Nero Rome Burning Quotes

Dear me, what would this barren vocabulary get out of the mightiest spectacle?—the burning of Rome in Nero's time, for instance? Why, it would merely say, 'Town burned down; no insurance; boy brast a window, fireman brake his neck!' Why, THAT ain't a picture!

I would rather see Rome ruled by a man who once had to ask his accountant tricky questions before his steward could pay the butcher’s bill than by some mad limb like Nero, who was brought up believing himself the son and the grandson of gods, and who thought wearing the purple gave him free rein to indulge his personal vanities, execute real talent, bankrupt the Treasury, burn half of Rome – and bore the living daylights out of paying customers in theatres!

Instead of beseeching men to be reconciled to God, we find ministers wasting their time in giving Sunday lectures about all kinds of subjects. Rome is burning and Nero is playing his fiddle. Souls are perishing and minsters are amusing them.

Rome, yes, I say, thinking in quick succession of the Pantheon, the Colosseum and the cardinals screwing around while wondering whether women have souls or not, and of Nero, of course, who killed his closest family and let the city burn. I don't reckon he liked people, either.

Perry continued, his voice even but firm as granite; "Do you prefer the easy platitudes? You said you didn't. How dare you speak about God like He's some frivolous clown? Do you think you're the only one who has suffered in this world? Every apostle but one died a martyr’s death. By the time of Nero the streets of Rome were lined with Christians hanging on crosses. Emperors would wrap them in wax and light them on fire, using their burning bodies as torches. Even Gods own Son was nailed to a cross. What makes you think you should be spared pain and difficulty? Anne started to speak but nothing came out so Perry continued. "I'm grieved at your loss but I won't waste time joining you in your pity party. Everyone faces hardship, disappointment and, sooner or later, tragedy. It's called Life. If you want to talk about how unfair God is you'll need to find a different audience, because I'm not going to listen to it" Perry watched Anne's jaw tighten and her eyes narrow as if to hold back the hurricane of fury swirling within her. "You owe me an apology", she said through tight lips. "You owe God an apology", Perry countered in the same still voice. A TREASURE DEEP

There is frequently another way to look at things and we are encouraged to do exactly that if we want to grow as a nation, however when we mess with the principles of what made our country great we are in danger of upsetting the apple cart. Many civilized countries that did, lost their freedom in a rapid downhill spiral. Nero fiddled as Rome burned. Cubans lost out by electing Fidel Castro and the Germans and Italians, wanting a better life, voted for Mussolini and Hitler.

But why . . . you've said Lestat shouldn't have made you start with people. Did you mean . . . do you mean for you it was an aesthetic choice, not a moral one?’ ’Had you asked me then, I would have told you it was aesthetic, that I wished to understand death in stages. That the death of an animal yielded such pleasure and experience to me that I had only begun to understand it, and wished to save the experience of human death for my mature understanding. But it was moral. Because all aesthetic decisions are moral, really.’ ‘I don’t understand,’ said the boy. ‘I thought aesthetic decisions could be completely immoral. What about the cliché of the artist who leaves his wife and children so he can paint? Or Nero playing the harp while Rome burned?’ ‘Both were moral decisions. Both served a higher good, in the mind of the artist. The conflict lies between the morals of the artist and the morals of society, not between aesthetics and morality. But often this isn’t understood; and here comes the waste, the tragedy. An artist, stealing paints from a store, for example, imagines himself to have made an inevitable but immoral decision, and then he sees himself as fallen from grace; what follows is despair and petty irresponsibility, as if morality were a great glass world which can be utterly shattered by one act. But this was not my great concern then. I did not know these things then. I believed I killed animals for aesthetic reasons only, and I hedged against the great moral question of whether or not by my very nature I was damned.

