A Companion to the Neronian Age (Blackwell Companions to the

An authoritative assessment and precious source for college students and students of Roman historical past and Latin literature throughout the reign of Nero.
• the 1st publication of its style to regard this period, which has received in recognition in contemporary years
• Makes a lot very important study to be had in English for the 1st time
• contains a stability of latest learn with confirmed severe lines
• deals an strange breadth and diversity of fabric, together with big remedies of politics, management, the imperial court docket, artwork, archaeology, literature and reception studies
• incorporates a mixture of verified students and groundbreaking new voices
• contains targeted maps and illustrations

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Extra resources for A Companion to the Neronian Age (Blackwell Companions to the Ancient World)

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Suetonius reports that he also painted and sculpted (pingendi, fingendi, Nero 52), and much of his time as well as the literary record is taken up with the colossal enterprise of his Golden House which was expanding to fill the burnt out centre of the city with pavilions and parks: ROMA DOMUS FIET; VEIOS MIGRATE, QUIRITES SI NON ET VEIOS OCCUPAT ISTA DOMUS. ROME WILL BECOME A HOME: GO TO VEII, ROMANS – IF THAT HOME DOES NOT TAKE OVER VEII TOO. (Suetonius, Nero 39) Nero’s artistic aspirations entailed enormous expense: hence taxes and confiscations.

Eden puts it, ‘‘Augustus’ identification with Apollo had been partial and discreet. Nero’s became total and extravagant and gullibly and dangerously vain’’ (Eden (1984) 78): Phoebus adest cantuque iuuat, gaudetque futuris et laetus nunc plectra mouet, nunc pensa ministrat detinet intentas cantu fallitque laborem, ... ’’ Phoebus is at hand and aids the Fates with his song and rejoices in what is to come, gladly now wielding his plectrum, now furnishing the fated threads. He distracts the Fates with his song and makes their toil pass unnoticed .

Nero’s grandfather seems to have been landowner of huge grazing areas, and was already in his youth famous for his love of chariot-racing. While Suetonius suggests no scandal in this, his legendary cruelty was transmitted to Nero’s father, who notoriously drove his galloping team over a child in the road (Nero 5). Suetonius includes among Nero’s disgraces and crimes his love of charioteering (Nero 20–21): an aspect of youthful character written into a narrative that starts from Nero’s training in music, follows his apparently obsessive studies with the citharode Terpnus, and returns to Nero as singing performer after his words on charioteering (Nero 20–22).

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