A Gift For Caesar: Cleopatra's Initial Encounter With Caesar as a Defining Point Of Her Strength and Sexuality

by Lauren White Henry

INTRODUCTION

Cleopatra is desperate-she needs to gain the throne of Egypt before her inadequate younger brother, Ptolemy, convinces Caesar to grant him full power. But alas, Cleopatra has been banished from Egypt by the ruthless Pothinus. Fortunately, the brilliant Cleopatra devises a plan to enter her Egyptian castle rolled up in a carpet, posing as a gift for the great Caesar. Her loyal servant, Apollodoros, carries her through a secret passageway and into the palace, where they are met by Caesar's guards. They continue into Caesar's quarters, where Apollodoros unrolls the carpet to reveal the stunning Cleopatra. Caesar is impressed not only by Cleopatra's intelligence, but also by her undeniable beauty, and pronounces Cleopatra the sole ruler of Egypt.

Such is the story of the meeting of Caesar and Cleopatra as told by Plutarch and others that followed him. The extent of the story's truth remains a mystery, but it is likely that Plutarch included it in his account merely for entertainment value-it is only fitting that the alluring Cleopatra enters the castle with such a grand appearance. Because it is written in Plutarch's interpretation, many perceive the story as fact and include it in their own works. The scene, however-and the portrayal of Cleopatra within it-vary among different compositions. Regardless of the probable fictitious aspect of the scene, it is an important one, for it is in this scene that the level of Cleopatra's strength and power is revealed.

INTELLIGENT YET INFERIOR

Initially, it appears as though the rug scene is a display of Cleopatra's wit, for she uses her intelligence to devise a plan to enter the palace. In addition, it seems that Cleopatra has heightened power in the situation because Caesar is impressed with her ingenuity. This is especially apparent in the Discovery Channel's presentation entitled "As the Nile Turns: The Soap Opera That Was Cleopatra." In it, Caesar praises Cleopatra as his equal when he states that "You need my help to keep you on the throne, and I need the wealth of Egypt to continue my plans." Essentially, the sexual aspect of the scene is minimized as Caesar compliments Cleopatra as an "intelligent" and "clever" woman with "immense charm and intellect."

Despite this possible positive interpretation of the scene, the ultimate effect of Cleopatra's rug entrance is to put her in an inferior position from which she must recover. This inferior position is based on Cleopatra's position at Caesar's feet, the presentation of her as a "gift" for Caesar, the sense that she is out of place and disorganized as the tumbles out of the rug, and especially her reliance on sex appeal to achieve her place on the throne. Throughout the past century, Cleopatra's story has been told by artists ranging from director Cecil B. DeMille to author Margaret George and through a variety of mediums such as painting and video. Whether or not the queen of Egypt recovers from the humiliating circumstance depends on the artist's ultimate presentation of Cleopatra's strength as a woman.

VARIOUS PORTRAYALS OF CLEOPATRA'S STRENGTH

In Cecil B. DeMille's film, Cleopatra never allows herself to be overcome by circumstance. From the start, she rolls out of the rug as though the scene is a performance in which she is proud to have a starring role. She is coordinated, confident, and even sassy. After Caesar-unaware that the woman before him is Cleopatra-comments that her entrance was a "very amusing joke," Cleopatra responds by tilting her head back and laughing in delight. Later, Cleopatra commands Caesar's attention by mentioning Egypt's connection to the riches of India. In addition, she is unfazed by Caesar's constant attempts at condescension by telling her to "Run along now" and calling her a "pretty little queen." Throughout the entire scene, Cleopatra treats Caesar as an equal, not a superior, which is evident by her overflowing confidence.

Unfortunately, Cleopatra's strength as a woman fully relies on her sexuality, and this prevents DeMille's portrayal from being a feminist one. The first evidence of this power through sex appeal is Cleopatra's costume: skimpy leather cross-straps for a bikini top and a long black skirt with lengthy slits. Cleopatra's flirtatious personality only enhances the importance of her sexuality in the scene. When telling Caesar of her earlier banishment to the desert, she leans towards him and says in a sultry voice, "but nothing could stop me from greeting you." It is as though she is trying to seduce him and use her appeal to gain his support and loyalty. When she states that her "tongue was bewitched by Caesar" it is clear that Cleopatra is not actually affected by Caesar in this way, but rather that she is the one gaining power over him. Because Cleopatra's confidence is almost solely based on her sexuality, her strength as a woman is undermined to the extent that DeMille's rug scene cannot be described as complimentary. Rather, the scene portrays Cleopatra as a woman who exerted control over Caesar, not because of her intelligence, determination, and force, but because of her physical beauty and seductive nature.

