The Second Punic War, fought between the Romans and Carthaginians, lasted for seventeen years. During this time the Carthaginians inflicted several devastating defeats upon Roman armies. In addition to the cost in human lives, these defeats left a legacy of shame which the Romans were anxious to extirpate. An important part of this process lay in the public perception of these events, and the ones most responsible for shaping this perception were the historians who recorded and wrote about them. Historiography in Rome was in its infancy as the Second Punic War drew to an end, and none of the accounts written by men who lived through the war have survived intact. The fullest and most detailed account of these years is that of Livy who, writing two centuries later, inherited the fruits of two centuries of historiography on the subject. Yet contrary to the belief that has persisted too long, Livy was not merely a collator and copyist, but a moralist and an artist with a vision of his own. For Livy, the period of the Second Punic War represents the Romans at their greatest, before the evils of foreign immorality and luxury took root and led eventually to the excessive greed and intense rivalry which tore the state apart. Thus it is not only patriotism, but also nostalgia, that colours Livy’s memorable presentation of these events and the people involved. Nobody denies Livy’s literary artistry, but it is the choices he has made in his interpretation of people and events that are of more interest to me. It was Livy’s cherished belief that the Romans of old, exemplars of courage and strict morality, were well nigh unbeatable in a fair fight, which makes the presentation of episodes of defeat and disgrace so much more challenging for him. A close examination of the ancient evidence, and in some cases a re-evaluation of modern perceptions concerning episodes of defeat and disgrace and the people involved, has allowed me to better grasp the extent of Livy’s artistic licence and reinterpretation. The evidence and opinions of Polybius have played a crucial role in this process, not only because of his closer proximity to the events in question, but because Livy is known to have read and used his work. Polybius’ influence on Livy’s later decades concerning Rome’s involvement with Greek states is undeniable, but although Polybius wrote about the Second Punic War also, Livy has remained remarkably independent of Polybius’ account. A comparison of these accounts reveals the difference in the choices made by each author and serves to illuminate what makes Livy’s history his own.

The Second Punic War, fought between the Romans and Carthaginians, lasted for seventeen years. During this time the Carthaginians inflicted several devastating defeats upon Roman armies. In addition to the cost in human lives, these defeats left a legacy of shame which the Romans were anxious to extirpate. An important part of this process lay in the public perception of these events, and the ones most responsible for shaping this perception were the historians who recorded and wrote about them. Historiography in Rome was in its infancy as the Second Punic War drew to an end, and none of the accounts written by men who lived through the war have survived intact. The fullest and most detailed account of these years is that of Livy who, writing two centuries later, inherited the fruits of two centuries of historiography on the subject. Yet contrary to the belief that has persisted too long, Livy was not merely a collator and copyist, but a moralist and an artist with a vision of his own. For Livy, the period of the Second Punic War represents the Romans at their greatest, before the evils of foreign immorality and luxury took root and led eventually to the excessive greed and intense rivalry which tore the state apart. Thus it is not only patriotism, but also nostalgia, that colours Livy’s memorable presentation of these events and the people involved. Nobody denies Livy’s literary artistry, but it is the choices he has made in his interpretation of people and events that are of more interest to me. It was Livy’s cherished belief that the Romans of old, exemplars of courage and strict morality, were well nigh unbeatable in a fair fight, which makes the presentation of episodes of defeat and disgrace so much more challenging for him. A close examination of the ancient evidence, and in some cases a re-evaluation of modern perceptions concerning episodes of defeat and disgrace and the people involved, has allowed me to better grasp the extent of Livy’s artistic licence and reinterpretation. The evidence and opinions of Polybius have played a crucial role in this process, not only because of his closer proximity to the events in question, but because Livy is known to have read and used his work. Polybius’ influence on Livy’s later decades concerning Rome’s involvement with Greek states is undeniable, but although Polybius wrote about the Second Punic War also, Livy has remained remarkably independent of Polybius’ account. A comparison of these accounts reveals the difference in the choices made by each author and serves to illuminate what makes Livy’s history his own.

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Quintus Fabius Maximus agierte während des 2. Punischen Krieges jahrelang als die dominante Persönlichkeit in der Römischen Republik. Seine Art Politik zu betreiben war beispielhaft für seine Nachfolger, welche ihn später auch zum römischen Ideal und Retter der res publica stilisieren sollten. Als Patrizier hätte man konservative Vorstellung und Maßnahmen erwartet, doch erwies sich Fabius Maximus als äußerst pragmatisch und führte mittels mehreren 'Verfassungsbrüchen' eine Art Cliquenherrschaft ein. Ihm und seinen Freunden gelang es, alle wichtigen Ämter zu besetzen und so den Krieg gegen Hannibal in die Länge zu ziehen, bis die Römer in Lage waren, die Karthager zu besiegen. Die vorliegende Dissertation beschäftigt sich hauptsächlich mit der Art des Cunctators, Innenpolitik und Herrschaftssicherung zu betreiben, die nach bisherigen maßstäben fast schon als revolutionär bezeichnet werden kann.:1. Einleitung 2. Antike Autoren und die Quellenlage 3. Die Machtstrauktur des Patriziats 4. Die Fabier, die Jugend und der 1. Punische Krieg 5. Der Beginn des Krieges und die Diktatur rei gerundae causa 6. Cannae: Isolation und Machtübernahme 7. Fabius: Kontrolle und Machtentfaltung 8. Das Sinken des Sterns 9. Nachbetrachtung: Patrizier und Außenseiter 10. Literaturverzeichnis