Ancient Roman Women in Film

In honor of March being National Women’s History Month, I thought it appropriate to pay respect to those ancient Roman women who have been portrayed (accurately or inaccurately) in film and television. For it is often through television and film that ancient people or historic events pick up popularity amongst modern society.

Moreover, I stand to prove that most ancient women portrayed in film fit the theme “Behind Every Great Man is a Great Woman.”  In addition to this idea, their portrayals most often are exaggerated in order to shock or overwhelm audiences of the exotic and foreign nature of the past. Rarely are any of these women (that I discuss at least) portrayed accurately, but they are shown through a highly stylized light which allows the audience to see the clear distinction between ancient women and modern women. However, this distinction is only seen in “period” scenarios such as dining, dresses, politics, societal mores, etc. Each of these women is also shown in a light that reflects those deep rooted feminine mores in which any women from any period would identify with: being a mother, being a wife, part of family unity, head of a household, avenging themselves, avenging injustices upon their family or country, and being true to herself.

DISCLAIMER**Please note that some of these observations include SPOILERS; so if you have not seen the film or series discussed move to the next historic figure.

WOMEN

Name: Lucilla or Annia Aurelia Galeria Lucilla
Film: Gladiator (2000)
Attributes in the Film:  Strong, Loving, Tactical, Empathetic, Motherly, Victim to her Brother
Film Quote:  ”If only you had been born a man…What a Caesar you would have made….I think you would have been strong.I wonder if you would have been just?” -Marcus Aurelius

Hollywood’s Version: Lucilla (Connie Nielsen) is the sister of Emperor Commodus (Joaquin Phoenix), daughter of Emperor Marcus Aurelius (Richard Harris), and implied ex-lover of General Maximus(Russell Crowe). She is portrayed as the concerned mother of her son, Lucius, because she fears that her brother will murder him since he is next in line to be emperor. Her relationship with her brother is a strange one that straddles of the lines of incestuous and fraternal love- however, this is not her doing, but her brothers. She is also shown to be working with the Senate of Rome to overthrow her brother and restore the Republic.
Attributes in History: Strong, Ambitious, Tactical
History’s Version:  As the daughter of Marcus Aurelius, she was married off to his co-ruler: Lucius Verus. They had three children including a son named Lucius, but only their daughter Lucilla Plauta survived. Since her husband was co-ruler of Rome, she had high aspirations to become an empress of Rome. But these dreams were cut short, when her husband Lucius died. And, she was promptly married off again. This time it was to a less influential man and she began to see her dreams of being empress fade. Even more so were her dreams dissipated, when her father died and her brother Commodus became emperor.  With Commodus’ unstable rule, Lucilla decided to take part of a plot to assassinate her brother and replace him with her husband and herself as emperor and empress. She had many allies in this conspiracy including formal consuls, the imperial guard, and even her daughter, Lucilla Plauta. The former consul, Quintianus, sent his nephew to kill Commodus, but alas it was a failure. Upon revealing his dagger, the nephew yelled,”Here is what the Senate sends to you!” His exclamation gave the emperors guards enough to time to deflect the attack. Lucilla was banished to Capri and a year later Commodus sent a centurion to execute them.
Her Hollywood Formula: Her historic and theatric versions differ enormously. The only similarity is her attempt to overthrow her brother. In the film, she succeeds for the good of the Roman people; in history, she fails at her attempt to make herself empress. Therefore, Hollywood has taken Lucilla and shaped her into a widow that only cares for her son. She is never seen in the film as ambitious, treacherous, or cruel. If she plots (as she did in history), she does so for the general good and everyone she loves. She is the epitome of a caring mother, a loyal citizen, an empathetic soul, and the right arm of justice. Hollywood’s choice to put her in such a predominant role reveals their conscientious choice to portray a female character in manner other than a victim (Maximus’ wife or female gladiators). Finally, it is only through Lucilla efforts that Maximus is freed from being a gladiator, released to his family, and Rome is restored. Thus, fitting the theme: “Behind Every Great Man is a Great Woman.”

