Thesis on "Figures of Legend in History"
Thesis 10 pages (3464 words) Sources: 8 Style: Chicago
[EXCERPT] . . . .
Figures of legend in history often take on proportions which may beless a reflection of the actual characteristics of these folklored
individuals as they are a reflection of the purposes of history's authors.
The icons who ruled over their people and the groundbreakers that stand out
as nexus points in evolution are remembered by more than just their factual
legacies. Beyond that, they are recalled with pointed romanticism or
intentional vilification, the subject of debate, adoration, art, literature
and pop culture, their images shaped by the needs of the venue, the
interests of the historian or the desires of liberal artistry. Such is to
say that history is a sort of self-reflexive mythology, and that its
figures, rather than serving as eminent examples of quality personage, "are
better suited to inform, and give us juster Notions of Ourselves, as they
are Originals, and present the Eye with the prospect of Human Nature, taken
from Life, and not extended beyond the Limits of Credibility and
Truth."(Gadeken, 2) Thus, in our legends there is rarely one biographical
perspective which can be assessed as truly factual. Even the most familiar
characters in our collective history are more amalgams of image,
superficial detail and speculation, much like the celebrities of present
day which we profess to know.
When one then considers the history of a prominent woman, an even
greater alertness to an opportunistic subjectivity in historiographical
perspective must be employed. Multiple histories on one
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usually the result of cultural, political and ideological perspective.
This is to say that the stories which survive the obscuring of passing time
are most often those told by the victor and, moreover, these stories will
be reshaped as they age as per the evolving purposes of their maintenance.
So with regard to the treatment of women in historiographical review, it is
often synonymous with the actual treatment of women throughout history.
More often then not, prominent feminine historical icons have been those
which exist in our annals in spite of prevailing sociological trends toward
a patriarchal order. This standard may either play a substantial role in
the notoriety of the figure, with her exploits against the conventional
view of women drawn explicitly in her story, or it may exist in subtextual
premises which have come to define her legend. The latter of these two
cases is that which divides historians on the characterization of
Cleopatra.
While she is perhaps the first and most famous female celebrity in
history, already a legend of literature by the start of the Common Era, her
status as a person is hardly a thing of recorded fact. Hers is an image
drawn to us by Liz Taylor in celluloid, William Shakespeare in
theatricality and stoic ancient sculptures, inanimate features in a British
Museum. And in each of these venues, there is a bias which accompanies the
perspective expressed, with the gaps in Cleopatra's known history filled in
by the pretenses of the auteur. There is, as a result, a sprawling
dichotomy in the figure of Cleopatra. A strong female ruler, driven to the
expansion of power and the reclamation of her birthright, her behavior,
demeanor and purpose have been depicted in ways which set her in
contradictory modes. On one hand an exemplar of the earliest feminist
potential of powerful women and on the other a deceitful temptress who used
her womanly charms to exploit the weaknesses of men, these two versions of
Cleopatra are the products of two decidedly divergent purposes. And
naturally, due to inbuilt societal impulses which favored a perpetuation of
the latter of these two depictions, this is the one which has been most
actively preserved. Though there are surviving views of Cleopatra,
especially in Egyptian history and feminist teaching, as an important and
effective leader, with certain aspects of global history affirming such
ideas, they are often pushed to the periphery of a characterization which
is more consistent with the arguably misogynistic depictions in literature.
The positive views of Cleopatra, as a pharaoh of greatness in Egypt,
are the product of her actual popularity of the time. The surfacing of
ancient artifacts which have been connected to her illustrate that she was
well regarded, powerful and, to the view of her domestic artistic
biographers, responsible for a certain degree of success for their people.
