Tag Archives: Ancient Rome

Game of Thrones & Ancient Rome: Part I

Posted on 16. Apr, 2014 by in Roman culture

The popular book and television series, Game of Thrones, portrays a world rich with magic, adventure, romance, and history. While most fans of the series thoroughly enjoy the refreshing originality of the series; others would say that Game of Thrones is simply a fantastical interpretation of actual historic events and themes. In this post, I will attempt to analyze some of these historic references that may be obvious or not so obvious. While it is known that a majority of the history that Game of Thrones is based on is much later than Ancient Rome (1400′s or later); I would argue that there are several examples from Ancient Rome that relate to this series.

 

DISCLAIMER: If you are new to the series and are not up to date on the HBO series’ episodes, I should warn you that there are spoilers ahead! I will not be discussing any events that lie beyond the current HBO series (The Lion and The Rose;Episode S4E2) as I do not wish to deter those who have not read the books from this post. Any quote from the books will not reveal any spoilers or new information.

1) The Wall vs. Hadrian’s Wall

The author, George R.R. Martin, has acknowledged openly his inspiration of The Wall from Hadrian’s Wall:

Certainly the Wall comes from Hadrian’s Wall, which I saw while visiting Scotland. I stood on Hadrian’s Wall and tried to imagine what it would be like to be a Roman soldier sent here from Italy or Antioch.  To stand here, to gaze off into the distance, not knowing what might emerge from the forest.  Of course fantasy is the stuff of bright colours and being larger than real life, so my Wall is bigger and considerably longer and more magical.  And, of course, what lies beyond it has to be more than just Scots. (SF Site Interview; found here.)

Hadrian's Wall or Vallum Aelium.

Hadrian’s Wall or Vallum Aelium.

Hadrian’s Wall was begun in 122 CE  by Emperor Hadrian. The origin for its purpose vary from military defense, to protection from immigration, smuggling, or simply a demonstration of power. Perhaps it was built for all these reason (or none of them).One text,  Scriptores Historiae Augustae: Vita Hadriani, claims:

“(Hadrian) was the first to build a wall 80 miles long to separate the Romans from the barbarians”

Location of Hadrian's Wall

Location of Hadrian’s Wall

In the series, one of the main characters (Jon Snow) gives his account upon seeing The Wall for the first time:

Almost seven hundred feet high it stood, three times the height of the tallest tower in the stronghold it sheltered. His uncle said the top was wide enough for a dozen armored knights to ride abreast. The gaunt outlines of huge catapults and monstrous wooden cranes stood sentry up there, like the skeletons of great birds, and among them walked men in black as small as ants. - Jon Snow’s first impression of  ” The Wall.”

The following video is of Jon Snow seeing The Wall for the first time (please excuse any add-ons; this was the only video available):

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2) Daenerys  Targaryen vs. Boudicca

In Game of Thrones, the once proper and submissive princess is transformed through the series into a barbaric queen, a destitute widow, a mother of dragons, a sacker of cities, and a mother of freed slaves. Daenerys Targaryen is interesting character that evolves quite rapidly and adapts to each of her roles. She is one of the strongest female characters within the series. Here is a perfect quote concerning her character:

I know that she spent her childhood in exile, impoverished, living on dreams and schemes, running from one city to the next, always fearful, never safe, friendless but for a brother who was by all accounts half-mad…a brother who sold her maidenhood to the Dothraki  for the promise of an army.  I know that somewhere upon the grass, her  dragons hatched, and so did she.  I know she is proud. How not?  What else was left her but pride? I know she is strong.  How not? The Dothraki despise weakness. If Daenerys had been weak, she would have perished with Viserys. I know she is fierce. She has survived assassins and conspiracies and  fell sorceries, grieved for a brother and a husband and a son, trod the cities of the slavers to dust beneath her dainty sandalled feet.

Here is an example of her strength and wit from season 3:

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Daenerys Targaryen is highly reminiscent of the strong barbarian queen Boudicca. According to historians,  Boudicca was a capable military leader whose hair is often remarked upon (not unlike Daenerys):

 She was “possessed of greater intelligence than often belongs to women”, that she was tall and had hair described as red, reddish-brown, or tawny hanging below her waist. Dio also says she had a harsh voice and piercing glare, and habitually wore a large golden necklace (perhaps a torc), a many-coloured tunic, and a thick cloak fastened by a brooch.

