus outlived all of Pompey's marriages except for the one Pompey had to his son's widow, after all! and Pompey said he was the rising sun to Sulla's setting one, and you gotta commit to the theme if you're going to speak it into the world! and to a certain degree, Crassus also might feel more inclined to trust Caesar more at this point

on the other hand, a little later down the timeline, Caesar flips the Senate off and does his little Rubicon Scene, and provided Crassus hasn't picked between the two, he would probably re affirm his decades long coalition with Pompey because Sulla's Ghost marching on Rome is unacceptable. also, thematically here we're unlocking Sulla's Ghost (Caesar) going against Sulla's Heirs (Crassus, Pompey), and we've arrived at a Civil War With Layers To It Anyway! as both a Thebaid and Pharsalia enjoyer, this appeals to me immensely.

creating a situation where no Civil War happens is intriguing too, since the deaths that prompt it are Julia and Crassus. so. creating a situation where Crassus doesn't invade Parthia is a fun puzzle to solve. historically, Crassus gave both his sons over to Caesar to get their start on the military ladder, and Publius is the spark that starts off the Parthian expedition, so there needs to be an alternate event that stops Crassus from planning the expedition. the easy way out is that Crassus simply holds it off for one more year or simply Does Not Do It, but it clashes with both Publius' character and the way that Crassus was aware that he's. like. old, and is trying to legacy build something for his sons, and Crassus' atypical hold on power does not seem like something Publius would be interested in pursuing. but Marcus on the other hand......maybe.......

I have been toying with the idea of figuring out a scenario where Crassus splits his sons between Pompey and Caesar, but man, trying to get any of these years to line up in a way for it to work would require a personal miracle from saint jude or something, like I'm sitting across from Crassus and going 'hey man, what do I have to do to make you stay in Syria and not make a bad decision.'

[pleasingnight]

Aemilia Lepida (wife of Metellus Scipio) is the daughter of Cornelia (Sulla), the granddaughter of Cornelia (wife of M. Livius Drusus cos. 112), and the mother of Cornelia (Metella). Cannot escape the Corneliaverse.

[lamilanomagazine]

