Content and Purpose of This Study

Total Page:16

File Type:pdf, Size:1020Kb

Content and Purpose of This Study introduction Content and Purpose of This Study The combination of political leadership and eccentric behaviour is not only a modern phenomenon. Nor has the question of whether too much power leads to madness been raised only in our own times.1When we think of powerful indi- viduals in important political roles who overstep moral boundaries, transgress social norms, and present themselves in eccentric ways, the Roman emperors inevitably come to mind. Nero’s eccentricities may be the first we think of, since they have also become a topic of popular culture: most people probably know Nero the artist-emperor (as pictured in the movie Quo vadis?) who sang to his lyre while Rome burned.2 The historian Tacitus says that this was a rumour, but, after reading his text, we are still inclined to believe that the mad emperor really sang. Thus in 2016 Nero was still considered a suitable object of detailed psychiatric analysis.3 The common Roman people, at least, are often said to have enjoyed his transgressive behaviour and artistic performances. But, when the historians and Suetonius mention Nero’s popularity with the people, this hardly sounds like a compliment. Is it just the intellectual elite that denigrates those in power who behave differently than expected? The emperor Domitian, who was the second Roman emperor to suffer official damnatio memoriae and who ended the Flavian dynasty, raises similar questions.4 He may be less pop- 1 The usual term to describe this connection between power and madness is Caesarenwahn- sinn. The concept became popular through Ludwig Quidde’s short study on Caligula. Quidde 1894, 20 contends that the ancient texts contain “in allen wesentlichen Zügen trockene his- torische Wahrheit”. He claims that Caligula suffered from a mental illness, the madness that is produced or supported by monarchical power. The symptoms are, according to Quidde: senseless luxury,esp. with regard to dinners and buildings; craving for military triumphs; long- ing for self-representation in public performances; cruelty; thinking of oneself or presenting oneself as divine. Quidde, who was winner of the Nobel Peace Prize in 1927, directed this depiction of monarchy and madness against the contemporary German Kaiser Wilhelm II, cf. Yavetz 1996, 118–119; Holl et al. 2001. On Caesarenwahnsinn from a modern psychological perspective see von Zerssen 2011. 2 Cf. the illustration in Elsner 1994, 119. 3 See Aschauer 2016 who reads Suetonius, Tacitus, and Cassius Dio in order to analyse Nero’s psychological disposition. He also undertakes a medical and psychiatric case-history of the whole Julio-Claudian family. 4 On Domitian and his ending of the Flavian dynasty see Charles 2002, 48–49, who points out that Domitian’s later reputation might have been completely different had he not been the last of his line. See also p.45–46. © koninklijke brill nv, leiden, 2019 | doi:10.1163/9789004407558_002 2 introduction ular today than Nero (and has not yet found his Peter Ustinov to portray him), but he is an equally ambivalent and opalescent figure. This study asks how, i.e. by which literary strategies, Roman historiography and biography created the negative images of Nero and Domitian that have been so persuasive and successful that readers are still disposed to trust them today. It does not inquire whether the historical Nero and Domitian really were mad. Tacitus, Cassius Dio, and Suetonius employ several rhetorical devices in order to criticize forms of imperial representation they deem unacceptable. Since this critique is directed against—existing or potential—positive or neut- ral images of emperors and discourses about imperial representation, we can understand it as a form of deconstruction.5 ‘Deconstruction’ in this sense not only builds on the reaction to a previously constructed image of the same emperor, but also aims for a new, different construction. It is thus a creative, literary process which can be analysed from a philological viewpoint. With Tacitus, Cassius Dio, and Suetonius’ deconstruction of imperial representation we capture three moments in the dynamic negotiations over the emperor’s image that were conducted between himself and the elite.6 In the broadest sense, this study is about the function of critical literature within this process of shaping images of the princeps in the early and high Roman Empire. This book offers an innovative, and philologically and critically grounded, approach to ancient historiography through a particular combination of au- thors and subjects. It brings together three high-profile authors who are linked by their representations of two controversial and intrinsically fascinating em- perors. In doing so, three aspects stand out. First, by uniting interpretations of Tacitus, Cassius Dio, and Suetonius, whose literary techniques are not often discussed together despite the obvious overlap in subject matter, I offer the first combined reading of the works of these three authors from a philological point of view.7 Second, my analysis of these texts aims to stimulate new views and to offer innovative interpretative strategies to readers of otherwise well- worn texts. These strategies may well find applications in reading other texts and authors beyond the present study. Third, I focus on two emperors whose 5 For the theoretical background see p.38–46. 6 In his analysis of Trajan’s imperial representation Seelentag 2004 also underlines that the image of an emperor is never the final result of negotiations between him and his people, but always both the product of ongoing negotiations and the basis for future ones. 7 The brief study of Heinz 1948 about the image of Nero in Seneca, Tacitus, Suetonius, and Cas- sius Dio has to be considered outdated. Heinz reads Tacitus as characterized by a “Bestreben nach objektiver Geschichtsforschung” (Heinz 1948, 134) and Cassius Dio’s books on Nero as “Produkte eines fanatischen Rhetors” (Heinz 1948, 135). He detects differences among these four authors only “im Kleinen” (Heinz 1948, 134)..
