This paper explores the relevance of the concept of revelation in Roman augury. Although augury is often regarded, not without reason, as being preoccupied with matters of narrow import and significance, it is a craft based on the detection and interpretation of divine signs, and thus builds into its operating process the question of the extent and quality to which the gods disclose to mankind their will and their attitudes. Revelation thus proves a productive vantage point on the workings of Roman augury, and more broadly of Roman public divination.

In Book 1 of On divination, Cicero’s brother Quintus, who is not a Stoic, presents the Stoic case that all the many forms of divination at Rome are channels of divine communication. He does so explicitly in response to the arguments of On the nature of the gods, to strengthen the case that the gods care for us. I argue that his speech, which scholars have often called confused, can be better understood once we see it as a continuation of On the nature of the gods. For he speaks about not the, or even one, Stoic defence of divination, but rather two different Stoic views. The first is the view of Chrysippus, according to which divination was an art of interpreting messages from the gods. This view was challenged by the skeptic Carneades, and Cotta reissued some of this challenge in On the nature of the gods. Quintus recruits a new view in answer to this challenge, according to which some divination (e.g. augury, haruspicy, astrology) is artificial in that its divination meaning is first discovered by an art, but some is natural, in that some dreams and oracles have divinatory meaning without the use of an art.

In Book 2 of On divination, Cicero’s own character attacks Quintus’ speech from Book 1, which argued that the gods give us information through our divinatory practices. Cicero, as a skeptic, aims to frustrate rash assent to Quintus’ view. He is an augur, a Roman state diviner. In the speech, he says that an augur may give the arguments he does, because augury, though often misunderstood, is not supposed to be a divinatory practice. The speech is in two parts. In the first, Cicero attacks Quintus’ argument that divination is a way to foretell chance events, on the grounds that Quintus speech is also founded on Stoic determinism. I argue that Cicero’s speech is unfair in its treatment of Quintus’ understanding of chance. In the second part, often using statistical and rhetorical arguments, Cicero concedes that Quintus’ stories of true divinatory predictions are accurate, but argues that this data cannot prove that divinatory practices reliably yield information from the gods. Scholars have often accused Cicero of arguing against straw men in this speech. I concede that this is sometimes so, but argue that this fact does not refute my overall case that On divination is a creative unity.

This chapter investigates the significance that Roman augural practice, as a kindred practice to Greek theôria, held for Roman comedy and tragedy. Central to its arguments are notions of time and space, which ultimately show the broad importance of Aristotelian concepts to the broader Hellenistic world. This piece argues that augury-taking involved sitting in a terrestrial temple while gazing at a specially demarcated zone of sky or a ‘whole-world’ (mundus). This temporarily legible space in which the gods would direct the signifying flight of birds was more than a celestial backdrop; it was also itself a temple (templum caeli), and the technical term for this temple-gazing was contemplatio. The institution of Roman theatre has not generally been associated with practices of auspication, but because of the emphatic insistence on the temporary stage, the conventional ‘unity of time’ and the probable placement of audience seating, there was a suggestive similarity between the Middle Republican audience’s spectation at tragedies and comedies and traditional augural contemplation. The structural echo between augural and theatrical contemplation outlives the Republican temporary stage in Seneca, where it has become a distinctively Roman mode of construing the intersection of the cosmic gaze and philosophical or spectatorial theôria.