Bologna: “L’Attesa” al Teatro Arena del Sole il 25 e 26 marzo 2023

Bologna: “L’Attesa” al Teatro Arena del Sole il 25 e 26 marzo 2023. Al Teatro Arena del Sole di Bologna va in scena "L’Attesa" di Michela Cescon, sabato 25 marzo alle 19.00 e domenica 26 marzo alle 16.00. L'attrice e regista fondatrice della compagnia Teatro di Dioniso affida il testo dello scrittore Remo Binosi a due interpreti molto amate dal pubblico, Anna Foglietta e Paola Minaccioni, per la prima volta insieme sul palcoscenico. Quasi trent’anni dopo la storica messa in scena del 1994, diretta da Cristina Pezzoli, Cescon decide di riproporre il testo di Binosi nella sua prima stesura del 1992, scritta a macchina dall’autore stesso - con una punteggiatura spesso ossessiva dopo ogni singola parola, ogni singolo articolo - e con la dedica nella seconda pagina del dattiloscritto alla moglie Anna, che durante la stesura era incinta. «Il testo di Binosi – afferma la regista – ha una grande forza drammatica e di coinvolgimento, a cui è difficile rimanere indifferenti e - nonostante l'azione sia ambientata nel '700 - i temi e i contenuti trattati sembrano parlare di noi, come se non fosse cambiato nulla: la differenza di classe, il rapporto serva-padrona, il doppio, l’amore, il piacere, la maternità, il peccato, la punizione, il femminile, il male, la morte, la seduzione. Tutto viene raccontato con continui cambi di registro narrativo, tenendo in equilibrio tra loro commedia e dramma». La nobildonna Cornelia e la sua serva Rosa si ritrovano recluse nella stessa stanza a scontare la vergogna di una gravidanza inaspettata, che la società non intende accettare. La relazione tra le due esprime un dualismo moderno, presente nei personaggi come nella lingua, tra il teatro di Rosa in lingua veneta e la letteratura ricca di immagini e inconscio di Cornelia. «L’Attesa è proprio un testo per il palcoscenico – continua la regista –, per gli attori, pieno d’invenzioni molto riuscite. Tutto è raccontato con freschezza e con un erotismo naturale nei confronti della vita e del mondo. Alle due attrici viene richiesta un’adesione fisica ai personaggi totale, e il loro stare in scena diventa molto sensuale, non per un finto gioco di seduzione, ma per la loro immersione nel racconto; un racconto sui corpi femminili, sulla punizione per il desiderio, la punizione di essere donne, sulla maternità, sull’amicizia, sull’amore, sul piacere, sulla lealtà, sulle differenze di classe… due voci femminili che diventano un gran bel punto di vista, per portare in scena il nostro sguardo più personale ed intimo. Il dramma è costruito attorno a due donne che vengono allontanate e rinchiuse per nove mesi per nascondere entrambe una gravidanza. Si racconta una clausura, un’impossibilit�� ad uscire e mai, come in questi tempi, l’idea teatrale, anche semplice, di chiudere due personaggi all’interno di una stanza diventa vera, reale e sentita. Insieme ai miei collaboratori abbiamo costruito un luogo scenico che rappresenta la mente di Cornelia, il diario su cui lei scrive, dove la chiusura o l’apertura dei muri è metafora di una condizione interna, della vita del cuore; mentre la relazione con l’esterno viene raccontata dalla luce e dal buio, dalle ore del giorno e dai suoni della campagna estiva, e dalla natura prepotente che le circonda». «Mia moglie era in attesa di nostra figlia Giulia – scriveva l’autore – e io stavo leggendo le memorie di Casanova. Le avventure del grande seduttore si accompagnavano all’esperienza che stavo vivendo, con il procedere della gravidanza il corpo di mia moglie cambiava e insieme cambiava anche il rapporto che lei aveva con sé stessa e con le altre donne. La sentivo parlare con le sue amiche e intessere facilmente discorsi anche con donne molto diverse da lei, si scambiavano emozioni, consigli, paure e speranze. C’era tra loro una corrente di grande energia comunicativa. Proprio a partire da un dato intimo come quello del corpo gravido, le donne costruiscono una rete di confidenza e complicità di cui gli uomini sono assolutamente incapaci. Il maschio mito Casanova con la sua dispersiva sessualità, mi sembrava la prova di questa incapacità, cominciai così a pensare a una storia che mettesse a confronto donne diverse entrambe incinte dello stesso uomo assente». Remo Binosi (1949-2002), giornalista e scrittore, ha esordito come autore teatrale nel 1992 con il monologo Sognanti interpretato da Rosa Di Lucia. Nel 1994 la sua commedia L’Attesa ottiene il Biglietto d’oro Agis come migliore novità italiana e nel 2000 diventa un film, Rosa e Cornelia, diretto da Giorgio Treves con la sceneggiatura dello stesso Binosi. Tra i suoi testi per il teatro, ricordiamo Fausta – Peccato d’eternità (1994), La finestra sul ponte – Visione di una battaglia in corso (1995), Il martello del diavolo (1997), La Bovarì sulla bocca di tutti (1998), I cacciatori (1998), Che magnifica serata! (1999), Verde (2001), Betty Vintage (2001), Carambola (2001) e Una relazione privata (2001). Ha inoltre scritto il radiodramma Week-end e per il cinema il cortometraggio diretto da Mauro Balletti Fasten Seat Belts. Teatro Arena del Sole, via Indipendenza 44 – Bologna Prezzi dei biglietti: da 7 € a 25 € esclusa prevendita Biglietteria: dal martedì al sabato dalle ore 11.00 alle 14.00 e dalle 16.30 alle 19.00 Tel. 051 2910910 - biglietteria@arenadelsole.it | http://bologna.emiliaromagnateatro.com Vengo anche io! Laboratori creativi per bambini mentre i grandi sono a teatro ERT offre la possibilità ai genitori di assistere ad alcuni spettacoli della stagione mentre i bambini (dai 6 ai 12 anni) sono impegnati negli spazi interni al teatro in percorsi creativi a cura di istituzioni e realtà del territorio. In occasione della replica de L’attesa sabato 25 marzo dalle 19.00 Kilowatt - Le Serre dei Giardini conduce Duetto – laboratorio creativo con materiali naturali e di recupero sul tema del “doppio” attraverso il concetto delle “due facce della stessa medaglia”. I partecipanti faranno esperienza concreta del dualismo insito in tutti gli aspetti della vita dove gli opposti non si escludono, anzi si esaltano e compensano. Un albo illustrato accompagnerà, il percorso per creare un’atmosfera creativa che non conosce barriere di genere. Il costo di ogni appuntamento è di 7 € per bambino (10 € per due bambini), oltre al prezzo del biglietto ridotto del 20% per i genitori. Disponibilità limitata fino a esaurimento posti. Prenotazione obbligatoria: tel 051-2910950 | 347 167 1833 email ufficioscuola@arenadelsole.it  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[pomp-quio]

Alright since @garland-on-thy-brow and @soldatrose came in with guns blazing, I think I have to take this post a little more seriously - so here's the list of things stolen by Pompey (this list is unfinished! You can help by expanding it!)

Imagery for Agamemnon from Lucullus

Triumphs (and credit) that he should not have received

Edward Champlin, Agamemnon at Rome: Roman Dynasts and Greek Heroes

Plutarch, Life of Lucullus

Plutarch, Life of Pompey

Spartacus and the victory in the Servile War from Crassus

Plutarch, Life of Pompey

Sulla's Inheritance

Plutarch, Life of Crassus

Sulla tried so hard to keep Pompey out of it but instead Pompey gets recognition for saving his funeral, takes Faustus as his son-in-law, and steals the Mithridatic command from Lucullus, arguably a form of Sulla's inheritance.

Plutarch, Life of Pompey

Plutarch, Life of Pompey

Plutarch, Life of Lucullus

Plutarch, Life of Pompey

Plutarch, Life of Sulla

Crete from Q. Caecilius Metellus Creticus

Cassius Dio, The Roman History, Book 36

Sertorius and the campaign in Spain from Metellus

Plutarch, Life of Pompey

Plutarch, Life of Pompey

Cassius Dio, The Roman History, Book 36

Cornelia and Julia

Plutarch, Life of Pompey

Cassius Dio, The Roman History, Book 38

Plutarch, Life of Pompey

And! And!! He even steals the show at Caesar's death!

Plutarch, Life of Caesar

Pharsalia Discord encouraged me to set up a Pompey harem but instead I think its a lot more appropriate to consider a list of things he stole from people. So far:

- Agamemnon from Lucullus

- elephants from Scipio

- praise for the victory over Spartacus from Crassus