Recommended publications
  • Quo Vadis Days Brochure
    The Most Reverend Diocese of Harrisburg Ronald W. Gainer, Bishop of Harrisburg, will be present at Quo Vadis Quo Vadis Days. Days June 27 - July 1, 2021 "You did not choose me, but I chose you…” John 15:16 Sponsored by Jesus is inviting you to spend time with Him and discern the Father's will for you… Diocese of Harrisburg Office of Vocations What will your response be? 4800 Union Deposit Road Join us for Quo Vadis Days! Harrisburg, PA 17111-3710 "... only when a young man has had a personal Reverend Jonathan Sawicki experience of Christ can he truly understand Director of Vocations the Lord’s will and consequently his own vocation. The better you know Jesus the more (717) 657-4804, ext. 282 Quo Vadis Days will give you the his mystery attracts you. opportunity to learn how to discern The more you discover him, your vocation and discover more the more you are moved to [email protected] about priesthood. seek him." Discover the Father’s will for you... Pope Emeritus Benedict XVI Quo Vadis? Quo Vadis Days… Who: Young men, ages 15-25 “Where are you going?” ... is a time of recreation, fellowship, prayer When: Sunday June 27 - Thursday, July 1 Legend tells us that Saint Peter asked Jesus and discussion to help you this question on the outskirts of Rome. We explore Our Lord’s call in your life. Where: Mount St. Mary’s University know where Jesus went in response to There will be priests, seminarians and and Seminary His Father’s will.
    [Show full text]
  • “What Harm Is There for You to Say Caesar Is Lord?” Emperors
    Outi Lehtipuu the nascent Christian movement has traditionally been understood.2 From Tacitus’ brief mention that Nero made Christians scapegoats for the fire of Rome in order to direct suspicion away from himself,3 the pious imagination of Sienkiewicz and many others has painted a gruesome picture of how thousands of Christians were “What Harm Is There for You dragged to prisons and arenas to be exposed to wild animals, burnt alive and crucified. Being a Christian was life-threatening but the “surpassing measure of to Say Caesar Is Lord?” cruelty was answered by an equal measure of desire for martyrdom, the confessors Emperors and the Imperial Cult in of Christ went to death voluntarily, or even sought death […].”4 Recent research on martyrdom tends to be sceptical towards this popular Early Christian Stories of Martyrdom narrative. Even though there is little doubt that Christian populations experienced suspicion, hostility and outright violence, traces of any systematic persecution, Outi Lehtipuu especially before the middle of the third century, are scanty. Scholars frequently characterize measures taken against Christians as local, sporadic, and short- University of Helsinki lived.5 Yet, they do not usually doubt that Christians were killed. The devastating Recent scholarship on early Christian martyrdom tends to be sceptical towards events of recent, fully-documented history have shown that official, state-initiated the traditional picture according to which Roman emperors wanted to destroy the persecution based on ethnicity or religion is entirely possible.6 What scholars do emerging Christianity and ordered numerous believers who did not take part in question is whether Christians were killed because they were Christians.7 Ancient the imperial cult to be executed.
