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witnesses before she told them about her rape. After disclosing that
Tarquin had raped her, she asked them for vengeance, a plea that could not be ignored because she was speaking to the chief magistrate of Rome. While the men debated the proper course of action, Lucretia drew a concealed dagger and stabbed herself in the heart. She died in her father's arms, while the women present lamented her death. According to Dionysius, "This dreadful scene struck the Romans who were present with so much horror and compassion that they all cried out with one voice that they would rather die a thousand deaths in defense of their liberty than suffer such outrages to be committed by the tyrants."
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Tarquins from Rome. Grasping the bloody dagger, he swore by Mars and all the other gods that he would do everything in his power to overthrow the dominion of the
Tarquinii. He stated that he would neither be reconciled to the tyrants himself, nor tolerate any who should be reconciled to them, but would look upon every man who thought otherwise as an enemy, and til his death would pursue with unrelenting hatred both the tyranny and its abettors; and if he should violate his oath, he prayed that he and his children might meet with the same end as Lucretia.
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357:'s version, Lucretia's request for revenge is: "And, whereas I (for I am a woman) shall act in a manner which is fitting for me: you, if you are men, and if you care for your wives and children, exact vengeance on my behalf and free your selves and show the tyrants what sort of woman they outraged, and what sort of men were her menfolk!" She follows her statement by plunging the dagger into her chest and promptly dying.
647:, and it follows a similar storyline to Livy's. Lucretia calls for her father and husband, but Chaucer's tale also has her call for her mother and attendants as well, whereas Livy's has both her father and husband bring a friend as witness. The tale also deviates from Livy's account, as it begins with her husband coming home to surprise her, rather than the men placing a bet on the virtue of their wives.
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365:, the third king before last. He was a candidate for the throne if anything should happen to Superbus. By law, however, because he was a Junius on his father's side, he was thus not a Tarquin and therefore could later propose the exile of the Tarquins without fear for himself. Superbus had taken his inheritance and left him a pittance, keeping him at court for entertainment.
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171:. The marriage between Lucretia and Collatinus was depicted as the ideal Roman union, as both Lucretia and Collatinus were faithfully devoted to one another. According to Livy, Lucretia was an exemplar of "beauty and purity," as well as Roman standards. While her husband was away at battle, Lucretia would stay at home and pray for his safe return. As with Livy,
187:, an ideal of superb moral and intellectual character. The men return home to find the women socializing with each other, presumably in conversation. By contrast, they find Lucretia home alone, working with her wool in silence. Because of her devotion to her husband, Roman writers Livy and Dionysius outline Lucretia as the role model for Roman girls.
597:(c. 25–8 BC) is the earliest surviving full historical treatment. In his account, her husband has boasted of the virtue of his wife to Tarquin and others. Livy contrasts the virtue of the Roman Lucretia, who remained in her room weaving, with the Etruscan ladies who feasted with friends. Ovid recounts the story of Lucretia in Book II of his
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ever saw, we patricians met together and resolved to deprive him of his power, a thing we ought to have done long ago, but are doing now when a favourable opportunity has offered. And we have called you together, plebeians, in order to declare our own decision and then ask for your assistance in achieving liberty for our country ....
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of
Lucretia as a moral agent, as Livy did, when he explores his characters' response to death and her unwillingness to yield to her rapist. A direct excerpt from Livy is used when Shakespeare prefaces his poem with a brief prose called "Argument". This is the internal deliberation Lucrece suffered from, following the rape.
