A Collection of critical essays on the representation of Cleopatra, produced by the seminar participants of FWS 013, Dreams of Cleopatra, a group of first-semester students at Middlebury College, Fall 1999.

by Edlyn Chao

Whether Cleopatra rolls out of an ornate carpet as authorative and in control or as the more stereotypical image of a sensual temptress, the carpet scene functions as an introduction between Cleopatra and Julius Caesar. More importantly, the scene also provides valuable insight into Cleopatra's character. Plutarch's account of Cleopatra's first encounter with Julius Caesar inspired countless artists to recreate their own interpretations. First prose and narratives, the workings of creative imaginations, emerged. Soon, the stirring mental images are captured on canvas and eventually breathed into cinematography. With the advent of movie making multiple versions of Cleopatra and her legend were produced, each distinct in their own right. Each version retells the carpet scene differently, and offers a different Cleopatra. The first impression of Cleopatra is imprinted by the carpet scene and sheds light on who Cleopatra is in the respective narrative or film. If she tumbles out of the carpet in a revealing dress and jumps on Caesar, she is dramatically different from the Cleopatra in a flowy dress with a full skirt who jumps at the problem at hand concerning Egypt and the threat of civil war due to sibling rivalry for the throne. The Cleopatra from Fielding's The Lives of Cleopatra and Octavia and George's The Memoirs of Cleopatra, and a collection of movies including, DeMille's "Cleopatra", Mankiewicz's "Cleopatra", and ABC's "Cleopatra", vary in the extent by which she utilizes her sexuality and intelligence to manipulate Julius Caesar.

by Maggie Goedecke

Cleopatra is most often remembered as the lover of two Roman consuls, Julius Caesar and Mark Antony, thereby forever connecting the Egyptian queen to the history of Rome. The stories of her relationships with the two men do not always paint a flattering picture of Cleopatra, as her reported promiscuity and presumption give her a colorful reputation. Cleopatra is also sometimes seen as a misunderstood woman, someone who was never given a fair opportunity to be accepted as the wife of Marc Antony nor the mother of Caesar's child. Some historians and authors use the issue of Cleopatra's race as a reason that she was ostracized from Roman society, saying that the Romans were prejudiced against Egyptians, and despite Cleopatra's Greek background, would never accept her as a suitable mate for a Roman consul. This theory, however, is far outweighed by the numerous justifications the Roman people had for their distaste of Cleoaptra. It is not surprising that Cleopatra never found acceptance in Rome, as she offered nothing to the relationship between Egypt and Rome, she stood for everything they were against, and little by little, she succeeded in destroying parts of the society that the Roman people had worked to build.

by Lauren White Henry

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.

by Rick Jamgochian

In the trailer to his 1934 film "Cleopatra", Cecil B. DeMille confidently suggests that the romance between the Queen of Egypt and Julius Caesar is one of history's grandest love affairs. Perhaps this statement is in a way true, but when buying into the tradition of this romance many disreputable elements of the affair are often overlooked. One such component of the romance that if looked upon with a critical eye can serve to lessen the grandeur of the affair is the ill treatment of Caesar's wife Calphurnia. However, audiences and artists alike often have little problem ignoring the plight of Calphurnia, and Caesar and Cleopatra are rarely ever referred to as adulterous individuals. Neglecting to remember how Calpurnia was virtually thrown to the wayside in the midst of Caesar and Cleopatra's extra-marital relationship is possibly a way of lessening the guilt felt by those who choose to become surrounded by the supposed splendor of Caesar's love affair with the Egyptian Queen. Those who choose to proclaim the glory of Caesar and Cleopatra must be cautioned to remember Calphurnia's situation as an abandoned and insulted wife. If attention is given to faithful Calphurnia's desertion by Caesar and inferior treatment by Cleopatra, it becomes evident that Calphurnia is deserving of sympathy while Caesar and Cleopatra's relationship is not so grand and sophisticated as many wish to think.

by Diana Lerman

Cleopatra VII, the last reigning queen of Egypt, has intrigued us for centuries. Her story is one that has been told many times, and the many different and vastly varied representations of her and her story are solely based on the ways in which men and society have perceived women and their role in society throughout history. By looking at the perceptions of women starting from the Hellenes, the Greeks who greatly influenced Roman ideals, and following those perceptions through to the end of the 19th Century, it is easy to see how Cleopatra has been used to represent the "good woman." In other words, she has been used as a role model for women, to show what was their acceptable role in society and to shape their actions and beliefs into an acceptable form. The earliest writers saw her as an evil temptress, as attitudes changed she became a victim and now in recent representations she is seen as "a feminist hero and a savvy politician" (Nilsen 1). Following this history, one can see how the story of Cleopatra is a story that has been told many times to fit each time period's own allegiances.

