Bibliographic record
Abstract
Nero ruled the Roman Empire from 54 to 68 CE, bringing to an end the Julio-Claudian dynasty. Perversely attractive and also thoroughly abhorrent, he evoked both positive and negative images. According to a popular saying, Nero fiddled while Rome burned; as Tacitus, Suetonius, and Cassius Dio recorded, he is reputed to have watched the fire from a high tower, reciting, perhaps to a lyre accompaniment, his own composition about the fall of Troy. This diverting performance exemplifies his propensity for spectacle and theatricality, characteristic of his style of rule. The artistic achievements of the emperor, both as patron and promoter of the arts and as actor, musician, and charioteer — glorified in some of his last words, “Qualis artifex pereo!” (What an artist dies in me!) — are, however, overshadowed by the image of Nero as the cruel tyrant who displayed extraordinary munificence, sought and needed flattery, indulged all his instincts unrestrainedly, and was deluded by his own acting in the imperial role, abusing the freedom of power he claimed. He wished to excel and, as Miriam T. Griffin notes, “he pursued the image of [. . .] the magnificent monarch, rather than that of the civilis princeps.” At least during his first quinquennium, 54-58 CE, when his advisers, Seneca and Burrus, had effective control, political order prevailed. By the time of the great fire of Rome, in 64 CE, for which, as history has shown, Nero was not personally responsible, he had been involved in the death of the emperor Claudius, his step-father, whom he succeeded, had ordered the deaths of his step-brother Britannicus, his mother Agrippina, and Octavia, his wife and step-sister, and had had senators and patricians put to death for their wealth or their potential threat to his unbridled power. In 65 CE, possibly to divert attention from his own unpopularity, he instigated the persecution of Christians in Rome. This led to the execution of the apostles Peter and Paul.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.005 | 0.004 |
| Scholarly communication | 0.003 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.003 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".