"The gigantic Gaul derided the Roman soldiers as a band of pigmies"
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Scale is the whole trick here: a “gigantic Gaul” turning Rome’s soldiers into “a band of pigmies” is less a literal description than a deliberate inversion of the usual classical pecking order. Motley wants the reader to feel a jolt of disproportion. Rome, the brand-name superpower of antiquity, gets miniaturized in one contemptuous glance, while the “barbarian” is rendered mythic, almost Homeric in bodily presence. The line smuggles in a cultural argument: empire depends not only on legions and logistics, but on the aura of inevitability. Mockery punctures that aura.
Motley, a 19th-century historian with a novelist’s instinct for tableau, chooses “derided” to make the encounter psychological rather than tactical. The Gaul isn’t simply fighting; he’s performing dominance, turning Rome’s disciplined violence into something laughable. “Band” carries its own sting: it can mean regiment, but it also hints at a rough crew, stripping the soldiers of the moral and civic gloss Rome liked to apply to its wars.
The context is Motley's broader habit of writing history as a drama of peoples and temperaments. He’s not neutral about power; he’s fascinated by the moment when the supposedly civilized machine meets a foe it can’t easily categorize. Under the sentence sits a 19th-century preoccupation: the fear that “civilization” is a story we tell until someone bigger, freer, or more contemptuous walks onstage and refuses the script.
Motley, a 19th-century historian with a novelist’s instinct for tableau, chooses “derided” to make the encounter psychological rather than tactical. The Gaul isn’t simply fighting; he’s performing dominance, turning Rome’s disciplined violence into something laughable. “Band” carries its own sting: it can mean regiment, but it also hints at a rough crew, stripping the soldiers of the moral and civic gloss Rome liked to apply to its wars.
The context is Motley's broader habit of writing history as a drama of peoples and temperaments. He’s not neutral about power; he’s fascinated by the moment when the supposedly civilized machine meets a foe it can’t easily categorize. Under the sentence sits a 19th-century preoccupation: the fear that “civilization” is a story we tell until someone bigger, freer, or more contemptuous walks onstage and refuses the script.
Quote Details
| Topic | War |
|---|---|
| Source | Help us find the source |
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