    [Show full text]
  • Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College
    Rhode Island College Digital Commons @ RIC Master's Theses, Dissertations, Graduate Research Master's Theses, Dissertations, Graduate Research and Major Papers Overview and Major Papers 4-2009 Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/etd Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Peirce, Merle Kenneth, "Transgressive Masculinities in Selected Sword and Sandal Films" (2009). Master's Theses, Dissertations, Graduate Research and Major Papers Overview. 19. https://digitalcommons.ric.edu/etd/19 This Thesis is brought to you for free and open access by the Master's Theses, Dissertations, Graduate Research and Major Papers at Digital Commons @ RIC. It has been accepted for inclusion in Master's Theses, Dissertations, Graduate Research and Major Papers Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. TRANSGRESSIVE MASCULINITIES IN SELECTED SWORD AND SANDAL FILMS By Merle Kenneth Peirce A Thesis Submitted in Partial Fulfillment of the Requirements for the Individualised Masters' Programme In the Departments of Modern Languages, English and Film Studies Rhode Island College 2009 Abstract In the ancient film epic, even in incarnations which were conceived as patriarchal and hetero-normative works, small and sometimes large bits of transgressive gender formations appear. Many overtly hegemonic films still reveal the existence of resistive structures buried within the narrative. Film criticism has generally avoided serious examination of this genre, and left it open to the purview of classical studies professionals, whose view and value systems are significantly different to those of film scholars.
    [Show full text]
  • When the 29Th of June, the Solemnity of the Saints Peter and Paul (The Patronal Feast of the Church of Rome), Falls on a Sunday, It Trumps the Sunday in Ordinary Time
    When the 29th of June, the Solemnity of the Saints Peter and Paul (the patronal feast of the Church of Rome), falls on a Sunday, it trumps the Sunday in Ordinary Time. So that is why we are celebrating it this weekend. I’d like to share a story about St. Peter that happens near the end of his life. When the persecutions by Nero against the Christians in Rome were happening, St. Peter tried to escape them by running away outside of the city. (Thus, another time we have Peter trying to deny that he knows Jesus.) When he was journeying on the principal way (road) that leads south of the city (the Via Appia), he encountered the Lord journeying toward the city. Peter recognized that it was the Lord. He asked Jesus: “Domine, quo vadis?”—“Lord, where are you going?” Jesus answered Peter: I am going to be crucified again. (I am going to die another time.) And with that, Peter was convicted in his fears and he converted (repented) immediately, and followed Jesus along the way in order to give his own life as a witness (testimony) to his faith in Jesus Christ. He died the martyr’s death (a witness to the faith): “‘…and someone else will dress you and lead you where you do not want to go.’ He said this signifying by what kind of death [Peter] would glorify God. And when he had said this, he said to him, “Follow me.’” A church was built at the site in order to mark this event in Peter’s life.
    [Show full text]
  • Films & Novels About Italy, Ancient Rome, and the Italians
    Films & Novels About Italy, Ancient Rome, and the Italians (MANY Titles available on dvd or via streaming) Feature Films: a littlE romancE (1979) EffiE gray (2014) a special day (1977) KathErinE of alExandria (2014) il viaggio/ thE voyagE (1974) Pompeii (2014) PanE E cioccolata/ brEad and to romE with lovE (2012( chocolatE (1973) thE amErican (2011) antony and clEoPatra (1972) thE EaglE (2011) brothEr sun, sistEr moon (1972) Eat, Pray, lovE (2010) Fellini’s roma (1972) LettErs to JuliEt (2010) Julius caEsar (1970) whEn in romE (2010) Fellini’s satyricon (1969) agora (2009) thE godfathEr trilogy (1972/74/90) ANGELS AND dEMONS (2009) if it’s tuEsday, it must bE bElgium (1969) CLARE AND FRANCIS (2008) BUONA sERA, mrs. camPbEll (1968) st. rita (2007) romEo and JuliEt (1968) thE nativity (2006) thE SecrEt of santa vittoria (1968) a good woman (2004) thE shoEs of thE fishErman (1968) thE Passion of thE christ (2004) c’ERA UNA VOLTA/MORE THAN a MIRACLE (1968) i am david (2003) ghosts italian stylE (1967) lizziE mcguirE (2003) thE taming of thE shrEw (1967) my housE in umbria (2003) a funny thing happenEd on thE way undEr thE tuscan sun (2003) to thE forum (1966) italian for bEginnErs (2002) thE grEatEst story EvEr told (1965) st. francis (2002) iERI, OGGI, DOMANI/ YestErday, today, WHEn IN ROME (2002) and tomorrow (1965) hannibal (2001) thE agony and thE Ecstasy (1964) gladiator (2000) thE FALL of thE roman EmPirE (1964) PanE E tuliPani/ brEad and tuliPs marriagE italian stylE (1964) (2000) thE gospel according to st. MATTHEw thE talEntEd mr.