Boadicea by Thomas Thornycroft, standing near Westminster Pier, London

Boadicea by Thomas Thornycroft, standing near Westminster Pier, London

Similarly both women find that the death of their husband (in Boudicca’s case) and/or father (in Daenerys’) lead to their doom and exile. However, these deaths do not defeat their spirits, but invigorate them to become warriors. For example, Boudicca leads an uprising against the Romans just as Daenerys plans to lead an uprising against those in Westeros. They both seek to take revenge upon those that have wronged (Westeros and Rome) them whilst avenging the injustices inflicted upon themselves. On a side note, it would seem that Boudicca’s fashion was a point of inspiration for Daenerys as both Khaleesi and the Mother of Dragons  (large necklace, multi-colored tunic, etc.)

For another look at Daenerys and historic figures; check out her comparison to Henry VII: here.

3) Weddings

Wedding are known for being a joyous event in which man and woman become one family and their families in turn recognize and honor the union. However, this would seem not to be the case for weddings in Game of Thrones. They are political advancements, bring short-lived joy, and bloody.  First there was the Red Wedding and now just this week: the Purple Wedding.  In the series, weddings appear to be an event in which people die and the story’s plot takes an unprecedented turn.

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In Ancient Rome, there are various accounts historic and mythological that portray the setting of a wedding, but produce death and havoc.

  • Messalina’s marriage to Sentaor Gaius Silius; although she was already married to the emperor. This action resulted in their deaths.
  • Wedding feast of Pirithous, which resulted in the battle of Centaurs and Lapiths (here).
  • Medea’s poisoned wedding gifts to Jason’s new soon-to-be wife Glauce, which killed Glauce and Medea’s children.
  • Dido, who believes her and Aeneas are married due to their sexual union, kills herself on their “wedding night” because he leaves her.
  • And while it is not ancient, to anyone who didn’t know that the Red Wedding was based on the Black Dinner; here.

 4) The Seven and Lord of Light vs. Roman Pantheon and Christianity

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 In Game of Thrones, religion is a topic sparks (literally-hehe) controversy, allies, and enemies. The Faith of Seven (shown as a seven pointed star) includes seven deities, the Iron Islands have the Drowned God, the North has the Old Gods, and the newest addition- the Lord of Light. The similarities between theses deities and ancient gods can be seen in every region, but within ancient Rome they are as follows:

  • The Father (JUPITER) represents divine justice, and judges the souls of the dead.
  • The Mother (JUNO) represents mercy, peace, fertility, and childbirth. She is sometimes referred to as “the strength of women”.
  • The Maiden (DIANA) represents purity, love, and beauty.
  • The Crone: (CERES) represents wisdom and foresight. She is represented carrying a lantern.
  • The Warrior:  (MARS) represents strength and courage in battle.
  • The Smith: (VULCAN) represents creation and craftsmanship.
  • The Stranger: (PLUTO)represents death and the unknown. It is rarely prayed to.

These seven deities which are the most popular in Westeros and reflect (as I have implied) the Roman pantheon. The other two gods are as followed:

  • The Drowned God:  (NEPTUNE) represent maritime skills and seafaring ability.
  • The Old Gods of the Forest:  (TITANS)  represent a personal and less structured deity/religion than other religions, though some basic social violations are proscribed by it, such as kinslaying, incest, and bastardy. It also upholds the laws of hospitality.

The Old Gods seem reminiscent to the idea of “the natural order” of things. This is why I say they are symbolic for the nature and primordial titans: Cronus , Rhea, Oceanus, Themis, Hyperion (and I would include Uranus and Gaia).

All of these deities being old and ancient, but within the series become undermined by the upcoming religion of R’hllor:

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  • R’hllor: The Lord of Light: (CHRISTIANITY) is a centered belief in the existence of a single, all-powerful god. R’hllor  or The Lord of Light (Judeo-Christian God) is the god of fire, which provides light, heat, and life, and struggles against darkness, cold, and death, represented by an opposing deity, the Great Other (Devil, Satan, Evil). He is often referred to as the “one true god.”

The following was said of The Lord of Light by George R.R. Martin:

The R’hllor religion is strongly influenced by the real-life religion of Zoroastrianism. The central element it borrows is that it is a ditheistic religion: there is one true, “Good” God, locked in eternal combat with an evil deity. As part of this dualism R’hllor, who embodies light, fire, and heat, is opposed on the level of primordial forces by the “Great Other” who embodies cold and darkness.

