A Discovered Diamond
This book picked up right where the previous book The Confessions Of Young Nero in Margaret George’s Nero series (duology
would be a better term) left off. Jumping right into the thick of things, Nero
has just learned about the fire sweeping through Rome. He rushes back,
determined to do anything he can to stop it. He was in the middle of the
efforts to stop the Great Fire, though later he would fall victim to rumors that
he started the fire himself to make room for his Golden House, or, infamously,
that he was fiddling about the fall of Troy as Rome burned.
Nero’s troubles didn’t end with the last smoke of the fire. He had to deal
with fossilized senators from old families who were scandalized that he wanted
to do things in new ways. Hey, kind of like the fossilized old men in the
senate today! How much things remain the same… Nero wanted to introduce arts
and theatre and culture to Rome, and Rome, especially the patrician Romans,
wanted nothing to do with it.
He also had to deal with numerous revolts, uprisings, and betrayals during
his reign. Nero changed from an idealistic young boy to a somewhat paranoid man
because of the betrayals he had suffered in his short life. He thought that
betrayal, when it inevitably came, would come from within his family or
possibly the senate, but he never saw it coming from the provinces or his
Praetorian Guard. And certainly not from some of those he trusted most.
I really loved this book, at least as much as the first Nero book Ms George
wrote. Here, we truly get to see Nero as he most likely really was - a sensitive, thoughtful man who wanted to make
sweeping changes to a centuries-old system and instead got destroyed in the
politics of it. He was first and foremost an artist and musician, loving
nothing more than to write and perform poetry and music.
I took years and years of Latin from
high school through grad school; I’ve read Tacitus and his comments about Nero.
I never thought they seemed very realistic. The outstanding research that went
into this book and its predecessor really highlights how misunderstood Nero has
become to history. He wasn’t insane, cruel, or in love with persecuting
Christians. He was flawed, yes, maybe a bit childish and naive for the ruler of
the known world. Likely he was a bit narcissistic, or at least he came across
that way somewhat, but not in a malignant way, nor
in an entirely self-centered way, if that makes sense. His narcissism, such as
it was, seemed to be derived purely from being a child of luxury and privilege
and not knowing anything else. Sometimes while reading this novel, I felt a
little embarrassed for him, as I think I was meant to, because, like others in
the room with Nero, I wanted to tell him to stop, or ask him, “Don’t you know
you can’t do that/say that here to these people?” He was so idealistic that he
was really clueless about a lot of things, and it made him a target in a
variety of ways.
As with all her other books, Margaret George has some absolutely lovely
prose in this one as well. When speaking of the gods and religion, Nero has
many things to say that were intriguing and well crafted. When one senator
accused him of being an atheist, Nero replied that, in practical terms, he is
because “since we cannot know [the gods’] thoughts, it is best to admit that
and proceed in the dark, unlike ignorant people who think they know and make
stupid interpretations.”
Later, regarding the Christians who he ordered executed for their alleged
role in the fire, Nero said, “In some ways they are to be envied…. Having
something so precious that it overrides all else in your life, even your life
itself.”
As an atheist myself, I don’t feel this way about religion, but I do
understand the sentiment. I hold many things in higher regard than my own life.
Nero felt this way about his art, and came to realize he felt that way about
Rome itself. Combining thoughts on religion with philosophy, another of Nero’s
favorite pastimes, is a terrific scene that comes just after he competes in his
first chariot race. Nero’s wife Poppaea berates him for racing, an act that a
charioteer (i.e., a slave) would do, not a patrician, and she was afraid for
him for many reasons. She told him he was acting like a child: “You are no
longer a child. Or are you? You behave like one.” “If I behave like one, it is
because deep inside the child is still there.” … “Childhood is a phase of life,
to be put aside as one grows up.” “No, it should be cherished, because it is
the truest part of ourselves, the part that came into being first. ...It is
when we are our childhood selves that we are closest to the gods.” This one
reminded me to cherish my daughter’s childhood and to get more in touch with my
own inner child.
When Nero is on stage or talking about the arts, his true love, is when his
real personality comes through. Nero and an actor are discussing the
destruction of many of the theatres in the fire and how to rebuild so that
plays can be put on again. Nero says, “Yes, people need that. Especially after
such sorrow. It helps them to know that life goes on.”
“Oddly enough, tragedies are a remedy for that. They put our own sorrows in
context, the context of being human. Suffering is woven into all existence.” I
loved this scene for a lot of reasons.
Overall, I think this was just about a perfect novel. I just loved the deep
research that clearly went into it, and the discovery of a man who is so
different than how he is often portrayed in history. I think Margaret George
has uncovered a more realistic version of Nero than anyone else and I adore the
way she handles him and the multitude of myths and scandals that surround him.
© Kristen McQuinn
No comments:
Post a Comment
We do not accept comments. If you need to contact Discovering Diamonds go to the CONTACT facility
Note: only a member of this blog may post a comment.