[Nero] castrated the boy Sporus and actually tried to make a woman of him; and he married him with all the usual ceremonies, including a dowry and a bridal veil, took him to his house attended by a great throng, and treated him as his wife. This Sporus, decked out with the finery of the empresses and riding in a litter, he took with him to the assizes and marts of Greece, and later at Rome through the Street of the Images,​ fondly kissing him from time to time. That he even desired illicit relations with his own mother, and was kept from it by her enemies, who feared that such a help might give the reckless and insolent woman too great influence, was notorious, especially after he added to his concubines a courtesan who was said to look very like Agrippina. Even before that, so they say, whenever he rode in a litter with his mother, he had incestuous relations with her, which were betrayed by the stains on his clothing. He so prostituted his own chastity that after defiling almost every part of his body, he at last devised a kind of game, in which, covered with the skin of some wild animal, he was let loose from a cage and attacked the private parts of men and women, who were bound to stakes, and when he had sated his mad lust, was dispatched​ by his freedman Doryphorus; for he was even married to this man in the same way that he himself had married Sporus, going so far as to imitate the cries and lamentations of a maiden being deflowered. He made a palace extending all the way from the Palatine to the Esquiline, which at first he called the House of Passage, but when it was burned shortly after its completion and rebuilt, the Golden House. Its size and splendour will be sufficiently indicated by the following details. Its vestibule was large enough to contain a colossal statue of the emperor a hundred and twenty feet high; and it was so extensive that it had a triple colonnade​ a mile long. There was a pond too, like a sea, surrounded with buildings to represent cities,​ besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals. In the rest of the house all parts were overlaid with gold and adorned with gems and mother-of‑pearl. There were dining-rooms with fretted ceils of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet hall was circular and constantly revolved day and night, like the heavens. His mother offended him by too strict surveillance and criticism of his words and acts. At last terrified by her violence and threats, he determined to have her life, and after thrice attempting it by poison and finding that she had made herself immune by antidotes, he tampered with the ceiling of her bedroom, contriving a mechanical device for loosening its panels and dropping them upon her while she slept. When this leaked out through some of those connected with the plot, he devised a collapsible boat,​ to destroy her by shipwreck or by the falling in of its cabin. ...[He] offered her his contrivance, escorting her to it in high spirits and even kissing her breasts as they parted. The rest of the night he passed sleepless in intense anxiety, awaiting the outcome of his design. On learning that everything had gone wrong and that she had escaped by swimming, driven to desperation he secretly had a dagger thrown down beside her freedman Lucius Agermus, when he joyfully brought word that she was safe and sound, and then ordered that the freedman be seized and bound, on the charge of being hired to kill the emperor; that his mother be put to death, and the pretence made that she had escaped the consequences of her detected guilt by suicide.

Jesus Christ, who is . . . the ruler of the kings of the earth” (Revelation 1:5). The word for “ruler” means he is the ultimate authority over all the kings of the earth. They are great, but he is greater. They are mighty, but he is mightier. Millions answer to them, but they answer to him. He is not merely one of the kings. He rules over them all. In the first century the mighty emperor Nero thought he was the ruler of the kings of the earth. He held in his hands the power of life and death. Thumbs up: one man lived. Thumbs down: one man died. It is said that he ordered the burning of Rome and then blamed it on the early Christians. He had Paul the apostle beheaded, thinking that the pernicious Christian movement would die with him. But now 2000 years have passed, and the tables have turned. We name our dogs Nero and our sons Paul. Who are the kings of the earth John is talking about? They are political leaders in their various spheres–mayors and council members, governors, congressmen and senators, presidents and prime ministers, and potentates of every variety. There are small-time kings who rule tiny realms and mighty kings who rule vast empires. Their names are Obama, Putin, Netanyahu, Ahmadinejad, Komorowski, Mukherjee, Harper, Kim, Abdullah, Sarkozy, Karzai, Xi, Mugabe, Remengesau, Calderon, Merkel, Cartes and Cameron. And a thousand others just like them. Jesus rules over them all. We all know that the world is in a mess. That’s why it’s hard to believe this is true. All the evidence seems to move in the opposite direction. The pornographers go free, the baby-killers are untouched, the politicians break the laws they write, the drug dealers make their millions, and the nations arm themselves for total destruction. Without trying very hard, you could make a good case that Satan is the ruler of the kings of the earth. But it only seems that way. Satan has no power except that granted to him by God. In due time and at the proper moment, Jesus will step back on the stage of world history. Think of it. The hands that were nailed to the cross will someday rule the world. Though we do not see it today, it is certain and sure of fulfillment. That’s what the book of Revelation is all about. Read it for yourself and see how the story ends.

But why . . . you've said Lestat shouldn't have made you start with people. Did you mean . . . do you mean for you it was an aesthetic choice, not a moral one?’ ’Had you asked me then, I would have told you it was aesthetic, that I wished to understand death in stages. That the death of an animal yielded such pleasure and experience to me that I had only begun to understand it, and wished to save the experience of human death for my mature understanding. But it was moral. Because all aesthetic decisions are moral, really.’ ‘I don’t understand,’ said the boy. ‘I thought aesthetic decisions could be completely immoral. What about the cliché of the artist who leaves his wife and children so he can paint? Or Nero playing the harp while Rome burned?’ ‘Both were moral decisions. Both served a higher good, in the mind of the artist. The conflict lies between the morals of the artist and the morals of society, not between aesthetics and morality. But often this isn’t understood; and here comes the waste, the tragedy. An artist, stealing paints from a store, for example, imagines himself to have made an inevitable but immoral decision, and then he sees himself as fallen from grace; what follows is despair and petty irresponsibility, as if morality were a great glass world which can be utterly shattered by one act. But this was not my great concern then. I did not know these things then. I believed I killed animals for aesthetic reasons only, and I hedged against the great moral question of whether or not by my very nature I was damned. ’Because, you see, though Lestat had never said anything about devils or hell to me, I believed I was damned when I went over to him, just as Judas must have believed it when he put the noose around his neck. You understand?

