Dio's Rome, Volume 5: An Historical Narrative Originally Composed in Greek During The Reigns of Septimius Severus, Geta and Caracalla, Macrinus, Elagabalus and Alexander Severus: and Now Presented in English FormCassius Dio Cocceianus
History
Dio's Rome, Volume 5: An Historical Narrative Originally Composed in Greek During The Reigns of Septimius Severus, Geta and Caracalla, Macrinus, Elagabalus and Alexander Severus: and Now Presented in English Form
Cassius Dio Cocceianus
Rome -- History
[Sidenote:--8--] Nero though angry at him did not sail against him, nor
yet against the Ethiopians or the Caspian Pylae, as he had intended. [He
saw that the subjugation of these regions demanded time and labor and
hoped that they would submit to him of their own accord:] and he sent
spies to both places. But he did cross over into Greece, not at all as
Flamininus or Mummius or as Agrippa and Augustus his ancestors had done,
but for the purpose of chariot racing, of playing and singing, of making
proclamations, and of acting in tragedies. Rome was not enough for him,
nor Pompey's theatre, nor the great hippodrome, but he desired also a
foreign tour, in order to become, as he said, victor in all the four
contests. [Footnote: Literally "victor of the periodos." This was a name
applied to an athlete who had conquered in the Pythian, Isthmian, Nemean
and Olympian games.] And a multitude not only of Augustans but of other
persons were taken with him, large enough, if it had been a hostile host,
to have subdued both Parthians and all other nations. But they were the
kind you would have expected Nero's soldiers to be, and the arms they
carried were zithers and plectra, masks and buskins. The victories Nero
won were such as befitted that sort of army, and he overcame Terpnus and
Diodorus and Pammenes, instead of Philip or Perseus or Antiochus. It is
probable that his purpose in forcing the Pammenes referred to, who had
been in his prime in the reign of Gaius, to compete in spite of his age,
was that he might overcome him and vent his dislike in abuse of his
statues.
Public-domain text, read in full here on John Shaqi.
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