Then Lamia stooped, gathered her up tenderly, pitifully, in his arms, and bore her forth into the garden to the fountain, where he could bathe her face, and where the cool air might revive her.
Why was Corbulo dead? and why had he died by his own hand?
The Emperor Nero was, as Duilia had told her husband, at this very time in Greece, and further, hard by at Corinth, where he was engaged in superintending the cutting of a canal, that was to remove the difficulty of a passage from the Saronic to the Corinthian Gulf.
Nero had come to Greece attended by his Augustal band of five thousand youths with flowing locks, and gold bangles on their wrists, divided into three companies, whose duty it was to applaud the imperial mountebank, and rouse or lead enthusiasm, the Hummers by buzzing approval, the Clappers by beating their hands together, and the Clashers by kicking pots about so as to produce a contagious uproar.
Nero was possessed with the delusion that he had a fine voice, and that he was an incomparable actor. Yet his range was so small, that when striving to sink to a bass note, his voice became a gurgle, and when he attempted to soar to a high note, he raised himself on his toes, became purple in face, and emitted a screech like a peacock.
Not satisfied with the obsequious applause of the Roman and Neapolitan citizens who crowded the theatre to hear the imperial buffoon twitter, he resolved to contest for prizes in the games of Greece.
A fleet attended him, crowded with actors, singers, dancers, heaped up with theatrical properties, masks, costumes, wigs, and fiddles.
He would show the Greeks that he could drive a chariot, sing and strut the stage now in male and then in female costume, and adapt his voice to the sex he personated, now grumbling in masculine tones, then squeaking in falsetto, and incomparable in each.
But with the cunning of a madman, he took with him, as his court, the wealthiest nobles of Rome, whom he had marked out for death, either because he coveted their fortunes or suspected their loyalty.
Wherever he went, into whatsoever city he entered, his artistic eye noted the finest statues and paintings, and he carried them off, from temple as from marketplace, to decorate Rome or enrich his Golden House, the palace he had erected for himself.