Marcus's Women: Cleopatra VII

As I begin this week's blog, I'd like to thank my incredible web-designer, Michelle Gill. Last week, my homepage got a much-needed updating and as always, Michelle did a phenomenal job. I send her my appreciation and I know readers will be drawn in by her professional and detailed designing.

I know a lot of people have been awaiting this week's blog post. Not a century that has passed without artists, dramatists, and writers being captivated by Cleopatra VII. It's incredible really, how one woman has held court from the grave and commanded such mystery, commentary, argument, and creativity about her life's history.

At right, is a bust, believed to be of Cleopatra. Indeed it resembles coin images. There are many misconceptions about her, and perhaps the most common, is that she was Egyptian, for she was not. After the death of Alexander the Great in 323 BC, one of his generals--Ptolemy--won the right (in 321 BC) to bury Alexander in Egypt--in a city the deceased Macedonian founded--Alexandria. So on the northern coast along the Mediterranean Sea, Ptolemy I, by then called Soter (savior), built a magnificent tomb for Alexander's mummified remains, called the Soma. It has never been found, and probably remains hidden beneath Alexandria's tall modern-day buildings.  

Cleopatra, born some three-hundred years later in 69 BC, was Ptolemy Soter's descendant and fated to be the last reigning Pharaoh of Egypt. Her father was Ptolemy XII, Auletes--the flute-player. He wasn't a very impressive king, and when his people rebelled in favor of his daughter, Berenice (Cleo's older sibling), he fled to Rome, pleading for help. He was known for his love of music, art, and flute-playing. Apparently, he fared better in the arts than in ruling his country! 

During this time, his famous daughter, Cleopatra, was an adolescent and probably afraid for her life. She remained in peril, either by her sisters or younger brother (another Ptolemy) along with his advisors, until Julius Caesar visited Egypt shortly after his victory over Gnaeus Pompeius Magnus. Whatever ever else happened between them, two things are certain. Cleopatra became pregnant AND gained the throne of Egypt with Caesar's backing. Her brother, unwilling to take her as his Queen (Ptolemies had continued the nasty habit of incest), fought Caesar and lost on an epic scale.

A great deal of what we know about Cleopatra VII comes to us from a man who lived over one-hundred years after she did. His name was Plutarch, and he wrote a huge compilation of biographies that classicists cling to, since they delve into the personal histories of ancient Roman men such as Antonius, Caesar, Cicero, Sertorius, Brutus... I could go on and on. If you've never read Plutarch's Lives, this collection is fairly easy-reading and very eye-opening. It's a great way to begin interest in Classics. The bulk of Cleopatra's story is told in the Life of Antonius. And it's interesting that Plutarch says this: 

"For her actual beauty, it is said, was not in itself so remarkable that none could be compared with her, or that no one could see her without being struck by it, but the contact of her presence, if you lived with her, was irresistible, the attraction of her person, joining with the charm of her conversation, and the character that attended all she said or did, was something bewitching. It was a pleasure merely to hear the sound of her voice, with which, like an instrument of many strings, she could pass from one language to another..." Life of Antonius, Plutarch.

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​At left is Cleopatra portrayed as an Egyptian queen. If one looks at her coinage or many of the other busts which historians believe to be her likeness, you won't find very "Egyptian-looking" portrayals. We must remember that by the time of her reign, the Greco-Roman world was far more influential than that of Egypt. Her everyday attire probably reflected more of a Greek look, though archaeologists in Alexandria are finding that much architecture, art, and religious beliefs in Ptolemaic Egypt were blendings of styles. Alexandria and Rome were "global" communities as are New York, London, and other large cities today. However, there were obviously times when it was important for the Queen to "play the part" of an Egyptian in both custom, ceremony, and attire. There are a number of statues and busts, similar to this one, portraying her as truly Egyptian. 

And there is plenty of evidence that, unlike many of her forbears in the Ptolemaic Dynasty, Cleopatra was anxious to show the Egyptian people in Upper Egypt--the country's real natives--that she cared for them deeply. She was the only Ptolemaic ruler to learn the ancient Egyptian tongue and speak it fluently. It was just another language, as she was particularly astute in languages--speaking at least seven! 

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​Though Octavian Augustus tried to suppress it, the Egypto-mania that resulted in the Roman world after the Augustan Age began was NOT part of his plan. Cleopatra's reign, her influence, and religious beliefs (the cult of Isis had an enormous following in Rome, despite its initial banning) became so popular that it bled into Roman art. 

This wall-painting from a wealthy home in Pompeii is believed to be Cleopatra. It resembles some of her busts and coins, along with Cleopatra-esque jewelry and the hairstyle that she made famous during her lifetime. The painting's subject is also wearing a white diadem on her head, indicative of Eastern royalty of the period.

Other art proving Egypt's popularity among the Romans included Nilotic scenes, capturing reed marshes, very much like Lake Mareotis near Alexandria. Such works would always incorporate ibis, crocodiles, and other fauna that suggest Egypt.

It's poignant that Cleopatra became such a fascination to the Romans AFTER her death, for she was much hated by them during her lifetime. One of the nails in Julius Caesar's coffin was allegedly the likeness of her he installed in his brand new Temple of Venus Genetrix. He actually had the cult-statue of the Temple modeled off of Cleopatra herself during her visit to Rome! It wasn't long after the Temple's dedication that Brutus and Cassius started putting their heads together to plan the Ides of March.

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When I visited Egypt back in 2008, I spent nearly a full week in Alexandria, and seeing some of the actual places where Antonius and Cleopatra went--not to mention Caesar and Cleopatra, too, was sensational. At left is a photo I snapped of Lake Mareotis (Lake Mariout), where Plutarch records Cleopatra taking Antonius fishing. Today, Lake Mareotis has become infested with a lot of plant-life, which wasn't the case two-thousand years ago. It was much larger in ancient times--more open and grandiose-looking, but still a real thrill for this author to be able to see.

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For my last image, I happened on this brilliant sketch by A.M. Faulkner who was an illustrator for publications in the Edwardian Age. I thought the detail was stunning, and was struck by how much "blending" there was between the Egyptian and Greco-Roman styles here. The Queen's throne looks Imperial Roman, but one can clearly see hieroglyphics on the palace walls behind it. Her guards at the top of the stairs wear armor that looks like something between Egyptian and Hellenism. I felt Faulkner NAILED it!

Here, Cleopatra is welcoming Antonius to her court, which I simply couldn't resist. 

Below, I'm sharing something else extra-special. My cover-designer, Jenny Quinlan has out-done herself on my next book's cover and I'm mighty pleased with it. Antonius: Soldier of Fate will launch on Friday, October 16th! Pre-orders should begin in the next few weeks, so I will let everyone know once they're available. 

​In the meantime, READ ON!

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​At last: the Antonius Trilogy’s riveting conclusion…                             
 
Antonius: Soldier of Fate
 
Marcus Antonius has it all—power, prestige, a heroic military reputation among his countrymen, and the love of Queen Cleopatra. But as master of Rome’s eastern provinces and kingdoms, he must maintain peace, and in so doing, sacrifices his own happiness, yoked within a loveless marriage and an eroding alliance. As his colleague Octavian’s star rises, Marcus must compete with his rival’s success, though it leads to an embittered struggle threatening to end their unity.
 
Once Marcus finally takes matters into his own hands, his fate becomes tied to the east—far from Rome and his seat of power, to a horrific campaign that will forever alter him. He is a man torn between two countries and two families, and ultimately—a soldier fated to be the catalyst transforming Rome from Republic to Empire.

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