Emperor Nero Research Paper

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Pages: 5

Emperor Nero (37-68 AD) was an infamously cruel Roman ruler who had a unique approach to the arts. This essay will discuss the reciprocal relationship between Nero’s cultivation of the arts and broader reign, exploring the dishonour associated with his artistic pursuits, his passion for acclaim which also acted as a form of propaganda, and the way in which his personal relationships and decision-making were influenced by a possibly psychotic interaction with theatre.

Performers occupied low social standing in Ancient Roman society, directing the powerful to look down upon Nero’s artistic proclivities with disdain, and partly contributing to the downfall of his reign. Ancient historian Tacitus writes that a member of the Pisonian conspiracy
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Suetonius reports Nero’s need to monopolise the attention and approval of the masses: “above all he was carried away by a craze for popularity and he was jealous of all who in any way stirred the feeling of the mob”, which was further proven by his lavish presents to the populace which ranged from tickets for grain to ships, his establishment and support of artistic contests, festivals, and shows, and, of course, his personal participation in these entertainments. After his first public singing performance, Nero found it impossible to stay “out of sight” of an audience, proceeding to dine “in the orchestra with the people all about him”. He also hired a group of some five-thousand men to clap for him in specific styles after his performances, paying them as much as four hundred thousand sesterces each, which exemplifies the extent to which Nero was willing to implement his autocratic power and sacrifice the resources of the state for his own histrionic desires. Additionally, Suetonius writes that “while the people were suffering from hunger it was reported that a ship had arrived from Alexandria, bringing sand for the court wrestlers”, illuminating Nero’s disproportionate allocation of resources to Rome’s …show more content…
Scholar Cayce Walker suggests that Nero may have suffered from psychosis, a condition in which individuals cannot differentiate between reality and their imagination, suffering from hallucinations and exhibiting abnormal behaviour. In Nero’s case, a large part of this mental landscape would have been informed by his love for the arts, particularly theatre, allowing him to escape and emulate reality through acting. Cassius Dio writes that ‘in putting on the [theatrical] mask [Nero] threw off the dignity of his sovereignty to be. a madman, or to wander an outcast, his favourite roles being those of Oedipus, Thyestes, Heracles, Alcmeon and Orestes”. When comparing the progression of these characters’ lives to Nero’s life, one can find many similarities. For example, Oedipus and Nero were both engaged in incest with their mothers - and, Suetonius writes, the last song Nero performed in public before his suicide centred around this line from Oedipus Rex: “Wife, father, mother drive me to my death”, carrying connotations of guilt and trauma as a result of familial relations that relate heavily to Nero’s own narrative. The Roman populace under Nero’s reign also noticed these theatrical parallels, with the circulation of