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he further refers to the story, though without mentioning
Lucretia by name. Shakespeare's poem, based on the rape of Lucretia, draws on the beginning of the Livy's account of the incident. The poem begins with a bet between husbands about the virtuousness of their wives. Shakespeare draws on the idea
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recount the myth of
Lucretia. Gower's work is a collection of narrative poems. In Book VII, he tells the "Tale of the Rape of Lucrece." Lydgate's work is a long poem containing stories and myths about various kings and princes who fell from power. It follows their lives from their rise into power and
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By this blood—most pure before the outrage wrought by the king's son—I swear, and you, O gods, I call to witness that I will drive hence Lucius
Tarquinius Superbus, together with his cursed wife and his whole blood, with fire and sword and every means in my power, and I will not suffer them or anyone
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approximately 500 years later. Secondary sources on the establishment of the republic reiterate the basic events of
Lucretia's story, though accounts vary slightly between historians. The evidence points to the historical existence of a woman named Lucretia and an event that played a critical part in
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A final vote of the curiae carried the interim constitution. Spurius
Lucretius was swiftly elected interrex; he was prefect of the city already. He proposed Brutus and Collatinus as the first two consuls and that choice was ratified by the curiae. Needing to acquire the assent of the population as a
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Collatinus, seeing his wife dead, became distraught. He held her, kissed her, called her name and spoke to her. Dio stated that after seeing the hand of
Destiny in these events, Brutus called the grieving party to order, explained that his simplicity had been a sham, and proposed that they drive the
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from the camp at Ardea. Once the men found
Lucretia in her room, her explanation of Tarquin’s rape of her leads the men to state that "it is the mind that sins, not the body, and where there has been no consent there is no guilt." After exacting an oath of vengeance while the men were discussing the
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for Roman attitudes toward sex). In the alternative story, he returned from camp a few days later with one companion to take Collatinus up on his invitation to visit and was lodged in a guest bedroom. He entered Lucretia's room while she lay naked in her bed and started to wash her belly with water,
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Later in the night, Tarquin entered Lucretia's bedroom, quietly avoiding the slaves who were sleeping at her door. When she awoke, he identified himself and offered her two choices: he would rape her and she would become his wife and future queen, or he would kill her and one of her slaves and place
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to nominate new magistrates and conduct an election of ratification. They decided on a republican form of government with two consuls in place of a king executing the will of a patrician senate. This was a temporary measure until they could consider the details more carefully. Brutus renounced all
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In as much as Tarquinius neither obtained the sovereignty in accordance with our ancestral customs and laws, nor, since he obtained it—in whatever manner he got it—has he been exercising it in an honourable or kingly manner, but has surpassed in insolence and lawlessness all the tyrants the world
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where it remained on display as a reminder of the dishonor committed. At the forum, the committee heard grievances against the Tarquins and began to enlist an army to abolish the monarchy. Brutus "urged them to act as men and Romans and take up arms against their insolent foes" in response to the
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In a variant of the story, Tarquin and Collatinus, at a wine party on furlough, were debating the virtues of wives when Collatinus volunteered to settle the debate. In order to do so, he proposed riding to his home to observe Lucretia. Upon their arrival, she was weaving with her maids. The party
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In Dionysius of Halicarnassus' account, the following day Lucretia dressed in black and went to her father's house in Rome and cast herself down in the supplicant's position (embracing the knees), weeping in front of her father and husband. She asked to explain herself and insisted on summoning
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In this version, Collatinus and Brutus were encountered returning to Rome unaware of Tarquin's rape of Lucretia, were briefed, and were brought to the death scene. Brutus happened to be a politically motivated participant. By kinship he was a Tarquin on his mother's side, the son of Tarquinia,
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which woke her up. Tarquin tried to convince Lucretia that she should be with him, using "every argument likely to influence a female heart." However, Lucretia stood firm in her devotion to her husband, even when Tarquin threatened her life and honor, while ultimately raping her.
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He began by revealing that his pose as a fool was a sham designed to protect him against an evil king. He levelled a number of charges against the king and his family: Tarquin’s rape of Lucretia, whom everyone could see on the dais, the king's tyranny, the forced labor of the
445:, an organization of patrician families used mainly to ratify the decrees of the king. Summoning them on the spot, he transformed the crowd into an authoritative legislative assembly and began to address them in one of the more noted and effective speeches of ancient Rome.
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There are no contemporary sources of Lucretia and Tarquin’s rape of her. Information regarding Lucretia, how and when Tarquin raped her, her suicide, and the consequence of this being the start of the Roman Republic come from the accounts of Roman historian
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death of a dutiful wife. The gates of Rome were blockaded by the new revolutionary soldiers and more were sent to guard Collatia. By now a crowd had gathered in the forum; the presence of the magistrates among the revolutionaries kept them in good order.
461:, was in fact in Rome and probably was a witness to the proceedings from her palace near the forum. Seeing herself the target of so much animosity, she fled from the palace in fear of her life and proceeded to the camp at Ardea.
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Lucretia became an important embodiment of political and literary ideals for different authors throughout the ages, specifically because "stories of sexual violence against women serve as foundational myths of Western culture."
245:"; that is, 508/507 BC. According to Dionysius, Lucretia therefore died in 508 BC. This approximate date is met with consensus by other historians; however, the exact year is debatable within a range of about five years.
