The Roman emperor Nero is remembered by history as the vain and immoral monster who fiddled while Rome burned. Edward Champlin reinterprets Nero's enormities on their own terms, as the self-conscious performances of an imperial actor with a formidable grasp of Roman history and mythology and a canny sense of his audience. Nero murdered his younger brother and rival to the throne, probably at his mother's prompting. He then murdered his mother, with whom he may have slept. He killed his pregnant wife in a fit of rage, then castrated and married a young freedman because he resembled her. He mounted the public stage to act a hero driven mad or a woman giving birth, and raced a ten-horse chariot in the Olympic games. He probably instigated the burning of Rome, for which he then ordered the spectacular punishment of Christians, many of whom were burned as human torches to light up his gardens at night. Without seeking to rehabilitate the historical monster, Champlin renders Nero more vividly intelligible by illuminating the motives behind his theatrical gestures, and revealing the artist who thought of himself as a heroic figure. Nero is a brilliant reconception of a historical account that extends back to Tacitus, Suetonius, and Cassius Dio. The effortless style and artful construction of the book will engage any reader drawn to its intrinsically fascinating subject.

The period described in this volume begins in the year after the death of Julius Caesar and ends in the year after the fall of Nero. Its main theme is the transformation of the political configuration of the state to a dynastic monarchy and the establishment of the Roman Empire. Central to the period is the achievement of the first emperor, Augustus.

Freed from the familial and social obligations incumbent on the living, the Roman testator could craft his will to be a literal 'last judgment' on family, friends, and society. The Romans were fascinated by the contents of wills, believing the will to be a mirror of the testator's true character and opinions. The wills offer us a unique view of the individual Roman testator's world. Just as classicists, ancient historians, and legal historians will find a mine of information here, the general reader will be fascinated by the book's lively recounting of last testaments. Who were the testators and what were their motives? Why do family, kin, servants, friends, and community all figure in the will, and how are they treated? What sort of afterlife did the Romans anticipate? By examining wills, the book sets several issues in a new light, offering new interpretations of, or new insights into, subjects as diverse as captatio (inheritance-seeking), the structure of the Roman family, the manumission of slaves, public philanthropy, the afterlife and the relation of subject to emperor. Champlin's principal argument is that a strongly felt 'duty of testacy' informed and guided most Romans, a duty to reward or punish all who were important to them, a duty which led them to write their wills early in life and to revise them frequently.