She was a key figure in a time of geopolitical transition, with many of her
actions having a significant bearing therein. Her rise began rather
circumstantially, when she was just seventeen years old:
When Alexander died, male Argeads were in scarce supply: there was
only a mentally deficient half-brother, and Alexander's wife Roxane
was pregnant with a son, later known as Alexander (IV). After
considerable strife a Macedonian noble was chosen as regent for these
two joint kings, and the rest of Alexander's generals moved to seize
parts of the empire he had conquered. Female members of the royal
family were more plentiful in this period than males." (Pomeroy, 155)
This was the circumstance that saw Alexander the Great's sister,
Cleopatra, wage battle against her then husband/brother Ptolemy IX, for
control of Egypt. Both she and her brother were heirs to the Ptolemic
Dynasty which, under the diminishing autonomy of Egypt and a greater
international influence of the burgeoning Roman Empire, had gradually ceded
the bulk of its authority to Italian authority. Naturally, the
strengthening of Roman authority was only aided by the divisive power
struggles within the Ptolemic ruling family, centered in the capital of
Alexandria, on the Nile. This is where the history of Cleopatra takes a
path that is subject to multiple interpretations. In 48 B.C., when
Cleopatra was 22 years old, she is said to have been famously delivered to
the visiting Julius Caesar, rolled up in an ornate Persian rug, thus
inducing an alliance between Cleopatra and central power in Rome. With
Caesar's aid, she was able to easily defeat her husband and assume full
control of Egypt. (Ashmawy, 1) By this point, her ingenuity and
ruthlessness had elevated her to a certain status amongst the Egyptians,
amongst whom "Cleopatra was long remembered as a great ruler of divine
status, and we hear of an image of her being reverently gilded as late as
AD 373, when the empire was nominally Christian." (Walker, 1)
The visible political motives of such an alliance as Cleopatra's and
Caesar's, for example, is illustrative of the admirable tenacity with which
Cleopatra is said to have pursued the glory of Egypt. Though influence had
declined under the reign of 200 years of Ptolemic subservience to Rome,
Cleopatra was the first of Egypt's rulers since the inception of that
relationship, to have increased the sphere of its influence. She did so,
as this story illustrates, by aligning with that force which had been an
entity of lordship theretofore.
However, the story of the Persian rug does suggest a great deal more
about her character, or at least its use in history, than simply her
diplomatic prowess. The explicit element of seduction here is a self-
inflicted objectification that suggests her power was derived from her
virtues of womanhood as much as from her competence as a leader. And in
her relationship Caesar would originate a hefty piece of ammunition in the
salvo against Cleopatra's character. The opportunistic series of
relationships which aid Cleopatra in her augmentation of influence help to
constitute the image of a bewitching temptress, blinding the senses of her
male counterparts to achieve her own devices. Certainly, this is the view
that Romans held of her when she came into the favor Julius Caesar.
In 45 BC, Cleopatra and Caesarion left Alexandria for Rome,
where they stayed in a palace built by Caesar in their honor. Caesar's
acts were anything but overlooked by the Romans. In 44 BC, he was
killed in a conspiracy by his Senators. With his death, Rome split
between supporters of Mark Antony and Octavian. Cleopatra was watching
in silence, and when Mark Antony seemed to prevail, she supported him
and, shortly after, they too became lovers." (Ashmawy, 1)
At this point in her biography, it would appear that the powerful men
with whom she endeavors into romantic relationships have had a defining
effect on Cleopatra's path. And indeed, "her liaisons with distinguished
foreigners, equally, represented no departure from tradition, but recalled
the exploits of her ruthless forebear Cleopatra Thea, who had married three
kings of Syria." (Walker, 2) She differed fundamentally though from this
precedent though. In both positive and negative accounts of her, it seems
that it may be, contrarily, that she is the force which has had a defining
effect on the men with whom she involves herself. And by extension, this
would naturally have a real bearing on the subordinate nations represented
in these men.
Cleopatra's actual intentions, whether motivated by love, lust, greed
or politics, are at this point unknown. And as a point of fact, much of
the haziness surrounding her actual nature is derived from the primary
source-point… READ MORE
Quoted Instructions for "Figures of Legend in History" Assignment:
I need a research paper written on Cleopatra VII, the last great ruler of Egypt as a nation, for my Ancient Rome class. I would also like ****** to write it, if possible. My thesis statement revolves around freeing her from some of the multiple identities that many of the primary sources (especially those sympathetic to Augustus) have imposed upon her such as femme fatale and harlot, arguing instead that she was a sensual, exotic, intelligent, and calculating woman who realized that she could not fulfill her destiny without a partnership with Rome (specifically affairs with Julius Caesar and Mark Antony). My paper needs to start out with some historical context or background information and then move on to the research based on the primary resources defending the thesis, with a concluding paragraph(s). My primary resources for this paper need to be "Plutarch's Lives," Virgil the "Aeneid," Dio Cassius "The Roman History:The Reign of Augustus," Suetonius "The Twelve Caesars," Appian "The Civil Wars," and Lucan "The Civil War." My secondary sources need to come from the books: "The Reign of Cleopatra" by Stanley Burstein, "Cleopatra-A Biography" by Michael Grant, and "Cleopatra: Last Queen of Egypt" by Joyce Tyldesley. Thank you.
How to Reference "Figures of Legend in History" Thesis in a Bibliography
“Figures of Legend in History.” A1-TermPaper.com, 2009, https://www.a1-termpaper.com/topics/essay/figures-legend-history/767501. Accessed 28 Sep 2024.
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