984:, and others. Most commonly, either the moment of the rape is shown, or Lucretia is shown alone at the moment of her suicide. In either situation, her clothing is loosened or absent, while Tarquin is normally clothed.
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In Livy's version, Lucretia acts quickly and calmly, deciding not to go to Rome, but instead sends for her father and her husband, asking them to bring one friend each to act as a witness. Those selected were
851:, Mr. B. cites the story of Lucretia as a reason why Pamela ought not fear for her reputation, should he rape her. Pamela quickly sets him straight with a better reading of the story. Colonial Mexican poet
175:' depiction of Lucretia separates her from the rest of Roman women in a story about the men returning home from a battle. The narrative begins with a bet between the sons of Tarquinius and their kinsmen,
126:, the last king of Rome. As a result, the prominent families instituted a republic, drove the extensive royal family of Tarquin from Rome, and successfully defended the republic against attempted
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the downfall of the monarchy. However, specific details are debatable and vary depending on the writer. According to modern sources, Lucretia's narrative is considered a part of Roman
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whole, they paraded Lucretia through the streets, summoning the plebeians to a legal assembly in the forum. Once there, they heard a constitutional speech by Brutus. It began:
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A general election was held and the vote won in favor of the republic. This ended the monarchy, and during these proceedings Lucretia was still displayed in the forum.
775:
457:, his wife's father, next-to-the-last king of Rome. He "solemnly invoked the gods as the avengers of murdered parents." He suggested that the king's wife,
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He passed the dagger around and each mourner swore the same oath by it. The primary sources of both Dio and Livy agree on this point: Livy's version is:
205:
835:
1061:—distinctive depiction of Lucretia with a knife, and a shadowy male figure just behind. He is either Tarquin or her husband. By either Titian or
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matter—"Pledge me your solemn word that the adulterer shall not go unpunished"— Lucretia drew a poignard and stabbed herself in her heart.
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280:, father of Collatinus' wife Lucretia and prefect of Rome, made sure that the king's son was treated as a guest and a figure of his rank.
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their fall into adversity. Lydgate's poem mentions the fall of Tarquin, the rape and suicide of Lucretia, and her speech prior to death.
584:(1664). This painting follows the likes of other iconic depictions: Lucretia clutching the dagger moments before she takes her own life.
1822:
1849:
1707:
1003:, showing female violence against, or domination of, men. These were often depicted by the same artists, and especially popular in
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613:(published 426 AD) to defend the honour of Christian women who had been raped in the sack of Rome and had not committed suicide.
155:, Lucretia's story provides an explanation for historical change in Rome through a recounting of violence against women by men.
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As the events of the story move rapidly, the date that Tarquin raped Lucretia is most likely the same year as the first of the
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928:. The song doesn’t have a direct connection to the story of Lucretia, rather Lucretia acting as a muse for Megadeth frontman
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The subject of Lucretia spinning with her ladies, is sometimes depicted, as in a series of four engravings of her story by
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spoke. In summation, he proposed the banishment of the Tarquins from all the territories of Rome and the appointment of an
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1765:. Loeb Classical Library. Translated by Cary, Earnest. Cambridge MA, Chicago: Harvard University, University of Chicago.
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wherein Malvolio authenticates his fateful letter by spotting Olivia's Lucrece seal. Shakespeare also alludes to her in
122:. After Tarquin raped Lucretia, flames of dissatisfaction were kindled over the tyrannical methods of Tarquin's father,
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awarded her the palm of victory and Collatinus invited them to stay, but for the time being they returned to camp.
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right to the throne. In subsequent years, the powers of the king were divided among various elected magistracies.
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in the ditches and sewers of Rome. In his speech, he pointed out that Superbus had come to rule by the murder of
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Since the Renaissance, the suicide of Lucretia has been an enduring subject for visual artists, including
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The subject was one of a group showing women from legend or the Bible who were either powerless, such as
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using a neoclassical style and is a significant work of the eighteenth century written in this language.
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in the section of Limbo, reserved for the nobles of Rome and other "virtuous pagans", in Canto IV of the
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also mentions Lucretia in her poem "Redondillas," a commentary on prostitution and who is to blame.
