Nero

Twice only he undertook any foreign expeditions, one to Alexandria, and the other to Achaia; but he abandoned the prosecution of the former on the very day fixed for his departure, by being deterred both by ill omens, and the hazard of the voyage. For while he was making the circuit of the temples, having seated himself in that of Vesta, when he attempted to rise, the skirt of his robe stuck fast; and he was instantly seized with such a dimness in his eyes, that he could not see a yard before him. In Achaia, he attempted to make a cut through the Isthmus;[*](It was a favourite project of the Caesars to make a navigable canal through the Isthmus of Corinth, to avoid the circumnavigation of the southern extremity of the Morea, now Cape Matapan, which, even in our days, has its perils. See JULIUS Caesar, C. xliv. and CALIGULA, C. xxi. ) and, having made a speech encouraging his pretorians to set about the work, on a signal given by sound of trumpet, he first broke ground with a spade, and carried off a basket full of earth upon his shoulders. He made preparations for an expedition to the Pass of the Caspian mountains;[*](Caspiae Porta; so called from the difficulties opposed by the narrow and rocky defile to the passage of the Caucasus from the country washed by the Euxine, now called Georgia, to that lying between the Caspian and the sea of Azof. It commences a few miles north of Teflis, and is frequently the scene of contests between the Russians and Circassian tribes.) forming a new legion out of his late levies in Italy, of men all six feet high, which he called the phalanx of Alexander the Great. These transactions, in part unexceptionable, and in part highly commendable, I have brought into one view, in order to separate them from the scandalous and criminal part of his conduct, of which I shall now give an account.

Among the other liberal arts which he was taught in his youth, he was instructed in music; and immediately after his advancement to the empire, he sent for Terpnus, a performer upon the harp,[*](Citharoedus: the word signifies a vocalist, who with his singing gave an accompaniment on the harp.) who flourished at that time with the highest reputation. Sitting with him for several days following, as he sang and played after supper, until late at night, he began by degrees to practise upon the instrument himself. Nor did he omit any of those expedients which artists in music adopt, for the preservation and improvement of their voices. He would lie upon his back with a sheet of lead upon his breast, clear his stomach and bowels by vomits and clysters, and forbear the eating of fruits, or food prejudicial to the voice. Encouraged by his proficiency, though his voice was neither loud nor clear, he was desirous of appearing upon the stage, frequently repeating amongst his friends a Greek proverb to this effect: " that no one had any regard for music which they never heard." Accordingly, he made his first public appearance at Naples; and although the theatre quivered with the sudden shock of an earthquake, he did not desist, until he had finished the piece of music he had begun. He played and sung in the same place several times, and for several days together; taking only now and then a little respite to refresh his voice. Impatient of retirement, it was his custom to go from the bath to the theatre; and after dining in the orchestra, amidst a crowded assembly of the people, he promised them in Greek,[*](It has already been observed that Naples was a Greek colony, and consequently Greek appears to have continued the vernacular tongue.) " that after he had drank a little, he would give them a tune which would make their ears tingle." Being highly pleased with the songs that were sung in his praise by some Alexandrians belonging to the fleet just arrived at Naples,[*](See AUGUSTUS, c. xciv.) he sent for more of the like singers from Alexandria. At the same time, he chose young men of the equestrian order, and above five thousand robust young fellows from the common people, on purpose to learn various kinds of applause, called bombi, imbrices, and testae,[*](Of the strange names given to the different modes of applauding in the theatre, the first was derived from the humming of bees; the second from the rattling of rain or hail on the roofs; and the third from the tinkling of porcelain vessels when clashed together. ) which the were to practice in his favour, whenever he performed. They were divided into several parties, and were remarkable for their fine heads of hair, and were extremely well dressed, with rings upon their left hands. The leaders of these bands had salaries of forty thousand sesterces allowed them.