Cleopatra: A Sphinx Revisited

Cleopatra—a courageous, astute, and captivating lady 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 nation so long as she could—continues to fascinate centuries after she governed Egypt. those wide-ranging essays discover such themes as Cleopatra's arguable journey to Rome, her suicide via snake chew, 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, specifically of its faith and structure. They talk about motion pictures approximately her, and view what encouraged Egyptomania in early glossy artwork. jointly, those essays light up Cleopatra's legacy and illustrate the way it has been used and reused throughout the centuries.

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S. , Orientalism Transposed: The Impact of the Colonies on British Culture (1998) and Andrew J. Rotter, K. E. Fleming, Kathleen Biddick, “Review Essays: Orientalism Twenty Years On,” American Historical Review 105 (2000): 1204–49; see also Margaret Smith’s article in this volume. Herodotus is the first to suggest the dichotomy, famously tracing hostilities back to the abductions of Io from Greece to Egypt and of Helen from Sparta to Troy (Hdt. 1–5). 10. E. Iversen, The Myth of Egypt and Its Hieroglyphs in European Tradition (1961, repr.

M. Fraser, Ptolemaic Alexandria, (1972) 1: 228.  Green, From Alexander to Actium: The Historical Evolution of the Hellenistic Age (1990): 396–419; of its imagery, J. J. Pollitt, Art in the Hellenistic Age (1986): 271–75, and R. R. R. Smith, Hellenistic Royal Portraits (1988); for the essential antecedent Alexander, see A. F. Stewart, Faces of Power: Alexander’s Image and Hellenistic Politics (1993). Some of the observations here have been developed further in my book Cleopatra and Egypt (2008).

28. The other obelisk is now in London on the Thames embankment; it was given to the British in 1801 in gratitude for their defeat of Napoleon’s army of occupation, but was not moved to London until 1877. 29. The unresolved ambiguity in the sources and the topography are discussed by P. M. Fraser, Ptolemaic Alexandria (1972)1: 24–25, 2: 67–71, notes 154–62. 30. -Y. Empereur, Alexandria Rediscovered (1998): 111–22. 31. I thank the Egyptian Department, especially Diana Craig Patch, of the Metropolitan Museum of Art for permission to examine the bronze crabs.

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