Cleopatra—a courageous, astute, and captivating girl who spoke many languages, entertained lavishly, hunted, went into conflict, eradicated siblings to consolidate her strength, and held off the specter of Imperial Rome to guard her state so long as she could—continues to fascinate centuries after she governed Egypt. those wide-ranging essays discover such issues as Cleopatra's arguable journey to Rome, her suicide by means of snake chunk, and the afterlife of her love potions. They view Cleopatra from the Egyptian point of view, and look at the reception in Rome of Egyptian tradition, specially of its faith and structure. They talk about motion pictures approximately her, and examine what encouraged Egyptomania in early smooth artwork. jointly, those essays light up Cleopatra's legacy and illustrate the way it has been used and reused during the centuries.
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Additional resources for Cleopatra: A Sphinx Revisited
Judith McKenzie, The Architecture of Alexandria and Egypt, c. C. D. 700 (2007). 40. -A. Ashton (2003): 35–44. 41. Erich Gruen, “Cleopatra in Rome: Facts and Fantasies,” in D. Braund and C. , Myth, History and Culture in Republican Rome: Studies in honour of T. P. Wiseman (2003): 257–74. I thank the author and the University of Exeter Press for permission to republish the essay here. 42. The poem was originally published in Arion 14(2006): 29–34. I thank the author and Herb Golder, editor of Arion, for permission to include the poem here.
Curl, The Art and Architecture of Freemasonry (1991). 25. J. A. Auerbach, The Great Exhibition of 1851: A Nation on Display (1999): 168. 26. Fullest account in Martina D’Alton, The New York Obelisk, or How Cleopatra’s Needle Came to New York and What Happened When It Got Here (1993). 27. Henry H. Gorringe, Egyptian Obelisks (1882). One aspect of the project that deserves mention is that all the men involved in it, including the financial backer William Henry Vanderbilt, were Freemasons; a parade of nine thousand Masons marched up Fifth Avenue for the ceremony of laying the cornerstone.
C. the age-old assimilation between ruler and god had expanded. Now the royal family was considered to be divine in its own right, as illustrated by the adoption of the title Thea (“goddess”) by Cleopatra at the start of her reign and the title New Isis (Plutarch, Life of Antony 54). C L E OPAT R A’ S DI V I N E S TAT US Cleopatra adopted the role traditionally fulfilled by the pharaoh as the one who makes offerings to the gods, but she did so not only as regent and guardian of her son. 27 The titles adopted by the queen stress her links with particular members of her family.
Cleopatra: A Sphinx Revisited