To give a first impression of daily life in the large Xanarian cities, and as preparation to the upcoming article extensive on Xanarium, today’s installment takes a close look at
Public Entertainment in the Empire
The Imperial society is an urban society, and wherever many people are concentrated in one spot, professional entertainers do abound. The Seat of the Xanarian Empire is famous for its various and even outlandish spectacles provided for the masses. A fact that often raises eyebrows is that since the earliest days of the Empire it has been the Church which provided these sometimes garish spectacles. The reason for this is that the Church is within the structure of Imperial society the proponent of the Merciful Hand, and providing affordable entertainment for the masses is a charitable act and thus wholy within the sphere of the Merciful Hand. The Church therefore has a whole administrative department concerned only with the organisation of entertainment. These spectacles are for the major part of course limited to the four big cities of the Seat of the Xanarian Empire, but there are a few travelling shows of gladiators and actors managed by the Church which visit the smaller municipia. There are basically four types of spectacles. In descending order of popularity these are chariot races, gladiatorial shows, theatrical plays and concerts.
Chariot Racing: The Xanarian tradition of chariot racing does date so far back that it is impossible to say when it begun; it might easily be as old as Xanarium itself. Surviving records show that there was an earth-and-dirt racing course in Hippodrome Valley in Xanarium as early as the 1st century and that the races were initially conducted as kind of holy rites in honour of Xanar Shardfinder. The races did soon loose their religious significance, and about the same time, in the early 3rd century, the first permanent wooden seats were built to accommodate spectators. Over the course of the following century, the Hippodrome of Xanarium was enlarged to become the grand marble-faced building it is today, and the other three major cities of the Seat of the Xanarian Empire all got their own, smaller hippodromes. The original Hippodrome of Xanarium accomodates a long racing course with sharp 180 degree turns at both its ends. A low spine of 350 m length, decorated with pillars and loot from all parts of the Empire, seperates the two lanes going to and fro without obstructing the view of the spectators, of whom the Hippodrome can easily accommodate 300 000. A race goes for three and a half laps, and at the Hippodrome usually has twelve participating teams (at the smaller hippodromes elsewhere, this is reduced to eight). A racing day at the Hippodrome has usually twelve races, those at the smaller race courses less, and there is a single racing day every month. Chariots are almost exclusively drawn by four horses each, but there are also a few races for teams of only two horses, and some curio races, with a reduced number of starters, with teams of eight horses. The chariots are built as light as possible, almost flimsy, and charioteers are usually small and of light build themselves. Referees watch the races closely, and charioteers whipping the teams or persons of rivals are disqualified, as are those ramming their competitors. Racing is mostly a matter of jockeying for a good position on an inside lap on the straight part of the course, and then chosing a speed that is just right for the narrowness of your turn; in the turns, charioteers crouch low to keep the chariot’s center of gravity as low as possible, but still they do flip sometimes (one flip every other race is a low average). This is potentially disastrous for the charioteers. To safeguard against the loss of the reins, it is the charioteers’ invariable custom to tie their ends around their bodies, but in the case of a crash this means that they get dragged after their teams. Charioteers do therefore carry curved knives close at hand with which to sever the reins, but even if they manage to do so, they still run the risk of being run over by other teams. About every other crash does therefore lead to serious injury, and a third of these injuries are either lethal or result in crippling for life. The above should make it obvious that the best places for spectators are near the turns, where the most action is to be expected. At the Hippodrome at Xanarium, the boxes of the Imperator and the Xanarches are therefore to be found opposite each other near the turn (the former’s right before the beginning of the turn of the Hippodrome’s round end, the latter one’s right after the end of this same turn). Of the remaining spectator space the lowest row is reserved for dignitaries of the civil and ecclesiastical administration, the rows immediately above this one for honestiores, and the mass of the higher seats for humiliores. This reservation means that there are enough seats for the elite, but always not quite for the masses. Literally everybody turns out to see the races, and visitors even travel from countryside to attend, so if one isn’t entitled to a reserved seat but still wants to be sure of being able to watch the races, one better queues before sunrise. Charioteers are celebrated and venerated heroes of the people; every boy dreams of becoming a charioteer, famous and jeered on by the masses. Charioteers have to belong to one of the four teams to be allowed to start, and quite a few are actually slaves belonging to their team; horses and chariots are also always owned by the teams. These temas are the Reds, the Greens, the Blues, and the Whites. Rare indeed is the Xanarian who doesn’t profess to support one or the other team – even the Xanarches and the Imperator each do openly favour a certain team. Many people follow the fortune of their team with almost religious fervour – there are supporters’ clubs and taverns devoted to one team or the other. Immediately before and after a racing day, melees between groups of radical supporters of rival teams are not uncommon; almost every racing day claims several casualties from among the fans.