 

Name: Atia of the Julii or Atia Balba Caesonia or Atia Balba Secunda
Film: HBO’s Rome (2005)
Attributes in the Series:  Ambitious, Plotting, Sensitive, Loving, Family Oriented, Selfish, Lustful, Blunt, Ruthless
Series Quote: ”By the five Furies, if I was not a gentle woman, I would have you flayed, and hung from a bracket at the door!” – Atia of the Julii
Hollywood’s Version: Atia (Polly Walker) is the series’ epitome of the Roman upper-class woman. She is wealthy, enjoys her rights, has slaves, eats how she pleases, and takes part in religious and social practices with ease. Like most upper-class women, she is concerned for her appearance, her family’s reputation, her dinner parties and most of all her children’s future: Octavia (Kerry Condon) and Octavian( Max Pirkis). She is the symbol and perhaps the original meddlesome mother. She is not married and therefore acts alone in her decisions and choices. Her mannerisms and diction are quite blunt when addressing her children and their maturation, sexual practices, and political choices. In this aspect, she may be both humorous and boorish to the audience. She often tells her children what they should do, how they should do it, and uses them as political pawns until they are too old for her to maneuver. She is also the Roman lover of Marc Antony (James Purefoy), who appears to be her only weakness.
Attributes in History: Good Mother, Attentive, Loyal, Cautious, Sensible,
History’s Version: Atia was married to Gaius Octavius with whom she had Octavia and Octavian. However, her husband died and she remarried Lucius Marcius Philippus. Both were supporters of Julius Caesar. Atia and Philippus equally took the time and patience to raise her children and educated them properly. When her son, Octavian(later Augustus) was announced Caesar’s heir; Atia was so fearful for her son’s safety that she and Philippus urged him to renounce his rights as Caesar’s heir. She died during her son’s first consulship, in 43 BC.
Her Hollywood Formula: While the series and history have some common ground such as: her raising her children and being a devoted mother. Her affair with Antony provided HBO with one of its means of for explicit content which I imagine increases ratings. She is shown as the mother behind the great man that was Augustus Caesar; however within the series, she is shown to be cruel, selfish, manipulative, and in her final episode weak and vulnerable. Hollywood creates a memorable character who is both humorous and spiteful, but at the end the audience plainly see a woman who simply tried her best for her family and never to appear weak.

Name: Cleopatra or Cleopatra VII Philopator (While not Roman herself, during Roman times)
Film: Cleopatra (1963)
Attributes in the Film:  Sensual, Loving, Strong, Ambitious, Attractive, Demanding, Natural Leader
Film Quote:  ”I will not be told where I can go and where I cannot go!”-Cleopatra

Hollywood’s Version: She (Elizabeth Taylor) is the Queen of the Nile who seduces not one man, but two influential Roman men. Wife to both Julius Caesar (Rex Harris) and Marc Antony(Richard Burton), Cleopatra ruled Egypt and aspired to rule Rome. Her life’s story is extensive, but can be read: here. However, the film deals with Cleopatra’s dealings and relationships with Caesar and Antony.
Attributes in History: Sensual, Strong, Ambitious, Tactical
History’s Version: The events that follow in the 1963 version of Cleopatra do not stray far from the accounts of ancient historians. The film itself makes some anachronisms with the presence of the Arch of Constantine, interior design issues and others (here). Furthermore, it is never really disclosed that Cleopatra was a beautiful woman, but more so she was a woman of extravagance and luxury. Her beauty is a long debated attribute.
Her Hollywood Formula: In comparison to the other women, Cleopatra lived the most outrageous and exotic life; Cleopatra’s life has love, affairs, seduction, allure, power, war, assassination and suicide. Her life and story do not need Hollywood to invent something new. Hollywood, at times, take the opportunity to portray her weak at moments like Caesar’s death, Antony’s death, etc. However, it doesn’t get anymore Hollywood than her life; and for this reason Cleopatra has had over 14 television series and films that feature her. Her portrayals began in 1899 and the newest movie in development may feature Angelina Jolie (check out more upcoming ancient films: here). Furthermore, it would appear that Cleopatra was actually a great woman behind two men: Julius Caesar and Marc Antony.