In the Mankiewicz film starring Elizabeth Taylor, Cleopatra is forced into a particularly humiliating situation when Caesar abuses his knowledge of Cleopatra's arrival. Caesar does not allow Cleopatra to roll out of the rug with grace, but instead turns over the rug and forcefully lifts it off Cleopatra, saying, "I find that one can tell more about the quality of the merchandise by observing it from the backside first." The status of Cleopatra is thereby lowered even further from that of a gift for Caesar to that of an object for Caesar to inspect and either approve or disprove. As she tumbles out of the rug and onto her stomach, Cleopatra's control over the situation is practically nonexistent.

Like DeMille's Cleopatra, the Cleopatra played by Taylor is quite sensual, which is most evident by Taylor's seductive voice and body language. Despite the sexual undertones of the scene, however, Mankiewicz's Cleopatra is ultimately a strong and respectable woman. The humiliating circumstance almost enhances Cleopatra's strength because she exerts her power by overcoming the context of her visit to Caesar. She rises from her position on the floor immediately, and when Caesar attempts to exert some control, she calmly states, "This is my palace Caesar. All of it is therefore available to me at my will. I am not your prisoner. If anything you are my guest." It is immediately apparent that this Cleopatra will not allow any man to trample on her. Throughout the scene, Caesar often attempts to assert his high status by addressing her in a condescending manner, yet Cleopatra will not tolerate his superior attitude. Even when Caesar simply says that he was "pleased that [she] received [his] summons," Cleopatra retorts, "Summons? I'm pleased to say I received nothing of the kind. I'm surprised that you thought I would answer." Although her attitude may not be completely flattering, it is refreshing to see a female character with the intelligence and personality to combat Caesar's dominance. In addition, her strength is especially admirable because it stems not from her Caesar's attraction to her, but from her own estimable qualities. Mankiewicz's Cleopatra does not only assert her power in response to Caesar's assumptions of superiority, but also as part of her own agenda to gain the throne of Egypt in order to save her country from ruin. She abruptly insists to Caesar that he "must set [her] alone on the throne of Egypt," showing that her ultimate intention is not to simply hold her own against Caesar, but to ensure the success of her country. As a result of Cleopatra's positive goals and commanding character, she can be admired as a female role model of power and influence.

In Margaret George's The Memoirs of Cleopatra, the young Cleopatra's inferiority in the situation is magnified by her fear of Caesar. Cleopatra's journey in the carpet has made her dizzy and faint, and upon her arrival she is quickly unrolled from the rug so that she is lying in front of Caesar's "two long and muscular legs, their feet encased in military boots" (91). Because she is slightly disoriented and literally placed at the feet of Caesar, Cleopatra is immediately at a disadvantage in the power struggle between the two rulers. Cleopatra is portrayed as especially vulnerable in the George novel because we are given a first person account of her difficult situation-presented to the great leader of Rome as a gift, yet simultaneously expected to secure one's place on the throne of Egypt. Although Cleopatra's fear is less evident in other works because she must display outward self-assurance in front of Caesar, Cleopatra's thoughts as revealed in the George novel show a much weaker queen. She describes the "reserved, deadly power of the man" (91), and mentions how she speaks to Caesar "more boldly than [she] felt" (92). Fortunately, Cleopatra is able to maintain outward confidence despite Caesar's intimidating presence. She confronts Caesar with the reason for her visit, stating, "I am here because I have been unlawfully deposed from my throne, and because you have the power to set it right" (93). Although George's Cleopatra grants Caesar much more power than the demanding Elizabeth Taylor, she is still able to confront the Roman ruler with her wishes for the future.

The downfall of George's Cleopatra is her sexual weakness. Although Cleopatra is strangely attracted to Caesar, she arrives at the palace prepared to give up her virginity for the sake of Egypt, regardless of her feelings for Caesar. Early in the scene, Cleopatra prepares herself for the unpleasant sexual encounter: "Now was the moment. He was going to reach out and take me, just as he took Gaul and Rome. I braced myself" (93). Cleopatra soon develops an attraction to Caesar, but her willingness to have sex with a man for political advance drastically undermines whatever power Cleopatra may exert in the scene. Suddenly, Boccaccio's criticism of Cleopatra as a "prostitute to the Oriental kings" gains validity-although the Cleopatra portrayed in George's novel is quite likable and at times even admirable, her position as a woman is severely damaged by her acceptance of Caesar's superior position in their relationship.

The ABC adaptation of George's novel portrays Cleopatra as a supremely sexual being. In the ABC film, Cleopatra rolls out of the carpet in slow motion and to the beat of rhythmic music, while Caesar's delight with her beauty is apparent by his tremendous grin. Again, Cleopatra is presented as a gift for Caesar, one that he accepts only after walking around her in a circle and inspecting her form. Cleopatra is by no means helpless in this portrayal-she is confident in herself and in her country, which is evident when she claims, "I am my father's successor. The people know this. They will support me"-however, her confidence fully relies upon Caesar's physical attraction to her. She knows that she is beautiful and that the power of beauty is undeniable, even for a man of Caesar's stature. In the film, the hesitance and fear of the George novel have dissipated. If they do exist, they are undetectable through Cleopatra's powerful sexuality. When Caesar mentions sleep, Cleopatra replies, "There is only one bed that is safe for me-yours." She then looks him straight in the eye, outstretches her arm in a welcoming gesture, and leads him to bed with her. The beauty and sensual nature of the ABC Cleopatra do provide her with certain control over Caesar, but this alluring Cleopatra lacks the feminist demands of that portrayed by Elizabeth Taylor. Although sensuality is certainly a positive attribute of which all women should be proud, when Cleopatra's power stems from sexuality and not from other positive characteristics such as intelligence and bravery, it undermines the extent to which she can be admired.