    [Show full text]
  • "Quo Vadis"' Film to Be Shown
    THE MUSEUM OF MODERN ART n WEST 53 STREET, NEW YORK 19, N. Y. TJIIPHONI. CIACU 5-ifOO l#0£02 - 3l+ FOR IMMEDIATE RELEASE gUO VADIS?. FAMOUS PIONEER FILM, TO BE SHOWN AT MUSEUM MAY l6-22 The early Italian classic Quo Vadis?, produced In 1912, will be shown at the Museum of Modern Art once daily at U p.m. during the week of May l6-22, instead of Carnival in Flanders, previously announced. After a 13-year search, the Film Library of the Museum of Modern Art has finally found and acquired, from Switzerland, an original print of the famous Quo Vadis? A motion picture classic, this ranks as one of the most influential of all time, equal in Importance to The Cabinet of Dr. Callgari. The Birth of a Nation and Potemkin, Though well remembered, Quo Vadis? has not been seen in this country for more than 20 years. Produced in Italy in 1912, this spectacle film Is 8 reels or nearly 2 hours long. Yet In America at that time, studios were cautiously exploring the possibilities of the 2-reel film, and the usual one-reel film was to be seen for a nickel in the nickelodeons - tiny, wooden-benched rooms used for projection. Even in other parts of Europe pictures ran at most to only Ij. or $ reels. When Quo Vadis? was imported for American distribution in 1913» its unusual length placed it far beyond the scope of the nickelodeons. George Kleine, one of the leading film distributors at that time, decided to place the film in the large legitimate theatres.
    [Show full text]
  • Big Screen Rome
    Big Screen Rome BSR_A01 1 29/8/05, 5:24 PM For Bart Warrior, Mentor, Hero BSR_A01 2 29/8/05, 5:24 PM BIG SCREEN ROME Monica Silveira Cyrino BSR_A01 3 29/8/05, 5:24 PM © 2005 by Monica Silveira Cyrino BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Monica Silveira Cyrino to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2005 by Blackwell Publishing Ltd 1 2005 Library of Congress Cataloging-in-Publication Data Cyrino, Monica Silveira. Big screen Rome / Monica Silveira Cyrino. p. cm. Includes bibliographical references and index. ISBN-13: 978-1-4051-1683-1 (hard cover: alk. paper) ISBN-10: 1-4051-1683-8 (hard cover: alk. paper) ISBN-13: 978-1-4051-1684-8 (pbk.: alk. paper) ISBN-10: 1-4051-1684-6 (pbk.: alk. paper) 1. Rome—In motion pictures. I. Title. PN1995.9.R68C87 2006 791.43′6245632—dc22 2005007235 A catalogue record for this title is available from the British Library. Set in 10.5/13pt Minion by Graphicraft Ltd, Hong Kong Printed and bound in India by Replika Press The publisher’s policy is to use permanent paper from mills that operate a sustainable forestry policy, and which has been manufactured from pulp processed using acid-free and elementary chlorine-free practices.