Gladiatorial Games: The roots of gladiatorial games go back about as far as those of chariot racing, and they, too, had anitially a religious meaning. In the 2nd and 3rd centuries, prisoners of war were assembled into troops, equipped with blunt weapons and sent into mock battles against units of hand-picked legionaries; they were slaughtered to commemorate the victories of Xanar Shardfinder against the armies of the Dark Betrayer, and to give thanks to The-Three-Gods-Become-One for granting victory to the legions of Xanarium. In the 4th century, the first of these fights were staged to celebrate other occasions than only victorious battles, and from the 5th century onward it wasn’t anymore regular soldiers who fought, but professional gladiators, and the victims were not solely prisoners of war, but also convicted criminals. By the time Galerius Constans usurped power in the early 6th century, the gladiatorial rites had turned into regular shows, mostly disattached from the Xanarian wars and also largely secularized, apart from a formal blessing and dedication at their beginning. At around the same time, animals did for the first time appear in the games. An apogee was reached by the times of Xanarches Bassianus, in around 700 Weyr. Bassianus, nowadays judged to have been an apallingly secular man, ordered the Bassianum built; the gladiatorial games, which up to this time had always been staged in temporal, wooden theatres, did now receive a permanent, monumental home. In the course of the 8th century, the other three big cities of the Seat of the Xanarian Empire did build copies of this structure of their own, though on a smaller scale. Around the turn of the millennium, it became more difficult to stage games; slaves were less plentiful, and the Empire slipped into a crisis which precluded fortunes to be spent on spectacles. In the course of the 13th and 14th centuries the games did finally take on their modern guise. It keeps bearing in mind that no gladiator does ever fight another gladiator. True to the original idea, gladiators do still allegorically represent the forces of Light, and so they do not fight each other, only ever the the forces of Darkness. The latter are represented by convicted stubborn heretics, pirates captured by the navy, and of course by wild beasts; among those, captured trollspawn are preferred above all others. It goes without saying that capturing trollspawn alive and shipping them to the Seat of the Xanarian Empire is dangerous and thus costly in the extreme. In the Bassianum, it is a rule that at least one trollspawn, though only very rarely more, is featured in every single show, but in the other, smaller amphitheatres, trollspawn are not seen more often than once a year. Apart from the trollspawn, gladiators do fight captured wild beasts. Once, when the Church had a rich and huge Empire at its disposal, these animals were mostly exotic ones brought from the far corners of the Empire, lions, crocodiles, hyenas, leopards, even rhinos and the rare elephant. Nowadays, these exotic beasts make up a small minority of the animals killed in the arena, and it is more common to see wolves, bears, wild bulls and maddened boars. These animals do not only get slaughtered by the gladiators, they do themselves also get to kill humans. These unlucky men and women are provided by the Inquisition; whereas repenting heretics are mercifully strangled and their corpses crucified as a warning for others, the stubborn ones are sentenced to death in the arena. Church officials are very creative in devising spectacular deaths. Convicts might be bound to poles to be devoured, or they might be given blunted weapons to defend themselves – after being hamstrung or having a leg broken. One way or another it is assured that they don’t stand a chance of survival. The galdiators’ traditional foes were initially prisoners of war, later supplemented by convicts. When the Empire waged less and less wars, this source dried up – and as the wars had also been the major source of slaves, one was at the same time forced to turn to convicts for new slaves, they became unavailable as a source for fodder for the arena, too. But the ingenious Xanarians did soon find a solution. Captured pirates did become the new source of material for the arena. Piracy was punishable by death, but unlike many other cases of capital punishment, the one for piracy was not changed to slavery - nobody did want a bloody-minded and combat-tested former pirate as a slave. But this very combat worthiness did on the other hand make them perfect material for the arena. The Imperial navy has standing orders to take as many pirates alive as possible, and the Church buys them off the Imperator to be slaughtered by gladiators. The typical pirate is a ruffian, not a warrior, and even though he knows the basics of armed combat, he is easy prey for the highly experienced and well-equipped gladiator. The gladiators toy for some time with the invariably unarmored pirates, giving the spectators a fine show, then they dispatch them. Every once in a while a gladiator is actually defeated by a pirate, which helps to keep the fights from getting