In the painting by Jean-Leon Gerome, Cleopatra's sensuality is once again the most prominent subject of the work. Cleopatra is scantily dressed in a transparent skirt and a top that reveals her bare breasts. She stands by Apollodoros and looks longingly as Caesar who in turn appears somewhat irritated by her intrusion. The accompanying description of this scene in the Discovery Channel book Cleopatra's Palace claims, "No doubt Caesar was surprised by Cleopatra's entrance, and he probably also found it amusing and admirable: It showed spirit and wit" (93). Despite this caption, upon further inspection the painting actually suggests that the beautiful Cleopatra was not an equal to Caesar, but rather a nuisance. As author Lucy Hughes-Hallet says, Caesar looks "as though coolly estimating whether this visitor is sufficiently diverting to justify the interruption of his work" (214). He is looking up from his papers with a sour expression and a slightly raised hand that suggests he does not want to be bothered. Once again, Cleopatra is presented as merchandise for Caesar's inspection. Hughes-Hallet compares the scene to that of a "brothel," in which Apollodoros is "unwrapping his wares for a critical customer" while "Cleopatra, however proudly and unwillingly, submits to this appraisal" (214). The painting is clearly not depicting a scene in which the confident Cleopatra asserts her power. On the contrary, Gerome's Cleopatra is inhibited by her own quest for Caesar's approval.

CONCLUSION

In every work mentioned above, it is the artist's decision to present Cleopatra as intensely seductive that undermines her respectability as a female character. The reason for this emphasis on Cleopatra's sensuality may be simply to attract an audience, or it may be that each artist felt that this sensuality was Cleopatra's defining characteristic and should not be overlooked. Regardless, each artist must balance the difficult conflict of Cleopatra's beauty and power; only Mankiewicz's Cleopatra fully maintains both qualities. In practically every work, Cleopatra's power through sensuality or her willingness to participate in unwanted sex serves to ruin what might otherwise have been a truly positive portrayal. A notable exception to this is the Bernard Shaw novel Caesar and Cleopatra, in which the young Cleopatra is neither sensual nor respectable. In this instance, it is her childish nature-evident in her overwhelming ignorance and unsophisticated character-which prevent her from being an admirable role model for other women. In general, however, Cleopatra's downfall stems not from immaturity, but from her need to gain power through sexual appeal. According to Mary Hamer, Cleopatra is a "role model for the woman spectator" (121), a character in which "political power and female sexuality were securely combined" (109). Yet it appears as though these two traits are not so easily intertwined in the portrayal of Cleopatra. Although she may be simultaneously powerful and sexual, her sexuality often undermines her power to the extent that she can no longer be considered a positive role model for the female audience.

Works Cited

"As the Nile Turns: The Soap Opera That Was Cleopatra." Discovery Channel Online.

www.tlc.discovery.com/stories/history/cleopatra/transcript_act2.html

Boccaccio, Giovanni. Concerning Famous Women [1335, De Claris Mulieribus]. Trans. Guido Guarino. New Brunswick: Rutgers UP, 1963.

Cleopatra. Dir. Cecil B. DeMille. With Claudette Colbert. Paramount, 1934.

Cleopatra. Prod. Robert Halmi, Sr. With Billy Zane, Leonor Varela, and Timothy Dalton. ABC/Hallmark Entertainment, 1999.

Cleopatra. Dir. Mankiewicz. With Elizabeth Taylor, Richard Burton, and Rex Harrison. 20th Century Fox, 1963.

Foreman, Laura. Cleopatra's Palace: In Search of a Legend. New York: Discovery Books, 1999.

George, Margaret. The Memoirs of Cleopatra. New York: St. Martin's Press, 1997.

Gerome, Jean Leon. Cleopatra and Caesar. Private Collection.

Hamer, Mary. Signs of Cleopatra. New York: Routledge, 1993.

Hughes-Hallet, Lucy. Cleopatra: Histories, Dreams, Distortions. New York: Harper & Row, 1990.

Plutarch's Lives of the Noble Grecians and Romanes [c. 100 C.E.]. Trans. Sir Thomas North (1579). Ed. Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare. Vol. V. Columbia UP, 1964.

Shaw, Bernard. Caesar and Cleopatra [1898]. New York: Penguin, 1957.