Blood & Sand by Stewart Stafford Enduring to be burned, bound, beaten, And to die by the sword if necessary; Verus and Priscus entered the arena, To stain Colosseum sand with blood. Emperor Titus drained Nero's lake, Built the vast Flavian Amphitheatre, Panacea to the idle citizens of Rome, Symbol of his beneficence and might. Priscus, far from his Germanian home, Fighting within a symbol of Rome's power, Which ravaged his life and fatherland, For them to decide if he is free or dies. Verus, the hulking, bullish Murmillo; Trained to deliver heavy punishment, Priscus - lightly-armed, agile Thracian; Primed to avoid his rival's huge blows. Titus showed he was Nero's antithesis; No hoarding of tracts of primo Roma, In a profligate orgy of narcissistic pride, Nor taking his own life to escape execution. Domitian, the brother of Titus, watched in envy, The emperor-in-waiting who favoured Verus, And the direct Murmillo style of fighting, Titus favoured Thracian counter-punching. Aware of the patriarchal fraternity's preferences, The gathering looked on in fascinated awe, As their champions of champions clashed, Deciding who was the greatest gladiator of all. Titus had stated there would be no draw; One would win, and one would perish, A rudis freedom staff the survivor's trophy, Out the Porta Sanavivaria - the Gate of Life. One well aware of the other, combat began, Scared eyes locked behind helmeted grilles, Grunts and sweat behind shield and steel, Roars and gasps of the clustered chorus. For hour after hour, they attacked and feinted, Using all their power, skill and technique, Nothing could keep them from a stalemate; The warriors watered and slightly rested. The search for the coup de grâce went on, Until both men fell, in dusty exhaustion, Each raised a finger, in joint submission, Equals on death's stage yielded in unison. Titus faced a dilemma; mercy or consistency? Please the crowd, but make them aware, Of his Damoclean life-and-death sword, Over every Roman and slave in the empire. Titus cleaved the Rudis into a dual solution; Unable to beat the other, both won and lived, Limping, scarred heroes of baying masses, None had ever seen a myth form before them. It was Romulus fighting Remus in extremis, Herculean labours of a sticky, lethal afternoon, In the end, nothing could separate these brothers; Victors united as Castor and Pollux in Gemini. For life and limb on Rome's vast stage, Symbiotic compensation of adulation's rage. Stewart Stafford, 2023. All rights reserved

I don’t understand,’ said the boy. ‘I thought aesthetic decisions could be completely immoral. What about the cliché of the artist who leaves his wife and children so he can paint? Or Nero playing the harp while Rome burned?’ ‘Both were moral decisions. Both served a higher good, in the mind of the artist. The conflict lies between the morals of the artist and the morals of society, not between aesthetics and morality. But often this isn’t understood; and here comes the waste, the tragedy. An artist, stealing paints from a store, for example, imagines himself to have made an inevitable but immoral decision, and then he sees himself as fallen from grace; what follows is despair and petty irresponsibility, as if morality were a great glass world which can be utterly shattered by one act. But this was not my great concern then. I did not know these things then. I believed I killed animals for aesthetic reasons only, and I hedged against the great moral question of whether or not by my very nature I was damned.

Nero, the sixth emperor of Rome. This monarch reigned for the space of five years, with tolerable credit to himself, but then gave way to the greatest extravagancy of temper, and to the most atrocious barbarities. Among other diabolical whims, he ordered that the city of Rome should be set on fire, which order was executed by his officers, guards, and servants. While the imperial city was in flames, he went up to the tower of Macaenas, played upon his harp, sung the song of the burning of Troy, and openly declared that 'he wished the ruin of all things before his death.

Custer was a child once.  He didn’t spend his childhood killing Indians and stealing their homeland.  Nero didn’t spend his childhood burning Rome to the ground.  Everybody was a child once.  No child was born hating the world around him.  You had to learn that trait.  You had to pick it up from the worst pockets of the universe, the filthiest recesses of society, where the people who learned it before you deposited it when they were done.

I think the attitude is characteristically western. We feel more affinity with Romulus and Remus than with Nero. We are still busy founding Rome while in New York they fiddle to celebrate its burning.

Actually, Nero didn’t fiddle. The violin wasn’t invented yet. While Rome burned, he was said to have played the lyre and sung.

There are fewer tourists than you typically encounter on the Malecón. The attacks at the Montmartre cabaret and the Tropicana have rattled nerves and people are on edge. Then there are the bombs exploding around the city at random intervals, interspersed between parties, elegant dinners and lunches, and trips to the beach. And Nero fiddled while Rome burned.