Cleopatra — Complete

  Produced by David Widger

  CLEOPATRA

  By Georg Ebers

  Translated from the German by Mary J. Safford

  PREFACE.

  If the author should be told that the sentimental love of our day wasunknown to the pagan world, he would not cite last the two lovers,Antony and Cleopatra, and the will of the powerful Roman general, inwhich he expressed the desire, wherever he might die, to be buriedbeside the woman whom he loved to his latest hour. His wish wasfulfilled, and the love-life of these two distinguished mortals, whichbelongs to history, has more than once afforded to art and poesy awelcome subject.

  In regard to Cleopatra, especially, life was surrounded with anatmosphere of romance bordering on the fabulous. Even her bitterest foesadmire her beauty and rare gifts of intellect. Her character, on thecontrary, presents one of the most difficult problems of psychology.The servility of Roman poets and authors, who were unwilling frankly toacknowledge the light emanating so brilliantly from the foe of the stateand the Imperator, solved it to her disadvantage. Everything that borethe name of Egyptian was hateful or suspicious to the Roman, and it washard to forgive this woman, born on the banks of the Nile, for havingseen Julius Caesar at her feet and compelled Mark Antony to do herbidding. Other historians, Plutarch at their head, explained the enigmamore justly, and in many respects in her favour.

  It was a delightful task to the author to scan more closely thepersonality of the hapless Queen, and from the wealth of existinginformation shape for himself a creature in whom he could believe. Yearselapsed ere he succeeded; but now that he views the completed picture,he thinks that many persons might be disposed to object to thebrightness of his colours. Yet it would not be difficult for the writerto justify every shade which he has used. If, during his creative work,he learned to love his heroine, it was because, the more distinctly heconjured before his mind the image of this wonderful woman, the morekeenly he felt and the more distinctly he perceived how fully shemerited not only sympathy and admiration, but, in spite of all her sinsand weaknesses, the self-sacrificing affection which she inspired in somany hearts.

  It was an author of no less importance than Horace who called Cleopatra"non humilis mulier"--a woman capable of no baseness. But the phrasegains its greatest importance from the fact that it adorns the hymnwhich the poet dedicated to Octavianus and his victory over Antony andCleopatra. It was a bold act, in such an ode, to praise the victor'sfoe. Yet he did it, and his words, which are equivalent to a deed, areamong this greatly misjudged woman's fairest claims to renown.

  Unfortunately it proved less potent than the opinion of Dio, who oftendistorted what Plutarch related, but probably followed most closely thefarce or the popular tales which, in Rome, did not venture to show theEgyptian in a favourable light.

  The Greek Plutarch, who lived much nearer the period of our heroine thanDio, estimated her more justly than most of the Roman historians. Hisgrandfather had heard many tales of both Cleopatra and Antony from hiscountryman Philotas, who, during the brilliant days when they revelledin Alexandria, had lived there as a student. Of all the writers whodescribe the Queen, Plutarch is the most trustworthy, but even hisnarrative must be used with caution. We have closely followed the clearand comprehensive description given by Plutarch of the last days of ourheroine. It bears the impress of truth, and to deviate widely from itwould be arbitrary.

  Unluckily, Egyptian records contain nothing which could have much weightin estimating the character of Cleopatra, though we have likenessesrepresenting the Queen alone, or with her son Caesarion. Very recently(in 1892) the fragment of a colossal double statue was found inAlexandria, which can scarcely be intended for any persons exceptCleopatra and Antony hand in hand. The upper part of the femalefigure is in a state of tolerable preservation, and shows a youngand attractive face. The male figure was doubtless sacrificed toOctavianus's command to destroy Antony's statues. We are indebted toHerr Dr. Walther, in Alexandria, for an excellent photograph of thisremarkable piece of sculpture. Comparatively few other works of plasticart, in which we here include coins, that could render us familiar withour heroine's appearance, have been preserved.

  Though the author must especially desire to render his creation a workof art, it is also requisite to strive for fidelity. As the heroine'sportrait must reveal her true character, so the life represented heremust correspond in every line with the civilization of the perioddescribed. For this purpose we placed Cleopatra in the centre ofa larger group of people, whom she influences, and who enable herpersonality to be displayed in the various relations of life.

  Should the author succeed in making the picture of the remarkable woman,who was so differently judged, as "lifelike" and vivid as it stampeditself upon his own imagination, he might remember with pleasure thehours which he devoted to this book.

  GEORG EBERS

  TUTZING ON THE STARNBERGER SEE, October 5, 1893.

  CLEOPATRA.