    [Show full text]
  • Sex and Scandal with Sword and Sandals: a Study of the Female Characters in HBO's Rome
    Studies in Mediterranean Antiquity and Classics Volume 1 Imperial Women Issue 1 Article 4 November 2006 Sex and Scandal with Sword and Sandals: A Study of the Female Characters in HBO’s Rome Maureen Ragalie Macalester College Follow this and additional works at: https://digitalcommons.macalester.edu/classicsjournal Recommended Citation Ragalie, Maureen (2006) "Sex and Scandal with Sword and Sandals: A Study of the Female Characters in HBO’s Rome," Studies in Mediterranean Antiquity and Classics: Vol. 1 : Iss. 1 , Article 4. Available at: https://digitalcommons.macalester.edu/classicsjournal/vol1/iss1/4 This Article is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Studies in Mediterranean Antiquity and Classics by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Ragalie: A Study of the Female Characters in HBO’s Rome Sex and Scandal with Sword and Sandals: A Study of the Female Characters in HBO’s Rome Maureen Ragalie INTRODUCTION HBO’s series, Rome, is full of action, adventure, romance, and of course, history. The screenwriters, directors, artistic designers and historical consultants worked together to create a spectacular version of Rome beginning in the year 52 BCE.1 The series begins with Caesar’s successful completion of the Gallic Wars, progresses into the Civil War against Pompey, and ends with Caesar’s assassination. This relatively historically accurate plot is spiced up with the interweaving lives of the main characters. I am looking at the depiction of elite women and the traditions that inform them in comparison with the innovations of HBO in its representations of lower class women.
    [Show full text]
  • 545 LATIN IV GRADES: 11-12 LEVEL: HONORS CREDITS: 5 PREREQUISITES: C Or Better in Latin III BASIC TEXT: Cambridge Latin
    #545 LATIN IV GRADES: 11-12 LEVEL: HONORS CREDITS: 5 PREREQUISITES: C or better in Latin III BASIC TEXT: Cambridge Latin Course IV, 1991, Cambridge University Press, (Workbooks), Amsco Latin III-IV (National Textbook) SUPPLEMENTAL READINGS: Primary source documents, e.g. inscriptions, sententiae, fables, or poems REQUIRED MATERIALS: A. On a daily basis - book and homework, notebook/ folder, lesson handouts. B. On occasion - highlighters, colored pencils or markers, index cards or paper cut to size and holder for these 4 colors are required: red/pink, yellow, orange, green/blue. COURSE DESCRIPTION: In this course the students continue to study the Latin language and the way of life of the people who spoke it by reading original and annotated passages of prose and poetry. The readings reflect the history and culture of the Late Republic through the Early Empire and the thoughts and feelings of their authors. The readings encourage the students to compare and contrast ancient and modern philosophies and customs. MISSION RELATED GOALS: 1, 2, 3, 5, 6, 9, 12 STUDENT EXPECTATIONS FOR LEARNING ADDRESSED: Academic expectations: • students will learn to solve complex problems encountered in the Latin texts and group projects. • students will work with others toward a common goal in group work in class, in group project presentations and group dialogues or skits in class. • students will learn to pronounce Latin and to write simple sentences in Latin. Civic expectations: • Students may participate in the Junior Classical League (JCL). This organization has a chapter local to Tewksbury, a state chapter and a national chapter. Students are encouraged to join and participate.
    [Show full text]
  • The Roman Epics of Classical Hollywood: Quo Vadis (1951)
    2. The Roman Epics of Classical Hollywood: Quo Vadis (1951) Filmmaking has always been commercially driven, and as cinema grew in technical sophistication, this became more explicitly foregrounded. The 2 expense of equipment and increasingly lru·ge number of personnel needed to produce a film made small studios economically unviable. They folded The Roman Epics of Classical Hollywood: or were swallowed up by their better-funded peers. By the late 1920s, Hollywood was dominated by five major studios, with another two minor Quo Vadis (1951) studios. These studios owned not only the means to produce films, but also the cinema chains in which they were mostly exhibited and an extensive and efficient publicity machine to sell their films to the public. In addition, Introduction they held popular actors under contract to perform only in their films. The studios could dictate which films were shown and in what order they Prior to the success of Gladiator in 2000, mentioning classical antiquity appeared in the programme. They could force independent cinemas to pay on film was certain to invoke thoughts of the e pic films produced in the for films that they did not want in order to get a chance to screen high post-Second World War period by Hollywood studios. Mostly set in Rome, profile films like epics, which would have been pre-sold to the viewing these films often employed the same central plot device: an upstanding but public as events in themselves. Despite legislation in 1948 to break the pagan Roman soldier is converted to Christianity through love for a chaste studios' monopoly over exhibition, the major studios still wielded signifi­ Christian maiden, and is subsequently instrumental in the defeat of a cant power until the mid-1960s when the advance of television and decadent emperor (or his represent ative).
