
hearing,  where  Verres  abuses  his  position  to  extract  art 
treasures from hapless Sicilians.
Lust  interacts  with  laziness  to  produce  an  anti-imperator,
giving himself over to hedonism when he should be out, if not
on campaign, at least about his duties. Verres’ moral weakness
is epitomized by his costume: in place of the toga he should be
wearing in his civilian capacity, or military garb on campaign,
he is wearing a Greek cloak and a long tunic. The implications
of this are twofold. On the one hand, Verres is behaving as a
Greek (a picture compounded by the presence on the beach of a
Rhodian flute-player); in response to  the Hellenized environ-
ment  of  Sicily,  he  is  showing  signs  of  going  native  and  as  a
result is not behaving as a Roman should. But the costume also
has overtones of effeminacy in its length—Verres cossets him-
self rather than exposing himself hardily to the elements;
21
and
the  hint  is  strengthened  by  the  next  words,  in  conuiuiis
muliebribus,  ‘in  a  gathering  of  women’—but  the  adjective
muliebris,  when  used  of  a  man,  implies  effeminacy.
22
Verres’
masculine identity is under threat, and as so often the implica-
tion  of  unrestrained  sexual  appetites  confirms,  paradoxically,
that his manhood is precariously based.
The  implication  that  Verres  is  in  some  sense  Greek  might
seem to be a very effective way of casting doubt on his status as
a Roman imperator, but in fact Cicero is sparing in his use of
this technique. He does exploit the political side of easternness
at one point, where he likens Verres to a tyrant (2. 3. 76):
30 Romans in the provinces
21
Cf.  Numanus  Remulus’  scornful  description  of  the  Trojans’  costume: 
‘et  tunicae manicas et  habent  redimicula  mitrae’  (Virgil,  Aen. 9. 616), with 
N. M. Horsfall, ‘Numanus Remulus:  Ethnography and Propaganda. Aeneid
9.598 ff ’, in Latomus, 30 (1971), 1108–16, repr. in S. J. Harrison (ed.), Oxford
Readings in Vergil’s Aeneid (Oxford: Oxford Univ. Press, 1990), 305–15. One
of the marks of Catiline’s followers, in Cicero’s description of them, are their
long-sleeved  ankle-length  tunics:  ‘quos  .  .  .  uidetis,  manicatis  et  talaribus 
tunicis’  (Cat. 2.  22).  Cf.  also  A.  Lurie,  The  Language  of  Clothes,  2nd  edn.
(London: Bloomsbury, 1992), 46 (on the continued wearing of shorts by small
boys  in  Britain),  ‘Besides,  historically,  bare  knees  have  always  suggested
manly toughness: they are associated with the warlike costumes of the ancient
Britons, the ancient and modern kilted Scots, empire-building explorers and
heroic footballers. To cover them would be a sign of national weakness.’
22
e.g.  de  orat 3.  41,  ‘mollis  uox  aut  muliebris’;  Tusc 2.  15,  ‘eneruatum
muliebremque sententiam’.
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