Anthony Everitt, Roddy Ashworth and the book ‘Nero: Matricide, Music, and Murder in Imperial Rome’

Nero was the last of the Julio-Claudian Dynasty of five emperors to rule Rome. Though his name was passed down to history as simply Nero, his full name was Imperator Nero Cladius Divi Claudius filius Caesar Augustus Germanicus. Released November 8th, the Anthony Everitt and Roddy Ashworth book Nero: Matricide, Music, and Murder in Imperial Rome looks into the reign of the last Caesar to serve as Roman Emperor.

(A bust of Nero, who ruled from 54 A.D. until his death by suicide in 68 A.D.).

The biography Nero: Matricide, Music, and Murder in Imperial Rome aims to offer a look into the historical record of Nero passed down to us with a fresh eye to see if the common perceptions of the man still seem correct. In a sentence, the record suggests that Nero was vain, cruel and incompetent as a ruler. While certainly disinterested in the day-to-day ruling of empire, further and clearly focused on artistic pursuits that have not survived the passage of time, a more comprehensive view of the man as ruler is certainly possible.

(Anthony Everett co-wrote the book Nero: Matricide, Music, and Murder in Imperial Rome).

Part of the story of this biography is that of the people of the Roman empire, and their intersections with their ruler. Nero pursued the playing of the lyre and theatrical production to military service or empire ruling. While capable of working through the Senate at times, the man led thoughtfully through delegation through some crises for the larger empire. This occurred in the face of some brutal paranoia the promoted the killing of intimates, family members, confidants and successful leaders throughout the empire who Nero feared would seek his life in pursuit of his mantle as head of the Roman empire.

(Roddy Ashworth co-wrote the book Nero: Matricide, Music, and Murder in Imperial Rome).

The biography by Everitt and Ashworth show that Nero‘s reign did bring an end to corrupt practices of previous Roman leaders while showing leniency towards enemies of the sovereign. Putting down revolts in Britain and Judea. The man promoted competitions in the arts, sometimes in place of gladiatorial competitions that persisted throughout and beyond his reign. The great fire of 64 did much to tarnish Nero‘s reputation through the end of his reign, with his incessant charioteering, recitations and lyre playing doing little to help rehabilitate that issue. It was when, eventually having lost popular support among the people, the senate and the Praetorian Guard, that Nero would take his own life to bring about the end of his life and rule in 68.

(A bust of Nero, who lived from 37 A.D. until his death by suicide in 68 A.D.).

What I appreciated most about this book was the addressing of the personal and political intrigue of the time without the political axe that writing from Nero‘s time and afterward tended to offer. Said another way, I appreciate how the authors interpreted much of the original sourcing using contemporary standards of cause and effect. That a sense for fair treatment to the facts, as much as can be reconstructed from the record, gives a sense for what the life and times were like was fantastic. That a sense for the choices faced and taken in a recognizable yet different historical period also helped.

(A bust of Nero, whose full name was Imperator Nero Cladius Divi Claudius filius Caesar Augustus Germanicus).

I walk away with more understanding and respect for how Nero was raised, how life was conducted in leadership and common circles, and the nature for what life was really like. Overall, I give Nero: Matricide, Music, and Murder in Imperial Rome as written by Anthony Everitt and Roddy Ashworth 4-stars on a scale of 1-to-5.

Matt – Monday, December 12, 2022