 5) Wild Fire vs. Greek Fire

In Game of Thrones, wildfire is a dangerous liquid which can explode with tremendous force and burns with a fire that water cannot extinguish, only large quantities of sand. Wildfire is identifiable through the distinctive green hue of its flames. Even in its stored liquid state it gives off a green color.

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In reality, George R.R. Martin most likely took inspiration from Greek Fire:

Greek fire in use against another ship.

Greek fire in use against another ship.

Greek fire was an incendiary weapon used by the Eastern Roman (Byzantine) Empire. It was typically used it in naval battles to great effect as it could continue burning while floating on water. It provided a technological advantage, and was responsible for many key military victories. Although the term “Greek fire” has been general in English and most other languages since the Crusades, in the original Byzantine sources it is called by a variety of names, such as “sea fire,” “Roman fire,” “war fire,” “liquid fire,” or “manufactured fire.”

GAME OF THRONES & ANCIENT ROME: PART II

Next week, we will be looking at Tyrion Lannister, the map of Westeros, animal symbolism, the Night’s Watch, Jon Snow, the King’s Guard, and more!

Origins of April Fools Day

Posted on 01. Apr, 2014 by in Latin Language, Roman culture

April Fool’s Day comes around each year and with it jokes, hoaxes, and elaborate “breaking” news articles. These “jokes”  spam our email, social media outlets, and lives from the moment we wake till the end of our day. At times, they can be humorous or playful (like Google’s Pokémon Challenge; here), they can be misleading (Boudicca’s grave, Robin Hood’s bones; here), or even cruel (death and alarming hoaxes; here).

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TRANSGRESSING BOUNDARIES TODAY

April Fool’s Day is the one day of the year where boundaries of societal norms can be transgress; whether it be a ridiculous news article or the elaborate hoaxes. These jokes which would not normally be “accepted” on any other day; however, on April Fool’s Day they are received with open arms and laughing spirits. The first day of April allows all people no matter how popular or unpopular, wealthy or poor, young or old( and so on) a chance to create jokes, pranks, and hoaxes to surprise, scare, or even trick their neighbors and friends.

TRANSGRESSING BOUNDARIES IN HISTORY

The history of April Fool’s Day from antiquity to today has changed quite drastically. However, this notion of transgressing boundaries permeates through all the holiday’s transformations and alterations. From the transgressions of male and female, divine and mortal, life and death, low class and high class, religious piety and impiety, and so on are seen within this history’s formation and evolution. How society and people choose to step beyond these boundaries or straddle between them. It is an interesting holiday that is worthy of investigation.

So what boundaries will you cross today?

ANCIENT  & MEDIEVAL ORIGINS

April Fool’s Day and Feast of Fools

It is thought that April Fool’s Day is the result of the Ancient Roman festival Hilaria and the Medieval festival known as the Feast of Fools. The Feast of Fools, also known as festum fatuorum,( feast of fools) festum stultorum (feast of the silly or simple), was celebrated during the months of December or January. The Medieval festival,  Feast of Fools, finds its roots within the Roman festival known as Saturnalia. You can learn more about the Saturnalia here. So like the Saturnalia, the Feast of Fool sought to overturn the societal norms of status and class.

The Fight Between Carnival and Lent by Pieter Bruegel.

The Fight Between Carnival and Lent by Pieter Bruegel.

Feast of Fools and the Church

In the festival, young people would chose to play a mock pope, archbishop, bishop, or abbot to reign as Lord of Misrule.  Participants of the festival would then “consecrate” him with many ridiculous ceremonies in the nearest main church, giving names such as Archbishop of Dolts, Abbot of Unreason, or Pope of Fools.  This consecration ceremony often mocked the performance of the highest offices of the church. While other participants dressed a sundry of masks and disguises, engaged in songs and dances and practiced all manner of revelry within the church building. The Feast of Fools was eventually discontinued and forbidden 1431 for its blasphemous manner.

 April Fool’s Day and Hilaria

The ancient festival known as Hilaria (Latin for cheerful, merry, joyful) was celebrated on the vernal (spring) equinox in honor of the goddess Cybele. The goddess Cybele has a long and extended history from Anatolia to Rome.

Cybele enthroned, with lion, cornucopia and Mural crown. Roman marble, c. 50 CE. Getty Museum

Cybele enthroned, with lion, cornucopia and Mural crown. Roman marble, c. 50 CE. Getty Museum

The Romans celebrated Hilaria, as a feria stativa (a set free day [i.e no work]), on March 25 in honor of Cybele, the mother of the gods. The days of the festival were devoted to general rejoicings and public sacrifices (hence its name), and no one was allowed to show any symptoms of grief or sorrow( unless it was the “Day of Mourning”).

