Moody’s Upgrades Greece to Investment Grade
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Few figures in history have been as polarizing and controversial as Nero, the infamous Roman emperor who had a love affair with everything related to Greece. His reign ranged between extreme ambition and political chaos.
Among his many eccentricities that not many people are aware of is Nero’s fascination with Greece.
This was rooted in his personal love for the things he saw and found in Greece that actually influenced the way he ruled the Roman Empire. His love for Greek culture shaped his policies, his public persona and even his controversial legacy, leaving a mark that continues to spark scholarly debate today.
Nero was a self-proclaimed philhellene—a lover of everything related to Greece. Unlike his Roman predecessors, who were focused on military conquest with the contant expansion of the Roman Empire and its pragmatic governance, Nero immersed himself in the arts, music and philosophy of Greece.
He admired the sophistication of Greek culture so deeply that he sought to replicate it in Rome, making him a crucial element in the formation of what we now call Greco-Roman civilization. He introduced Greek-style festivals in Rome, such as the Neronia, which featured athletic contests, musical performances and poetry readings. These festivities were clearly modelled after the Olympic Games of ancient Greece.
Nonetheless, Nero’s admiration for Greece wasn’t limited to imitation.
In 66 AD, he embarked on an unprecedented tour of Greece, motivated by his desire to experience firsthand the civilization he so admired. During his tour of Greece, Roman Emperor Nero participated in various artistic and athletic competitions himself.
His involvement in these events was anything but subtle, as one would expect from a personality such as his.
He reportedly bribed officials to ensure he got the victories he wanted and to avoid humiliation, and even altered the timing of the Olympic Games so he could compete whilst he was in Greece.
Despite falling from his chariot during a race, he was still crowned the winner because, as judges claimed, he would have won had he finished, a gesture indicating clearly the fear the judges had of a potential outburst of anger for his loss.
This theatrical display of power may seem absurd today but shows evidently how Nero used Greek traditions to bolster his personal image to his citizens. He wanted to be seen as both a cultural patron and an imperial monarch whose capabilities were endless.
One could even argue that his behaviour reminds us of a modern dictator of the Korean peninsula . . .
One of Nero’s most famous acts as a Roman Emperor was proclaiming the “freedom” of Greece during the Isthmian Games in Corinth.
By granting tax exemptions and autonomy to the province of Achaea, Nero positioned himself as a liberator—a modern-day benefactor in the tradition of Hellenistic kings.
It should be noted that the Roman province of Achaea included much of today Peloponnese, Attica, Boeotia, Euboea, the Cyclades and parts of Phthiotis, Aetolia and Phocis. This unconventional move made Nero popular among Greeks, who celebrated his generosity.
However, this move drew criticism from Roman elites who viewed it as an extravagant gesture that undermined Rome’s authority. It was seen as a gesture of exemption that could unravel the unity of the Empire itself.
Was this act by Nero a genuine gesture of admiration for Greece or calculated political theater? The answer likely lies somewhere in between. For Greece and the Greeks, who were nostalgic for their classical glory days, Nero’s proclamation evoked memories of independence and exceptionalism.
Yet for Romans back home, it was another sign of Nero’s un-Roman behaviour—proof for them that he valued the ideals of others over Roman traditions.
Nero’s fascination with Greece was not simply about politics, culture or geography. He also admired and liked the way the Greeks had built their cities. He commissioned gymnasia and theatres—trademarks of Greek cities—to be built in Rome. He even considered renaming Rome “Neropolis,” a clear indication of his desire to fuse Greek and Roman elements.
However, this blending of identities came at a cost. While Greeks admired Nero’s efforts to honor their culture, many Romans saw his actions as decadent and unfit for an emperor.
In Rome, where martial virtues were emphasised more than artistic choices, the passion of their Emperor for music and performance scandalised the aristocracy. His public appearances as a singer and actor were also viewed not as acts of cultural appreciation but as unbecoming displays of personal vanity.
When we walk through the ruins of an ancient Greek or Roman city or admire the beauty of Greco-Roman art, we can’t help but wonder—was Nero a visionary ahead of his time, a misunderstood patron of culture? Or was he simply an emperor who let his passions conquer his Roman prudence?