    [Show full text]
  • Reimagining Nero in Early Modern Rome
    Reimagining Nero in Early Modern Rome Nero’s position as Rome’s most notorious emperor has been cemented in the modern popular imagination through films and novels, perhaps most notably various versions of Henryk Sienkiewicz’s Quo Vadis, as well as commercial advertisements and even political cartoons and satires. In various media, Nero emerges as a grotesque caricature of a thoroughly decadent and sybaritic ruler who deliberately set fire to Rome so that he could histrionically declaim his own epic poem on the fall of Troy against the spectacular backdrop of the city devoured by flames. Modern perceptions of Nero are embedded within a hostile historical tradition that began almost immediately after his suicide on 9 June 68. Authors like Pliny the Elder, Tacitus and Suetonius all enshrine an overwhelmingly negative evaluation of Nero’s personality and policies. In the ancient literary tradition, Nero became the quintessential “bad” emperor whose ranks also included Caligula, Domitian, Commodus and Elagabalus. Indeed, Nero is the first of the “bad” emperor’s whose memory was officially condemned by the Senate when they declared him a hostis, a proscribed enemy of the Roman state. As a result, Nero’s portraits were removed from public display, defaced and recycled in vast numbers, his name was erased in inscriptions, and certain coins were recalled and countermarked. The highly adverse assessment of the emperor is further compounded by early Christian authors who consistently position him as the anti-Christ and position him as the first persecutor of Christians (Lefebvre 2017; Pascal 1923). Nero’s memory, however, was not universally disparaged.
    [Show full text]
  • Quo Vadis? (Roman)
    Leseprobe Henryk Sienkiewicz Quo vadis? (Roman) Bestellen Sie mit einem Klick für 7,95 € Seiten: 640 Erscheinungstermin: 07. April 2014 Mehr Informationen zum Buch gibt es auf www.penguinrandomhouse.de Sienkiewicz Quo vadis 04.03.2014 12:42 Seite 1 Henryk Sienkiewicz Quo vadis? Sienkiewicz Quo vadis 04.03.2014 12:42 Seite 3 Henryk Sienkiewicz QuoQuo vadis?vadis Historischer Roman Aus dem Polnischen von J. Bolinski Anaconda Sienkiewicz Quo vadis 23.03.2021 16:34 Seite 4 Titel der polnischen Originalausgabe: Quo vadis: Powie s´c´ z czasów Nerona (1895 /96 ). Die deutsche Übersetzung folgt der Ausgabe Lindau: Jakob Lutz o. J. [1899 ]. Der Text wurde behutsam überarbeitet, Orthografie und Interpunktion wurden den Regeln der neuen deutschen Rechtschreibung angepasst. Penguin Random House Verlagsgruppe FSC © N001967 Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet unter http://dnb.d-nb.de abrufbar. © 2014, 2021 by Anaconda Verlag, einem Unternehmen der Penguin Random House Verlagsgruppe GmbH, Neumarkter Straße 28, 81673 München Alle Rechte vorbehalten. Umschlagmotiv: Alexander von Wagner ( 1838 –1919 ), »The Chariot Race« (um 1882 ), Ausschnitt, Manchester Art Gallery / bridgemanart.com Umschlaggestaltung: www.katjaholst.de Satz und Layout: Andreas Paqué, www.paque.de Druck und Bindung: CPI books GmbH, Leck ISBN 978 -3-7306 -0108 -2 www.anacondaverlag.de Sienkiewicz Quo vadis 04.03.2014 12:42 Seite 5 Erstes1 Kapitel Petronius erhob sich erst gegen Mittag vom Lager, abgemat- tet wie gewöhnlich. War er doch den Tag zuvor Teilnehmer an einem Gastmahl Neros gewesen, das erst spät in der Nacht sein Ende fand.
    [Show full text]