According to the historian Herodian, there was a procession and a statue of the goddess was carried. Before this statue, the most costly works of art belonging either to wealthy Romans or to the emperors themselves proceeded. All kinds of games and amusements were allowed on this day; masquerades were the most prominent among them, and everyone might, in his disguise, imitate whomsoever he liked, and even magistrates.

The Myth of Cybele and Attis

The myth of Cybele and Attis is one of tragic love. It is also a story of self-mutilation and regeneration, which is reflected in the Hilaria festival’s schedule and activities.

Cybele and Attis (seated right, with Phrygian cap and shepherd's crook) in a chariot drawn by four lions, surrounded by dancing Corybantes.

Cybele and Attis (seated right, with Phrygian cap and shepherd’s crook) in a chariot drawn by four lions, surrounded by dancing Corybantes.

Cybele rejected Zeus’ advances; he would not take her answer of “No.” On night as Cybele slept, Zeus spilled his seed on her. Eventually, Cybele gave birth to Agdistis, a hermaphroditic deity so strong and wild that the other gods feared him. In their terror they cut off his male sexual organ and from this blood sprang an almond tree.

The river Sangarius’ daughter named Nana ate the fruit of the almond tree. As a result of this snack, Nana delivered a boy child 9 months later. Nana decided to expose the child; much like Oedipus. But the infant’s death was not fated. Instead, reared by shepherds, the boy soon became healthy and handsome. He, in fact, became so handsome that his grandmother, Cybele, fell in love with him.

The boy, named Attis, was unaware of the love Cybele bore him. But since she was a goddess, Attis dare not refuse her. In time, Attis fell in love with another. It was the daughter of the king of  Pessinus, and he wished to marry her. The goddess Cybele became insanely jealous and drove Attis mad for revenge. Running crazily throughout the mountains, Attis finally stopped at the foot of a pine tree (hence why the tree is used in the festival). There Attis castrated and killed himself; and from Attis’ blood sprang the first violets. The tree took care of Attis’ spirit, but Attis’ flesh was a different story. Cybele unable to save him called out to Zeus for help. Attis’ body would have decayed had not Zeus stepped in to assist Cybele in the resurrection of Attis.

Schedule of the Festival of Hilaria

The activities of Hilaria were ones of both celebration, death, mourning, rebirth and celebration. This is due to the fact that the spring equinox was the first day of the year in which the length of night and day were equal. It was by this marker that a “New Year” was set and in which the winter was official gone and the rebirth of the year occurred. This is why Hilaria is considered a Death and Rebirth festival and coincides with the goddess Cybele and Attis.

The Full Festival’s Schedule (courtesy of Wikipedia)

  • March 15 (Ides): Canna intrat (“The Reed Enters”), marking the birth of Attis and his exposure in the reeds along the Phrygian river Sangarius where he was discovered—depending on the version—by either shepherds or Cybele herself.The reed was gathered and carried by the cannophores (“Reed-bearers”).
  • March 22: Arbor intrat (“The Tree Enters”), commemorating the death of Attis under a pine tree. The dendrophores (“tree bearers”) cut down a tree,suspended from it an image of Attis, and carried it to the temple with lamentations.  A three-day period of mourning followed.
  • March 23: On the Tubilustrium, an archaic holiday to Mars (Greek Ares), the pine tree was laid to rest at the temple of the Magna Mater (or Cybele), with the traditional beating of the shields by Mars’ priests the Salii and the lustration of the trumpets perhaps assimilated to the noisy music of the Corybantes.
  • March 24: Sanguem or Dies Sanguinis (“Day of Blood”), a frenzy of mourning when the devotees whipped themselves to sprinkle the altars and effigy of Attis with their own blood; some performed the self-castrations of the Galli. The “sacred night” followed, with Attis placed in his ritual tomb.
  • March 25 (the spring equinox on the Roman calendar): Hilaria (“Rejoicing”), when Attis was reborn.
  • March 26: Requietio (“Day of Rest”).
  • March 27: Lavatio (“Washing”), noted by the poet Ovid and probably an innovation under Augustus,when Cybele’s sacred stone was taken in procession from the Palatine temple to the Porta Capena and down the Appian Way to the stream called Almo, a tribute to the Tiber River. There the stone and sacred iron implements were bathed “in the Phrygian manner” by a red-robed priest. The return trip was made by torchlight, with much rejoicing.
  • March 28: Initium Caiani, sometimes interpreted as initiations into the mysteries of the Magna Mater and Attis at the Gaianum, near the Phrygianum sanctuary at the Vatican Hill.