Star Trek and Ancient Rome

Whilst trying to decide what to write for this week’s article, I was torn by many different avenues that inspire me. I am personally an avid fan of gender studies and societal transgressions, but these topics seemed a bit…heavy for this week. So, if you are by chance excited to see a blog on gender studies; please look forward to next week’s article on “Ancient Women in Modern Film.”
However, for this week I am interested to examine Star Trek and the depths within it that are of the Classical Tradition.  By “Classical Tradition,” I mean to show the degrees in which this science fiction world has drawn from antiquity to create a universe that has a large and loyal fan base.
Let’s start off with the most obvious.
1. Romulus and Remus

 

In Roman mythology, they are the twin sons of Mars and Rhea. Romulus is fated to find Rome (which is hence named after him), while Remus is destined to be killed at the hand of his brother.
In Star Trek mythology, Romulus and Remus were “twin planets” which revolved around the same star. However, their inhabitants and terrain were polar opposites. Romulans were related to Vulcans and came from a planet very similar to Earth or Vulcan (Class M planet); while Remus was a harsh planet whose inhabitants were considered of a lower class.
2. Vulcan

 

In Roman mythology, Vulcan was another name for the god Hephaestus. He was the god of crafting, blacksmithing, and even volcanoes.
In Star Trek mythology, Vulcans came from a planet, Vulcan, which was full of volcanoes. Vulcans were known for being skilled with crafting and creating new technology. One writer touches upon the subject very nicely (here).
3. Planet Names [which do not have connecting features between the name and terrain/inhabitants]
Many of the planet names in Star Trek derive from mythological characters or beings; these include (but are not limited to)
-Nausicaa, Cerberus, Gaia, Isis III, Janus VI, Kronos, Minos, Oceanus IV, Persephone V, Pollux IV, Sarpedion V,…
4. Orion(s)

In Roman mythology, he was a skilled hunter and friend of Artemis. But when Artemis felt herself tempted by his prowess she sent a giant scorpion to kill him. Thus the constellations Orion and Scorpio were formed.
In Star Trek mythology, Orion was a planet. It inhabitants were known as Orions and were a race of green (or blue) skinned humanoids. They were an animalistic and primal race in which the women used the men as slaves. (This is somewhat reminiscent of the mythical Amazons and mirror Artemis’ nature more so than Orions.)

5. Magna Roma

In Roman mythology, this was the Latin phrase for “Great Rome.” It referred to both the city of Rome and the female entity that was consider Rome.
In Star Trek mythology, it was the name of a planet (or 892-IV) that is visited in the episode “Bread and Circuses.” The planet is almost identical to Earth and therefore referred to as a” parallel planet.” It was classified as a parallel planet, because it showed what Earth may have become if the Roman Empire had not fallen. The presence of gladiatorial game, slaves, the Senate, and even the Praetorian Guard were present in the 23rd century.
6. Klingons
In accordance to ancient history, the Klingons seem to mimic the famous Spartans and their militaristic society. One argument (although weak) attributes the Klingon name to the ancient Greek κλίνω (kiln-o) [Latin form inclinare] meaning “to incline, to bend, to lean, to turn” (perhaps in reference to the Klingon forehead), but κλίνω can also have the meaning “to turn the ride of war.” Both meanings would serve the Klingons accurately.
You have seen the film 300, but have you heard of 300 Klingons? Watch on…

7. & 8. Jean Luc Picard and The Federation
Jean Luc Picard is as captain of the starship Enterprise is criticized by his mentor/father figure that:

“You’re like a Roman centurion off patrolling the provinces — the maintenance of a dull and bloated Empire.”

The parallel to the captain as a centurion, the planets as provinces, and the Federation to the Roman Empire is often eluded to, but not often stated in the Star Trek series. This lines offers to its audience a chance to meld antiquity and historic references to science fiction ones in a direct manner (which is not often seen).
*Fun Fact: Patrick Stewart, who plays Jean Luc Picard, actually plays a centurion in I, Claudius.
9. James Tiberius Kirk and Nero
In the recent Star Trek franchise, the 2009 film Star Trek, an alternative reality is created and affects all the character’s lives. It is ironic that our hero James Tiberius Kirk would be born and shortly afterwards the villain Nero makes his appearance. What I am attempting to hit on here are the names: Tiberius and Nero.
In history, Tiberius was an ancient Roman emperor and was often known for his lewd and lusty behavior, but he was also known for making spectacles of himself. While Nero was to be the second emperor after him and brought destruction and chaos. Is there perhaps a bit of mirroring with these Star Trek characters and the emperors? It is interesting that Roman emperor’s names would be used so freely in a science fiction series.
10. Inter Arma Enim Silent Leges

