In his monumental work Ab Urbe Condita (History of Rome), Livy mentions Pallor (Paleness/Pale Fear) and Pavor (Panic/Terror) in Book 1, Chapter 27. [1, 2, 3, 4]

However, your specific premise contains a slight inversion regarding how the text actually reads.

1. The Actual Order in Livy: Pallor then Pavor

Contrary to the assumption that they appear as "pavor and pallor", Livy actually writes them in the exact opposite order: "Pallor and Pavor". [1]

The passage occurs during the reign of Rome's third king, Tullus Hostilius, during a critical battle against the Fidenates. When the Alban dictator Mettius Fufetius treacherously deserts the Roman flank, Tullus acts quickly to prevent a mass panic among his soldiers. To rally his troops and win divine favor, he vows religious institutions to these two personified deities: [1, 2]

“...Tullus in re trepida duodecim vovit Salios templaquae Pallori ac Pavori.”
("...In this critical situation, Tullus vowed twelve Salii and temples to Paleness and Panic.")* [1, 2]

2. Are They Manifestations of the First?

No, in Roman religion and Livy's context, they are not treated as a single manifestation or subdivision of one another. Instead, they represent two distinct, parallel psychological and physical reactions to terror. [1, 2]

• Pallor is the external physical symptom of extreme fear (the draining of color from the face, or blanching).
• Pavor is the internal mental/emotional state of panic or paralyzing dread. [1, 2, 3]

Rather than one stemming from the other, they function as a complementary dyad. In Roman mythology, both were personified as minor deities and divine companions to Mars, the god of war. By vowing temples to both simultaneously, King Tullus was attempting to ritually bind and control both the physical cowardice (Pallor) and the mental paralysis (Pavor) of his army, effectively projecting those curses onto his enemies instead. [1, 2, 3, 4, 5]

If you are tracking down a specific academic argument or literary commentary where an author claims they are "always in this order," could you share which modern scholar or book made that assertion? I can help you verify if they were discussing a different classical author, like Ovid or Seneca, who also used this mythological pairing. [1, 2]

L'AI può commettere errori, quindi verifica le risposte 

what are salii?

The Salii (singular: Salius) were an ancient college of patrician priests dedicated to Mars, the Roman god of war. Their name translates literally to the "Leapers" or "Dancers" (from the Latin verb salire, meaning "to leap"). [1, 2, 3, 4, 5]

Core Functions and Rituals

• Weapon Dancing: Every March, they performed high-leaping, rhythmic ritual dances in full armor through the streets of Rome. [1, 2]
• The Ancilia: Their primary duty was guarding 12 sacred, figure-eight-shaped shields called Ancilia. According to legend, one shield fell from heaven as a token of Rome's empire, and the other 11 were exact copies made to prevent the original from being stolen. [1, 2, 3, 4]
• Beating the Shields: During their processions, the Salii struck these shields with ritual lances while chanting the Carmen Saliare, an ancient, obscure hymn that even later Roman priests could barely understand. [1, 2, 3, 4]
• War Season Markers: Their festivals took place in March (the opening of the military campaign season) and October (the closing of the season), serving as spiritual preparation and cleansing for Rome's armies. [1, 2, 3]

Connection to the Livy Passage

In the passage mentioned earlier, King Tullus Hostilius vowed to create a second group of twelve Salii(called the Salii Collini or Agonales, dedicated to Quirinus) alongside the original twelve (Salii Palatini, dedicated to Mars). He did this to secure divine victory during a military crisis. [1, 2, 3, 4]

Would you like to explore what the ancient Saliare hymn sounded like, or look into the exact armor and weapons these dancing priests carried?