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1564:"Reinventing Lucretia: Rape, Suicide and Redemption from Classical Antiquity to the Medieval Era"
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and Lucretia. These formed a counterpoint to, or sub-group of, the set of subjects known as the
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The constitutional consequences of this event ended the reign of the hereditary king; however,
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The story of Lucretia was a popular moral tale in the later Middle Ages. Lucretia appears to
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The beginnings of Rome: Italy and Rome from the Bronze Age to the Punic Wars (c. 1000-264 BC)
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1669:, ed. by Katherine Duncan Jones (Arden Shakespeare, 3rd edn., 2007), 'Introduction', passim.
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Brutus opened a debate on the form of government Rome ought to have, a debate at which many
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Brutus was the Tribune of the Celeres, a minor office of some religious duties, which as a
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603:, published in 8 AD, concentrating on the bold over-reaching character of Tarquin. Later,
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915:(Book II, for February 24, "Regifugium") to explain her actions to Commissario Brunetti.
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In 1989, a song entitled "The Rape of Lucretia" was released by the Scottish musician
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The newly sworn revolutionary committee paraded the bloody corpse of Lucretia to the
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were absolute rulers in all but name. This constitutional tradition prevented both
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dates from 1607. The subject also enjoyed a revival in the mid twentieth century;
229:. Dionysius of Halicarnassus sets this year "at the beginning of the sixty-eighth
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264:. Tarquin was received with great hospitality at the governor's mansion, home of
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used the name Lucretia as the title for the sixth track on their 1990 release
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reaching sobriety after a heavy drug and alcohol addiction during the 1980s.
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the bodies together, then claim he had caught her having adulterous sex (see
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110:(Tarquin) raped her and her subsequent suicide precipitated a rebellion that
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Metzger, Mary Janell (2016). "Epistemic Injustice and the Rape of Lucrece".
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from accepting a crown; instead, they had to devise a confluence of several
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1783:. English Translation by Rev. Canon Roberts. New York: E.P. Dutton and Co.
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Mallan, C (2014). "The Rape of Lucretia in Cassius Dio'sroman History".
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Mallan, C (2014). "The Rape of Lucretia in Cassius Dio'sroman History".
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58:
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1044:—three scenes, of the rape, Brutus arousing the people, and the suicide
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549:. Here citizens with swords are swearing the overthrow of the monarchy.
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remained elective rather than hereditary—up to its abolition in the
65:(1804), by Catalan sculptor Damià Campeny. Barcelona: Llotja de Mar.
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54:(1633), a less common depiction of Lucretia weaving with her ladies
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Mosaic: A Journal for the Interdisciplinary Study of Literature
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adhered to this tradition in essence, and the office of German
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1761:(2007) . "Book IV, sections 64–85". In Thayer, William (ed.).
995:, or only able to escape their situations by suicide, such as
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1412:"Roman Civilization: Selected Readings. Vol. I: The Republic"
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onto their persons in order to secure absolute power. Their
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183:. The men fight over which of their wives best exemplified
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39:(1571), a depiction of Lucretia's rape by Sextus Tarquinius
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used Lucretia, just as St. Augustine of Hippo did, in her
1649:"Full Text of "Fall of Princes, edited by Henrey Bergen""
1158:"Titus Livius (Livy), The History of Rome, Book I. 57-60"
1410:
Finley, M. I.; Lewis, Naphtali; Reinhold, Meyer (1952).
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The Rapes of Lucretia: A Myth and Its Transformations
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The Rapes of Lucretia: A Myth and Its Transformations
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was produced on Broadway, starring legendary actress
219:–1540. Lucretia wielding a dagger before her suicide.
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and led to the transition of Roman government from a
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1852:. The Minneapolis Institute of Arts. Archived from
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673:Lucretia's rape and suicide is also the subject of
1235:Wiseman, T.P. (1998). "Roman Republic, Year One".
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1802:Eva/Ave: Women in Renaissance and Baroque Prints
1568:International Journal of the Classical Tradition
376:holding the dead Lucretia and swearing the oath
272:, former governor of Collatia and first of the
885:in the title part. It was mostly performed in
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1270:
817:(1940), a version in a contemporary setting.
441:gave him the theoretical power to summon the
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1011:lay somewhere between these two extremes.
749:Have in their ruins rais'd declining Rome,
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158:
1800:Russell, H. D., & Barnes, B. (1990).
1779:Livy (1912). "Book I, sections 57-60" in
1667:The Rape of Lucrece and the Shorter Poems
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317:The account of Dionysius of Halicarnassus
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727:is loosely based on the Lucretia story.