“Inter Arma Enim Silent Leges” is the name of an episode of Star Trek (Deep Space 9 to be exact), which employs a Latin title. The title is actually a quote from the ancient Roman orator Cicero meaning ” In time of wars; the law falls silent.” The title and quote are actually used to justify a questionable tactic to which one person asks “”Is that what we have become? A 24th-century Rome?” The question rings clear in both its parallelism and its indications of the Romulan Empire and the Roman Empire.
CONCLUSION
There is a clear and distinctive portrayal of antiquity with Star Trek. Whether it be through mythology, historical people, quotes, or epics, Star Trek makes good use of the wealth of information from antiquity. While some references may simply be in the form of a planet’s name or a vessel name, other times the parallel between the historical or mythological and the science fiction are clear. It is important to observe these similarities, because it further emphasizes the influence antiquity still has on modern day audiences. It shows how ancient ideals and mores are still used today to explore a story’s message. The Classical Tradition is not dead, but in fact far from it. It would seem that science fiction is the new frontier for antiquity to be employed and make its outreach.
Extra:
There have been several episodes that have had an ancient theme to them such as:
Bread and Circuses; read on it (here).
Inter Arma Enim Silent Leges; read on it  (here).
Plato’s Stepchildren; read on it  (here)
Who Mourns for Adonis?; read on it  (here)
Side of Paradise; read on it  (here)
You can watch most of these on a Netflix or Hulu subscribe Account.

Ovid's Heriodes: The Originial Fan Fiction

Within antiquity there are several mythological love stories that touch our hearts, souls, and mind. When attempting to provide an example of "true love," people generally name couples like Romeo and Juliet, Antony and Cleopatra, Helen and Paris, and so on. These couples which are often tragic and short lived romances.
As enthusiasts for Latin, we most often share an appreciation for the world of the Romans and their mythology. Within Roman (and indirectly Greek) mythology, there are couples that perhaps we wished would have had more time or that things would have turned out differently if fate had permitted. Here are a few of my favorites:

Dido and Aeneas

 

Phaedra and Hippolytus

 

Jason and Medea

 

Sappho and Phaon (one of the only historic references)

 

While most of know the sadness behind most of these couple, we often wish we could rewrite the mythology and find a more suitable ending. Perhaps Dido does not kill herself after Aeneas leaves? Perhaps Medea could have played hard to get so Jason would appreciate her more? Or Phaon could never leave Sappho? Better yet, Helen and Paris should have run away and lived in exile? Or how about Penelope moving on immediately since Odysseus obvious had several affairs (Circe and Calypso)?

 

Ovid, in my opinion, is first author to truly take the time to write his version of a "fan fiction." A fan fiction is when a "fan" of a show, book, or series takes the time to write an alternative ending or even a sequel to the already established lore. (For other authors who wrote fan fiction; check out this article.) Ovid composes the works known as the Heroides in order to breathe new life into these Heroines and give the much needed character work to these mythical women who have been frozen in time. [ This character work is lacking for the modern woman, but for its cotemporary audience it would have been for these heroines to have the last word with their lovers.]

The Heroides are essentially letters addressed from the heroine to her lover, who has often mistreated, neglected, or even abandoned her. Ovid chooses the genre of the epistles for these women to express themselves. While this choice has been questioned by various scholars (one such argument is presented: here), it is difficult to see how else Ovid could have approached this work in order to give his heroines a voice, but not over-step bounds and write an entire fictitious mythology.   The following is a summation of the Heroides by Penguin Classics:

In the twenty-one poems of the Heroides, Ovid gave voice to the heroines and heroes of epic and myth. These deeply moving literary epistles reveal the happiness and torment of love, as the writers tell of their pain at separation, forgiveness of infidelity or anger at betrayal. The faithful Penelope wonders at the suspiciously long absence of Ulysses, while Dido bitterly reproaches Aeneas for too eagerly leaving her bed to follow his destiny, and Sappho - the only historical figure portrayed here - describes her passion for the cruelly rejecting Phaon. In the poetic letters between Paris and Helen the lovers seem oblivious to the tragedy prophesied for them, while in another exchange the youthful Leander asserts his foolhardy eagerness to risk his life to be with his beloved Hero.