Conclusion

Well, thanks for reading! I hope it was worth your time and you learned something new. Now, I am wishing you all a safe and happy April Fool’s Day!

Ancient Roman Women in Film

Posted on 26. Mar, 2014 by in Roman culture

In honor of March being National Women’s History Month, I thought it appropriate to pay respect to those ancient Roman women who have been portrayed (accurately or inaccurately) in film and television. For it is often through television and film that ancient people or historic events pick up popularity amongst modern society.

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Moreover, I stand to prove that most ancient women portrayed in film fit the theme “Behind Every Great Man is a Great Woman.”  In addition to this idea, their portrayals most often are exaggerated in order to shock or overwhelm audiences of the exotic and foreign nature of the past. Rarely are any of these women (that I discuss at least) portrayed accurately, but they are shown through a highly stylized light which allows the audience to see the clear distinction between ancient women and modern women. However, this distinction is only seen in “period” scenarios such as dining, dresses, politics, societal mores, etc. Each of these women is also shown in a light that reflects those deep rooted feminine mores in which any women from any period would identify with: being a mother, being a wife, part of family unity, head of a household, avenging themselves, avenging injustices upon their family or country, and being true to herself.

DISCLAIMER**Please note that some of these observations include SPOILERS; so if you have not seen the film or series discussed move to the next historic figure.

WOMEN

200px-Montemartini_-_Lucilla_1170349

Name: Lucilla or Annia Aurelia Galeria Lucilla

Film: Gladiator (2000)

Attributes in the Film:  Strong, Loving, Tactical, Empathetic, Motherly, Victim to her Brother

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Film Quote:  “If only you had been born a man…What a Caesar you would have made….I think you would have been strong.I wonder if you would have been just?” -Marcus Aurelius

Hollywood’s Version: Lucilla (Connie Nielsen) is the sister of Emperor Commodus (Joaquin Phoenix), daughter of Emperor Marcus Aurelius (Richard Harris), and implied ex-lover of General Maximus(Russell Crowe). She is portrayed as the concerned mother of her son, Lucius, because she fears that her brother will murder him since he is next in line to be emperor. Her relationship with her brother is a strange one that straddles of the lines of incestuous and fraternal love- however, this is not her doing, but her brothers. She is also shown to be working with the Senate of Rome to overthrow her brother and restore the Republic.

Attributes in History: Strong, Ambitious, Tactical

History’s Version:  As the daughter of Marcus Aurelius, she was married off to his co-ruler: Lucius Verus. They had three children including a son named Lucius, but only their daughter Lucilla Plauta survived. Since her husband was co-ruler of Rome, she had high aspirations to become an empress of Rome. But these dreams were cut short, when her husband Lucius died. And, she was promptly married off again. This time it was to a less influential man and she began to see her dreams of being empress fade. Even more so were her dreams dissipated, when her father died and her brother Commodus became emperor.  With Commodus’ unstable rule, Lucilla decided to take part of a plot to assassinate her brother and replace him with her husband and herself as emperor and empress. She had many allies in this conspiracy including formal consuls, the imperial guard, and even her daughter, Lucilla Plauta. The former consul, Quintianus, sent his nephew to kill Commodus, but alas it was a failure. Upon revealing his dagger, the nephew yelled,”Here is what the Senate sends to you!” His exclamation gave the emperors guards enough to time to deflect the attack. Lucilla was banished to Capri and a year later Commodus sent a centurion to execute them.

Her Hollywood Formula: Her historic and theatric versions differ enormously. The only similarity is her attempt to overthrow her brother. In the film, she succeeds for the good of the Roman people; in history, she fails at her attempt to make herself empress. Therefore, Hollywood has taken Lucilla and shaped her into a widow that only cares for her son. She is never seen in the film as ambitious, treacherous, or cruel. If she plots (as she did in history), she does so for the general good and everyone she loves. She is the epitome of a caring mother, a loyal citizen, an empathetic soul, and the right arm of justice. Hollywood’s choice to put her in such a predominant role reveals their conscientious choice to portray a female character in manner other than a victim (Maximus’ wife or female gladiators). Finally, it is only through Lucilla efforts that Maximus is freed from being a gladiator, released to his family, and Rome is restored. Thus, fitting the theme: “Behind Every Great Man is a Great Woman.”

