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Before Jerusalem Fell

by Kenneth L. Gentry

by Kenneth L. Gentry

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72 BEFORE JERUSALEM FELL<br />

Titus, disparages Nero and extols Titus:<br />

Here where the heavenly CO1OSSUS has a close view<br />

of the stars<br />

And high structures rise on the lofty road<br />

There once shone the hated hall of the cruel king<br />

And one house took up the whole of Rome.<br />

Here where rises the huge mass of the awesome<br />

amphitheatre<br />

In sight of all was Nero’s pool.<br />

A proud park deprived the poor of their houses.<br />

Where the Claudian temple spreads its wide shade<br />

Stood the last part of the palace.<br />

Rome is returned to herself and under your rule,<br />

Caesar,<br />

The delights of their master have become those of<br />

the people.32<br />

Thus, biblical scholar Merrill C. Tenney speaks scathingly of the<br />

notorious evil of Nero: “Having exhausted the imperial treasury by<br />

his heedless expenditures, he looked for some method of replenishing<br />

it. Heavy taxation of the estates of childless couples, false accusations<br />

followed by confiscation of wealth, and outright murder of the aristocracy<br />

or else invitation to suicide made life unbearable. Wealthy men<br />

lived in dread of the emperor’s displeasure, and so great was the<br />

terror that the senatorial class endured unimaginable insults and<br />

mistreatment as the price of staying alive. Men betrayed their best<br />

ftiends, perjured themselves, and stooped to any infamy to aver the<br />

emperor’s hatred or cupidity.”3 3<br />

Historian B. W. Henderson writes<br />

in a similar vein, and adds regarding Nero’s memory:<br />

And now [i.e., in Vespasian’s reign] begins that systematic disparagement<br />

of Nero which consciously or unconsciously colours the whole<br />

of our extant records, as has been already explained. The farther, too,<br />

that the traveller recedes the darker looks the air behind him, and the<br />

historic mist has at once such obscuring and such magni~ing power<br />

that the writers of the Flavian age devoted little care to recovering the<br />

true outlines of Nero’s portrait, or considering the great background<br />

32. Martial, Book of Spectacles 2.<br />

33. Men-ill C. Tenney, New T~tament Tim-s (Chicago: Moody, 1965, p. 289).

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