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163:Lucretia was the daughter of magistrate
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1665:Shakespeare's Poems: Venus and Adonis,
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1327:A commentary on Livy, books XXXI-XXXIII
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256:, the last king of Rome, sent his son,
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1830:
1465:
1374:A Commentary on Livy Books XXXI–XXXIII
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1199:
747:Two fair, but ladies most infortunate,
742:, which includes the following lines:
607:made use of the figure of Lucretia in
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1848:Rijn, Rembrandt Harmensz van (1666).
1826:. Vol. 17 (11th ed.). 1911.
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16:Late 6th century BC Roman noblewoman
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730:She is also mentioned in the poem "
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1904:People whose existence is disputed
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1562:Glendinning, Eleanor (June 2013).
1368:Livy (1973), Briscoe, John (ed.),
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14:
1925:
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1032:— life-size image of the rape by
1018:, which also includes a banquet.
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800:which premiered at Glyndebourne.
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634:, defending a woman's sanctity.
565:'s 1534 engraving of her suicide
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1550:Isabella Stewart Gardner Museum
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425:Overthrow of the Roman monarchy
1382:10.1093/oseo/instance.00101102
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248:While engaged in the siege of
69:According to Roman tradition,
1:
1909:Characters in Roman mythology
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1134:
870:. The play is written in the
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539:
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1790:. "Book I, sections 57–60".
1124:The Rape of the Sabine Women
268:, son of the king's cousin,
266:Lucius Tarquinius Collatinus
169:Lucius Tarquinius Collatinus
153:the rape of the Sabine women
112:overthrew the Roman monarchy
7:
1541:'The Tragedy of Lucretia,'
1474:(2) (2 ed.): 758–771.
1376:, Oxford University Press,
1330:. Oxford: Clarendon Press.
1208:(2) (2 ed.): 758–771.
1077:
918:American thrash metal band
830:) composed the allemandes "
372:The less common subject of
10:
1930:
1889:6th-century BC Roman women
1804:. National Gallery of Art.
1759:Dionysius of Halicarnassus
1611:"The Legend of Good Women"
1609:Chaucer, Geoffery (2008).
786:was adapted by librettist
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336:Publius Valerius Publicola
296:
260:, on a military errand to
254:Lucius Tarquinius Superbus
144:Dionysius of Halicarnassus
142:and Greco-Roman historian
124:Lucius Tarquinius Superbus
104:noblewoman in ancient Rome
18:
1914:Mythological rape victims
1687:(2) (2 ed.): 19–34.
1580:10.1007/s12138-013-0322-y
1480:10.1017/S0009838814000251
1214:10.1017/S0009838814000251
853:Sor Juana Inés de la Cruz
637:The myth is recounted in
363:Lucius Tarquinius Priscus
290:sexuality in ancient Rome
21:Lucretia (disambiguation)
1894:Kidnapped Italian people
1879:Suicides in Ancient Rome
1693:10.1353/mos.2016.a621126
1058:Lucretia and her Husband
903:'s 2009 Venetian novel,
644:The Legend of Good Women
525:, over 2300 years later.
1831:Parada, Carlos (1997).
1823:Encyclopædia Britannica
1774:Oxford University Press
1768:Donaldson, Ian (1982).
1468:The Classical Quarterly
1202:The Classical Quarterly
1187:Oxford University Press
1181:Donaldson, Ian (1982).
1053:—single figure painting
1049:The Suicide of Lucretia
982:Lucas Cranach the Elder
554:In literature and music
407:Lucas Cranach the Elder
192:
159:Early life and marriage
1835:. Greek Mythology Link
1729:Russell, Nos 1, 15, 16
1647:Lydgate, John (1923).
1324:Briscoe, John (1973).
1271:Cornell, Tim. (1995).
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389:else to reign in Rome.
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220:
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55:
40:
1615:Poetry in Translation
1548:, Sandro Botticelli,
1277:. London: Routledge.
1243:(1 ed.): 19–26.
1162:www.perseus.tufts.edu
1040:The Story of Lucretia
1022:Examples with article
970:Artemisia Gentileschi
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594:Ab Urbe Condita Libri
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535:The Story of Lucretia
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418:Artemisia Gentileschi
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1628:Gower, John (2004).