 Atia_Balba_Caesonia

Name: Atia of the Julii or Atia Balba Caesonia or Atia Balba Secunda

Film: HBO’s Rome (2005)

Attributes in the Series Ambitious, Plotting, Sensitive, Loving, Family Oriented, Selfish, Lustful, Blunt, Ruthless

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Series Quote: “By the five Furies, if I was not a gentle woman, I would have you flayed, and hung from a bracket at the door!” – Atia of the Julii

Hollywood’s Version: Atia (Polly Walker) is the series’ epitome of the Roman upper-class woman. She is wealthy, enjoys her rights, has slaves, eats how she pleases, and takes part in religious and social practices with ease. Like most upper-class women, she is concerned for her appearance, her family’s reputation, her dinner parties and most of all her children’s future: Octavia (Kerry Condon) and Octavian( Max Pirkis). She is the symbol and perhaps the original meddlesome mother. She is not married and therefore acts alone in her decisions and choices. Her mannerisms and diction are quite blunt when addressing her children and their maturation, sexual practices, and political choices. In this aspect, she may be both humorous and boorish to the audience. She often tells her children what they should do, how they should do it, and uses them as political pawns until they are too old for her to maneuver. She is also the Roman lover of Marc Antony (James Purefoy), who appears to be her only weakness.

Attributes in History: Good Mother, Attentive, Loyal, Cautious, Sensible,

History’s VersionAtia was married to Gaius Octavius with whom she had Octavia and Octavian. However, her husband died and she remarried Lucius Marcius Philippus. Both were supporters of Julius Caesar. Atia and Philippus equally took the time and patience to raise her children and educated them properly. When her son, Octavian(later Augustus) was announced Caesar’s heir; Atia was so fearful for her son’s safety that she and Philippus urged him to renounce his rights as Caesar’s heir. She died during her son’s first consulship, in 43 BC.

Her Hollywood Formula: While the series and history have some common ground such as: her raising her children and being a devoted mother. Her affair with Antony provided HBO with one of its means of for explicit content which I imagine increases ratings. She is shown as the mother behind the great man that was Augustus Caesar; however within the series, she is shown to be cruel, selfish, manipulative, and in her final episode weak and vulnerable. Hollywood creates a memorable character who is both humorous and spiteful, but at the end the audience plainly see a woman who simply tried her best for her family and never to appear weak.

225px-Kleopatra-VII_-Altes-Museum-Berlin1Name: Cleopatra or Cleopatra VII Philopator (While not Roman herself, during Roman times)

Film: Cleopatra (1963)

Attributes in the Film Sensual, Loving, Strong, Ambitious, Attractive, Demanding, Natural Leader

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Film Quote:  “I will not be told where I can go and where I cannot go!”-Cleopatra

Hollywood’s Version: She (Elizabeth Taylor) is the Queen of the Nile who seduces not one man, but two influential Roman men. Wife to both Julius Caesar (Rex Harris) and Marc Antony(Richard Burton), Cleopatra ruled Egypt and aspired to rule Rome. Her life’s story is extensive, but can be read: here. However, the film deals with Cleopatra’s dealings and relationships with Caesar and Antony.

Attributes in History: Sensual, Strong, Ambitious, Tactical

History’s VersionThe events that follow in the 1963 version of Cleopatra do not stray far from the accounts of ancient historians. The film itself makes some anachronisms with the presence of the Arch of Constantine, interior design issues and others (here). Furthermore, it is never really disclosed that Cleopatra was a beautiful woman, but more so she was a woman of extravagance and luxury. Her beauty is a long debated attribute.

Her Hollywood Formula: In comparison to the other women, Cleopatra lived the most outrageous and exotic life; Cleopatra’s life has love, affairs, seduction, allure, power, war, assassination and suicide. Her life and story do not need Hollywood to invent something new. Hollywood, at times, take the opportunity to portray her weak at moments like Caesar’s death, Antony’s death, etc. However, it doesn’t get anymore Hollywood than her life; and for this reason Cleopatra has had over 14 television series and films that feature her. Her portrayals began in 1899 and the newest movie in development may feature Angelina Jolie (check out more upcoming ancient films: here). Furthermore, it would appear that Cleopatra was actually a great woman behind two men: Julius Caesar and Marc Antony.