44 pages • 1 hour read
Stacy SchiffA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Cleopatra (circa 69 BC-30 BC) belonged to the Ptolemaic dynasty of Egypt, and is famous as its last independent ruler before Egypt’s official annexation as a province of the Roman Empire. In Cleopatra, Schiff argues that Cleopatra has been a largely misunderstood historical figure and offers a new interpretation of the Egyptian queen.
Schiff makes frequent references to the biases of the historical record, as most surviving primary accounts of Cleopatra were written by her Roman enemies. In doing so, she frequently spotlights The Construction and Deconstruction of Historical Myths in discussing how Cleopatra was perceived both during her lifetime and posthumously. Most famously, Octavian used her to justify his aggression toward Mark Antony, going so far as to declare war on her, with Cleopatra often presented as a sorceress or a scheming seductress in Roman propaganda. Schiff asserts that this derogatory portrait has continued to shape conceptions of Cleopatra ever since.
Schiff, in contrast, presents Cleopatra in a more serious light. The popular image of Cleopatra assumes that she was a beautiful and stereotypical femme fatale, but Schiff instead emphasizes her erudition, deep rhetorical talents, her charisma, and her capabilities as a leader. Schiff credits Cleopatra with having more agency than is usually assumed, arguing that she could govern her kingdom and form powerful alliances without recourse to seduction. She depicts Cleopatra as an adroit ruler who oversaw petitions, instituted successful economic reforms, and effectively integrated herself into the religious life of her country.
While Schiff discusses Cleopatra’s failures—such as her initial support for Cassius after Caesar’s death, or her fleeing from the Battle of Actium—she tends to minimize such failures or frame them in a way that still emphasizes Cleopatra’s merits: She highlights Cleopatra’s strategic flattery of Antony after Cassius’s defeat and her attempts to salvage her power in Alexandria as Octavian closes in. In doing so, Schiff offers a contemporary and feminist interpretation of Cleopatra’s life and achievements, asserting that she deserves to be recognized as a powerful political player in her own right.
Mark Antony (83 BC-30 BC) was an important figure in the last years of the Roman Republic, originally serving as a general under Julius Caesar. After Caesar’s death, Antony initially shared power with Octavian and Lepidus in an arrangement known as the Second Triumvirate (See: Index of Terms). However, relations between Antony and Octavian were often strained, and the Triumvirate eventually dissolved into another Roman civil war. Antony’s personal relationship and political alliance with Cleopatra was a source of great controversy, with Octavian depicting Antony as an emasculated traitor seduced by stereotypical eastern luxury.
In Cleopatra, Schiff presents Antony as a boisterous and impulsive man who becomes more and more devoted to Cleopatra. She details his love of feasting, gamesmanship, and luxury. Schiff also discusses how Antony and Cleopatra had a taste for the theatrical and a talent for self-mythologizing, with both partners presenting themselves in the guise of gods. In Schiff’s interpretation, Antony is not under Cleopatra’s way, as most Roman historians suggest, but appears genuinely unwilling to be apart from her for long periods. Schiff is open to other suggestions, such as Cleopatra’s importance to Mark Antony as a source of wealth, but argues that his actions are more broadly understood as those of devotion.
After his defeat at Actium in 30 BC, Mark Antony’s erratic behavior—including attempting to live as a hermit at the base of the Alexandrian lighthouse—serves to emphasize Cleopatra’s capability and level-headedness. When asked by Octavian to trade Antony’s life for her kingdom and her own life, Cleopatra makes the surprising choice to encourage Mark Antony’s death, forcing a re-evaluation of the dynamics of their relationship. Finally, Mark Antony’s suicide attempt, rushed and ineffectual, serves as a counterpoint to Cleopatra’s effective and defiant suicide as Octavian closes in.
Julius Caesar (100 BC-44 BC) was a Roman general and statesman during the last years of the Roman Republic. He gained much fame and prestige through his military career, with many notable conquests that expanded the power and reach of the Roman Empire. He is one of the most successful military commanders in history and was an adroit politician, effecting widespread social reform and building programs before he was assassinated in 44 BC.
Caesar was 51 years old when he met Cleopatra. His grandest military successes in the Gallic Wars were only a few years behind him, and his arrival in Egypt in 48 BC effectively signaled the end of the civil war he began when he led his army across the Rubicon to Rome. He was widely known as a womanizer but also as rational and capable of great self-control, all of which makes his behavior with Cleopatra appear uncharacteristic of him. From installing her in his country home at Rome to erecting a golden statue of her in a temple of Aphrodite, Caesar’s actions seem to betray a deeper connection to Cleopatra than simple political expediency would suggest.
Caesar represents the mature flowering of The Dynamics of Power when he first meets Cleopatra. He is the key to securing her own power, and his allegiance with her confers widespread legitimacy upon her rule. He also represents, within Schiff’s narrative, Cleopatra’s first major rhetorical victory: Schiff discounts myths of Cleopatra’s inherent seductiveness for the likelier scenario of Cleopatra convincing Caesar to aid her through charisma and intellectual vigor. Schiff repeatedly positions Cleopatra not as a doting lover or supplicant, but as Caesar’s equal, and capable of entertaining one of the most powerful men in the world through her charm and rhetorical ability. After Caesar’s assassination leaves her again in a vulnerable position, Cleopatra leaves Rome and continues to pursue her interests and that of their son, Caesarian, back home in Egypt.
Gaius Octavius (63 BC-AD 14), known as Octavian, was Julius Caesar’s grand-nephew. Caesar later adopted Octavian as his son, making him the primary claimant to the power Caesar held. Though Mark Antony, as Caesar’s second-in-command, was widely thought of as the heir apparent to Caesar’s position, Octavian rose to prominence as Caesar’s heir. Octavian formed the Second Triumvirate with Antony and Lepidus after Caesar’s death, but eventually declared war against Cleopatra and, by extension, Antony after relations between the two men completely broke down. Octavian’s victory at the Battle of Actium in 30 BC secured his position as sole ruler of the Roman empire, transforming him into its first emperor. Later known as “Augustus,” Octavian instituted an era of social reforms and an intellectual revival that included the creation of some of the most famous works of Roman art, such as Virgil’s Aeneid (19 BC).
Throughout Cleopatra, Octavian is often contrasted with Mark Antony. Antony is impulsive, boisterous, and theatrical, whereas Octavian makes very controlled choices and is ruthlessly calculating. In Schiff’s rendering, Octavian is the primary antagonist in Cleopatra’s story. Though there are others who denounce Cleopatra, such as Cicero and Herod, Octavian is a far greater threat, first because his alliance with Antony threatens Cleopatra’s own standing with Antony, and later because his rivalry with Antony leads to open war between the two factions. Cleopatra only interacts with Octavian once, at the very end of her life, after Octavian’s forces have overtaken Alexandria. By that point, he has very little compassion for her, and it becomes clear that he wishes to parade her as a trophy in his victory parade in Rome. Cleopatra’s death by suicide deprives Octavian of his full victory, forcing him to use an effigy of her in his triumphal march instead. Schiff argues that it was Octavian’s propaganda that helped to create the image of Cleopatra, then and since, as a scheming seductress.
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