by Katharine A. Ott

Between the characters of Octavia and Cleopatra there exists a "moral contrast" (Bree 110) -a conflict of Roman ideals and Cleopatra's foreignness. Throughout the tradition of Cleopatra, authors, including Plutarch, Shakespeare, Dryden, and Fielding, as well as filmmakers such as Mankiewicz, have separated Cleopatra from Rome and Octavia because of her combination of political power and sexuality: "The notion of Cleopatra that we have inherited identifies her primarily as being the adversary, the Other. Her otherness is twofold. She is an Oriental, and she is a woman…" (Hughes-Hallett 4). If Cleopatra represents the 'Other', then Octavia exemplifies Rome itself. She embodies all of the characteristics of a proper Roman wife: beauty, grace, wisdom, and above all obedience to her husband. Octavia is Antony's celebrated wife throughout the literature although their relationship is dispassionate, while Cleopatra's "otherness" prevents her from attaining the respectable title of Antony's wife despite their love. Octavia acts as a character foil for Cleopatra, highlighting Cleopatra's foreign nature and her sexuality, which the Romans find unattractive and unacceptable in the character of a woman.

by Cathy Schieffelin

An asp bite creates a particularly awkward, excruciating death. The asp venom causes blood poisoning and an intense burn at the site of the wound. This burning is quickly forgotten, however, as the bite victim fades into a state of giddiness accompanied by nausea and extreme thirst. Blood clots form as the skin becomes speckled with purple spots, and there is usually a considerable amount of swelling. The victim then goes into convulsions, vomiting, urinating, and defecating uncontrollably (Hughes-Hallet 106). This is not a death suitable for a Queen, let alone Queen Cleopatra. Nonetheless, writers throughout history have designated the asp to be Cleopatra's suicide weapon. Her death is described as either an ecstatic orgasm or a serene slip into eternal slumber. Analyzing her death with an eye for accuracy, we can see that it is highly unlikely that Cleopatra would have chosen to kill herself with an asp. "Asp" is an imprecise term, which referred to many various African vipers, all of which would have left her corpse looking less than beautiful. The death that Cleopatra is described to have experienced resembles the death caused by a cobra sting, not an asp bite. A cobra would have had to be at least four feet long to excrete enough venom to kill Cleopatra and her two maids (Hughes-Hallet 107). Since writers have taken liberties with their descriptions of Cleopatra's death scene, representing the asp in various ways, we should ask, "What does the snake symbolize in Cleopatra's suicide, and how does this representation affect the overall portrayal of the Queen and her suicide?"

by Larcombe Teichgraeber

Was Cleopatra beautiful? This is a seemingly straightforward question but there are many characteristics of beauty and all must be considered when applied to Cleopatra. Firstly, what is beauty? Beauty is different for every person and every time period. The old saying that beauty is in the eye of the beholder remains truthful today. It is not only the person that dictates what is beautiful; the time period during which beauty is portrayed must be taken into account as well. The aesthetic ideal of the Renaissance is quite different from that of today's typical "beauty." When applying these questions to Cleopatra, the only way to judge her beauty is by the works in which she is depicted. One obvious obstacle with this judgment is that everyone creates his or her works during different time periods. Another problem with the depiction of Cleopatra's beauty is the artist's hidden agenda. Every artist that depicts Cleopatra has a reason for portraying her in the way that they do, weather it be to show what a woman should not be or to promote anti-orientalism. The only concrete proof of Cleopatra's appearance is the marble statues and the coins that bear her face. Are these even the real Cleopatra? The real Cleopatra's beauty is a mix between physical beauty and actual beauty. Actual beauty can be defined as the interaction of personality and sensuality with the external. Cleopatra is lauded for her beauty but this beauty is, in fact, actual beauty. Would we consider Cleopatra beautiful in this day and age? I say no. Perhaps if we knew her and were ensnared by her legendary charms, she would be beautiful to us but one must decipher her personality before discovering her actual beauty.

by Cheryl Thayer

There are few roles that Cleopatra has not been made to fulfill. She is queen, goddess, lover, whore, wife, witch. Yet it is her role as mother that most defines how she is to be perceived, and which of these other roles she will take on in a given work of literature. Cleopatra's children, or the absence of them, play a definitive role in characterizing Cleopatra. When Cleopatra is childless, she acts like a child herself, either petty and selfish or so deeply in love that she ignores all else. When she has children, however, her role as mother extends far beyond her actual offspring and encompasses all of Egypt. Her protectiveness of her children is used to mirror her protectiveness of Egypt-if she is a good mother than she is also a good queen. Whether she is a good mother, a bad mother, or no mother at all is used by every author or director to characterize Cleopatra as a woman and as a symbol.