While, Ovid is a male author assuming the female voice of mythological characters and attempting to transgress the boundaries of gender language, diction, and characteristics (all through meter). He is still capable of invoking such emotion that anyone who has experience heartbreak knows:

 

alter habendus amor tibi restat et altera Dido                  Another love awaits for you and Another Dido
 quamque iterum fallas, altera danda fides.    and who once more you shall deceive, having given another promise

(Excerpt from Dido's Letter to Aeneas. Letter VII)

 

 

In my mind, well put Dido! Bitterness envelopes her entire speech; once a liar-always liar. Right? Well, what's the saying?

"Hell hath no fury like a woman scorned."

While, not all of Ovid's heroines come off so...bitter; each one accurately reflects her place, position, and circumstance. He does over dramatize her feelings or reactions, but they appear natural and eloquently put in order to touch the reader. For information on the work, its meter and where to read it- refer below!

~~~~~~~~~~~~~~~~~~~~~~~~~~
The Heroides consist of 15 poems that have mythological females address their heroic lovers.  These epistolary poems are written in Latin elegiac couplets (demonstrated here and in depth here), which is a type of meter used in poetry. You may see a small sample of the Heroides here, which provides part of the letter, the heroine writing, and to whom she is addressing the letter too. Or you may see the entirety of his work here. Ovid also composed the Double Heroides which include another 6 poems; which start here. These, unlike the Heroides, include three separate exchanges between the heroic and mythical lovers.

The Lupercalia

Lupercalia is an ancient fertility Roman festival that was held February 13-15. The festival was held to both promote fertility along with purging the city of evil and illness. Although it was an ancient festival; it was celebrated for many centuries.

The Lupercalian Festival in Rome (ca. 1578–1610), drawing by the circle of Adam Elsheimer, showing the Luperci dressed as dogs and goats, with Cupid and personifications of fertility

 

In Roman mythology, Lupercus is a god sometimes identified Faunus (equivalent to Greek god: Pan). Lupercus is the god of shepherds. Faunus' or Lupercus' festival was held on the founding of the temple (which is Febraury 15th). The Lupercalia was held in his (Lupercus) honor or in honor of the lupus or she-wolf.



Capitoline Wolf. Traditional scholarship says the wolf-figure is Etruscan, 5th century BC, with figures of Romulus and Remus added in the 15th century AD by Antonio Pollaiuolo.

 

RITES OF LUPERCALIA
The rites were directed by the Luperci, the "brothers of the wolf (lupus)", a corporation of sacerdotes (priests) of Faunus or Lupercus, dressed only in a goatskin. The festival began with a sacrifice by the Luperci  of two male goats and a dog. Next two young patrician Luperci were led to the altar, to be anointed on their foreheads with the sacrificial blood, which was wiped off the bloody knife with wool soaked in milk, after which they were expected to be happy and jolly.
The sacrificial feast followed, after which the Luperci cut thongs from the skins of the animals, which were called februa, dressed themselves in the skins of the sacrificed goats, in imitation of Lupercus, and ran round the walls of the old Palatine city, the line of which was marked with stones, with the thongs in their hands in two bands, striking the people who crowded near. Girls and young women would line up on their route to receive lashes from these whips. This was supposed to ensure fertility, prevent sterility in women and ease the pains of childbirth.

The Lupercalia according to Plutarch Life of Caesar:

"Lupercalia, of which many write that it was anciently celebrated by shepherds, and has also some connection with the Arcadian Lycaea. At this time many of the noble youths and of the magistrates run up and down through the city naked, for sport and laughter striking those they meet with shaggy thongs. And many women of rank also purposely get in their way, and like children at school present their hands to be struck, believing that the pregnant will thus be helped in delivery, and the barren to pregnancy."

LUPERCALIA TO VALENTINE'S DAY

A drawing depicts the death of St. Valentine — one of them, anyway. The Romans executed two men by that name on Feb. 14 of different years in the 3rd century A.D.

 

The evolution of Valentine's Day is a debated and long discussion. The idea that two martyred priest, both by the name Valentine, who later became saints and to whose honor a holiday of love was established is an interesting and complex story. You can read the dark history of Valentines Day: here. Also, the Lupercalia is still discussed today by Stephen Colbert: here.

To my Readers...

Thank you.