completely predictable. The pirates are promised their freedom if they win, and the very few who do are really set free; they are nailed to a cross, and once crucified, they are free to go wherever they want – if they can. Gladiatorial shows are held three times a year, at fixed dates connected to some religious festival. At the height of the Empire, every game lasted for three consecutive days, but with the decine of the Empire, this has been reduced. In the three minor metropolises of the Seat of the Xanarian Empire, every game is only a single day long; in Xanarium, games lasts for two days, and on some special occasion, maybe oonce every other year, a game is by grace of the Xanarches extended to last for three days. A day at the games always follows a fixed formula. At first, there is a religious service; a passage pertaining to the wars of Xanar Shardfinder is read out from the holy writ, a short sermon on combating the forces of evil is given, a communal prayer is said, and then the games are blessed. The first act of the following games is always gladiators fighting wild animals – or more properly slaughtering them, as the gladiators appearing here are equipped with javelins and well-trained in combat tacics against beasts. This is followed by the second act, heretics being thrown to the beasts. This is the least popular part of the games, not because spectators take pity on the poor sinners, but rather because many view this spectacle as unsophisticated carnage, as bloodletting without any sport to it. Then follow the hugely popular fights of the gladiators against the pirates; these combats are mostly one on one, only rarely two on two; even larger team fights are only ever staged at the Bassianum, and even there only as a special treat to be seen only every few games. In the Bassianum, and only there, this is then followed by the single combats for admittance to the Tulian Guard (as explained in full detail elsewhere); as these combats do pitch one trained warrior against another, they are even more popular than the bouts of the gladiators, even though if usually much shorter than the artfully drawn-out gladiatorial fights. The day does then close with the easily most popular and spectacular part of the games – the single combat of a gladiator with a trollspawn. Other than with the spectators, this is the most unpopular match for the gladiators themselves, as it is the most dangerous by far. But even though gladiators do with some frequency fall against trollspawn, the latter are still never the victors – if necessary, gladiator after gladiator is sent against them, until they are killed. These gladiators are always slaves chosen. Their masters, private contractors who lease their gladiators to the Church, choose them for physicl fitness and train them to extremely high standards of proficiency. Gladiators are habitually freed after some five to ten active years, depending on their conduct and achievements. The great majority does survive this long, as their only dangerous opponent apart from trollspawn is the rare proficient pirate – who needs lots of luck in addition to proficiency to defeat the well-trained gladiator. The equipment of gladiators is highly traditional and exactly the same since over a millennium. It is in a somewhat baroque way deliberately primitive; the reason for this is that gladiators are theroretically thought to represent the warriors of antiquitiy, who fought along Xanar Shardbringer against the Dark Betrayer and his forces inimical to order and civilization. Like charioteers, they are hero-worshipped by a games-mad populace. Even though they are slaves, they are accorded much freedom; their faces are so well-known that flight would be next to imposible anyway. Gladiators do thus get a lot of invitations to the houses of leading honestiores, just like charioteers – but unlike the rather weeny charioteers, they do quite often also end up in the beds of any female hosts. It merits bearing in mind that the overall number of gladiators is very low. Fifty, maybe sixty, is usually the maximum number of gladiators appearing on any given day even at the Bassianum, meaning that, even though no gladiator usually appears in the course of a two-day game more often than once, 150 galdiators in total are enough to play the Bassianum indefinitely.
A small excursion: This is the proper place for a small excursion on betting in the Seat of the Xanarian Empire. This can easily be summed up: The Xanarians are mad about betting, absolutely and without any holds barred. Both Basianum and Hippodrome swarm with bookies, calling out across the heads of spectators and handing out betting slips. Xanarians bet not only on who will win, they also bet in which lap a certain chariot will take the lead, how many strikes a fighter will parry before receiving the first wound, how many charioteers are going t crash over the course of a day, where the first wound received by any given fighter will be located, and a thousand things more. Of all the many spectators attending the races and the games, a full half wouldn’t even bother to turn out if not given the opportunity to bet on the outcomes.