1416:The Classical Weekly
1029:Tarquin and Lucretia
1005:Northern Renaissance
838:" for baroque lute.
793:The Rape of Lucretia
767:The Rape of Lucretia
563:Marcantonio Raimondi
340:Lucius Junius Brutus
36:Tarquin and Lucretia
19:For other uses, see
1856:on 1 September 2009
1708:Appius and Virginia
1630:"Confessio Amantis"
1092:Ancient Rome portal
962:Jörg Breu the Elder
862:wrote a tragedy in
732:Appius and Virginia
719:Niccolò Machiavelli
680:The Rape of Lucrece
675:William Shakespeare
328:The account of Livy
274:Tarquinii Collatini
52:Lucrèce à l'ouvrage
1249:10.1093/gr/45.1.19
1007:art. The story of
877:In 1932, the play
796:, a 1946 opera by
776:Le Viol de Lucrèce
677:'s 1594 long poem
628:Christine de Pizan
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567:
551:
519:Holy Roman Emperor
503:republican offices
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1763:Roman Antiquities
1743:Story of Lucretia
1720:Russell, Nos 1–14
1391:978-0-19-814738-1
1370:"Ab Urbe Condita"
1016:Hendrick Goltzius
966:Johannes Moreelse
883:Katharine Cornell
843:Samuel Richardson
656:Confessio Amantis
547:Sandro Botticelli
499:Octavian Augustus
306:Death of Lucretia
278:Spurius Lucretius
270:Arruns Tarquinius
237:being the annual
206:Monogrammist I.W.
165:Spurius Lucretius
108:Sextus Tarquinius
98:), anglicized as
88:
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149:mythohistory
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1509:D.H. IV.70.
1500:D.H. IV.68.
1358:D.H. IV.66.
1305:D.H. IV.64.
828: 1690
779: [
431:Roman Forum
217: 1520
1873:Categories
1850:"Lucretia"
1833:"Lucretia"
1523:T.L. I.59.
1456:T.L. I.58.
1397:2020-11-28
1314:T.L. I.57.
1167:2020-11-15
1135:References
1072:(Veronese)
958:Botticelli
905:About Face
901:Donna Leon
860:Juan Ramis
771:André Obey
721:'s comedy
651:John Gower
532:Detail of
507:successors
466:patricians
439:magistracy
394:Revolution
185:sophrosyne
181:Collatinus
1634:Rochester
1596:161204298
1588:1073-0508
1488:170269185
1436:1940-641X
1422:(4): 59.
1261:D.H. V.1.
1222:170269185
946:Rembrandt
887:pantomime
866:entitled
711:Cymbeline
708:, and in
695:, and in
582:Rembrandt
451:plebeians
173:Dionysius
1899:Lucretii
1552:, Boston
1293:31515793
1119:Verginia
1078:See also
1070:Lucretia
993:Verginia
920:Megadeth
868:Lucrecia
810:libretto
765:'s play
753:Virginia
578:Lucretia
509:both in
470:interrex
403:Lucretia
262:Collatia
235:Isagoras
231:Olympiad
204:, 1525,
202:Lucrecia
128:Etruscan
120:republic
102:, was a
71:Lucretia
1860:30 July
1839:30 July
1753:Sources
1711:5.3.224
1444:4343273
1051:(Dürer)
989:Susanna
954:Raphael
879:Lucrece
864:Menorca
836:Tarquin
834:" and "
832:Lucrèce
814:Tarquin
705:Macbeth
623:Inferno
513:and in
297:Suicide
258:Tarquin
212:studio
210:Cranach
116:kingdom
100:Lucrece
91:; died
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1009:Esther
942:Titian
848:Pamela
823:(died
545:), by
459:Tullia
443:curiae
374:Brutus
243:Athens
239:archon
177:Brutus
31:Titian
1592:S2CID
1484:S2CID
1440:JSTOR
1218:S2CID
950:Dürer
913:Fasti
894:Momus
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689:, in
618:Dante
600:Fasti
580:, by
250:Ardea
226:fasti
132:Latin
118:to a
1862:2009
1841:2009
1584:ISSN
1432:ISSN
1386:ISBN
1342:OCLC
1332:ISBN
1289:OCLC
1279:ISBN
991:and
909:Ovid
804:set
790:for
738:and
589:Livy
511:Rome
497:and
233:...
193:Rape
179:and
140:Livy
130:and
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