Theatrical Plays: Just like chariot racing and gladiatorial shows, the roots of theatre go back to religious rites, to mystery plays staged to enact key passages from the holy writ. As early as the 2nd century, priests of the Imperial Faith wrote new stories for these mystery plays, to instruct and enlighten the faithful. These new plays couldn’t of course add new events to the life of Xanar Shardfinder, and so they concentrated on the life of his minor disciples. From here, it was only a small step to stage plays detailing the lifes of later saints, and then even completely fictional moral lessons. Once these fictional plays of religious content had become common and fully accepted, in around 300 Weyr, the first plays of not purely religious content were written and staged. The later 4th and the 5th century were the classic period of playwriting, when unsurpassed masterpieces were written, especially the tragedies by the “Three Masters†Acilius, Sopholis and Uripidius, venerated and frequently staged even in the present age. The end of the 5th century saw a sharp decline in the quality of the plays produced, a direct result of the the theatre catering to the simpler tastes of the poor masses flooding the cities. Plays became more frivolous, relying on the cheap thrills of dramatic action and bloodshed and acquiring traits of the burlesque. Hackneyed versions of the great plays of former days were staged, revue-like medleys of their most gripping scenes. In around 600 Weyr, the stately masks worn by actors of earlier times were abandoned and female actors were for the first time admitted to the stage – which soon led to the shows becoming ever more frivolous, with ever more displays of naked flesh. This sorry state of the heatrical arts characterized the Golden Age of the Empire (the 8th and 9th centuries) and continued, yes even aggravated, right through the era of its decline. It is the current, the 15th, cenutry which has finally seen and inversion of this trend. The frivolous revues of sex and thrills are still staged, but a good portion of people, even among the humiliores, nowadays openly sneer at them. People have started to think back to the early days of the Empire, when it had the vigour of youth, and with it to the clarity and severe beauty of the plays of the clasical period. For the first time in ages, the plays of the “Three Masters†are again staged in their original form, and one can once again actors who are more than grotesque clowns. Xanarian theatres are semi-circular buildings open to the elements. The spectators sit in steeply ascending ranks in the rounded part and watch the play unfolding on a raised stage opposite them. The actors are men and women alike, and the plays make heavy use of trapdoors, pulleys and other mechanisms, true to the Xanarian technical aptitude. The more frivolous shows frequently contain acrobatic displays and sung pieces and are often accompanied by music, but real plays never are. Xanarium sports three of these structures, the other three large cities one or two each, and even a good number of smaller municipia have at least a small one. Admission to the shows is free, as they, too, are paid for by the Church. Any given theatre is typically played every other day. Actors organize themselves into troupes. The most prestigious of these troupes play Xanarium, with occasional appearances in one of the other three large cities, and the least prestigious ones travel between the theatres of the remote municipia. Actors are usually pretty or handsome, and they have a not entirely undeserved reputation of having loose morals; many, of both sexes, are discreetly available as costly prostitutes. Actors are generally accorded a very low prestige, but some few are perversely venerated no less than famous charioteers. This has only very rarely anything to do with the quality of their performance. The mechanisms leading to huge popularity are hard to fathom, but good looks seem to help, as does an especially scandalous lifestyle.
Concerts: Of all the public entertainments, concerts are easily the least popular, and the most elitarian. Almost only ever honestiores do attend them, and it has become customary to the point of being compulsory to make a donation when attending, even though admission to concerts is also free as they are entirely paid for by the Church. The first dedicated concert hall ever to be built was the Odeum at Xanarium, basically only a somewhat smaller and roofed-over theatre. The other three large cities of the Seat of the Xanarian Empire did soon follow suit, but everywhere else, concerts are performed in the theatres – if at all. Municipal theatres usually stage no more than two concerts a month, whereas the dedicated concert halls in the large cities are usually played every other day. Musicians are never venerated in the way charioteers, gladiators and some actors are. This may have much to do with the snobbish demeanor shown ostentatively by the honestiores attending the concerts. The same people who cheer at a charioteer at the top of their voice and who swoon at being at the same party as a famous gladiator do at the concerts fancy themselves sophisticated connaisseurs of the arts, not base fan-boys of some vulgar performer.
_________________ My real name is Michael; use it, if you like.
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