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Queen Arsinoe’s Brief Wartime Reign At The Twilight Of Ptolemaic Egypt

Arsinoe IV was an ambitious daughter of King Ptolemy XII of Egypt (r. 80-51 BCE). Her ambition was mirrored by her sisters, Berenice IV and Cleopatra VII. The eldest sister, Berenice, usurped power from her father in 58 BCE, but she was ultimately executed when he seized back control of Egypt in 55 BCE. As for Cleopatra VII, the next eldest daughter, she was the famous Cleopatra who tied her fate to Julius Caesar and Mark Antony. She and Arsinoe, additionally, had two younger brothers, Ptolemy XIII and Ptolemy XIV, who had their own supporters in the Ptolemaic capital of Alexandria. When their father died in 51 BCE, the will of the late king was interpreted as directing the oldest living son and daughter, Ptolemy XIII and Cleopatra, to rule as a pair. This succession was implemented, but the two co-rulers and their aides quickly proved incompatible, resulting in a succession war by 50 BCE. Young Ptolemy XIII and his faction of supporters held the initial advantage, forcing Cleopatra to flee Alexandria. Yet, while she was in exile, Cleopatra recruited an army and began pushing back against her brother’s supporters. Meanwhile, the Roman general, Pompey, fled to Egypt in 48 BCE after suffering a decisive defeat in his Roman Civil War, but he was assassinated by agents of Ptolemy XIII. Pompey’s opponent, Julius Caesar, then arrived in Egypt, injected himself into the Egyptian succession crisis, and placed Ptolemy XIII under house arrest in the palace quarter of Alexandria while the Romans wintered in the city. By this point, open war broke out between the Romans and the Egyptian forces at Alexandria. Cleopatra, sensing an opportunity, also appeared and submitted herself to Caesar’s mercy. It was at this time—during Ptolemy XIII’s house imprisonment and when Cleopatra was courting Roman support—that Arsinoe began her own bid for power.

Arsinoe, unlike her siblings, escaped the palace quarter and united with the Alexandrine forces that had begun besieging the Romans back when Ptolemy XIII was taken hostage. Arsinoe brought along her talented guardian and mentor, a eunuch named Ganymedes, who turned out to be a skilled strategist. They joined with Ptolemy’s general, Achillas, who was leading the forces of Alexandria against the Romans. Yet, the general and the princess became rivals instead of partners. Julius Caesar, in his war commentaries, observed, “King Ptolemy [XII’s] younger daughter [Arsinoe], hoping to take unencumbered possession of the throne, went over from the palace to Achillas and began to direct the war in co-operation with him. But very soon they fell out over the leadership…” (Julius Caesar, The Civil War, III.112). A power struggle ensued, where both Arsinoe and Achillas attempted to buy or leverage support for their side among the troops. In the end, Arsinoe and Ganymedes came out on top and Achillas was assassinated. Curiously, despite the death of a major general, the Alexandrian campaign did not lose momentum. Whereas Achillas had mobilized the Alexandrine garrison for war and had set the urban battle lines, Arsinoe and Ganymemdes, for their part, began implementing tactics and strategies that increased pressures on the Romans and made the siege more effective. Arsinoe and Ganymedes’ plans would pose a challenge even for a man of Julius Caesar’s brilliance.

At the time when Arsinoe and Ganymedes took over the assault on Caesar’s entrenched army, the battle in Alexandria was at a standstill. Julius Caesar, in the opening moves of the conflict against Achillas, had occupied the palace quarter, the harbor, and the Lighthouse of Alexandria. Caesar also burned the docked Alexandrian fleet. To set up a defensive perimeter in the city, Roman forces rammed their way through the walls of buildings to reach their desired destinations, and they demolished structures at the periphery of the battle lines that did not fit the battle scheme. Arsinoe and Ganymedes, rather than continue Achillas’ costly house-by-house urban assault against the Roman positions, instead pivoted their own approach to target Caesar’s supplies and to possibly open another front in the battle against the Romans. On the supply sabotage angle, Arsinoe and Ganymedes concocted a plan to divert the sea into Caesar’s drinking water. This was detailed in a text known as The Alexandrian War, attributed to Aulus Hirtius (c. 90 BCE—43 CE), which served as an expanded continuation of Caesar’s war commentaries. The text reported:

“Almost the whole of Alexandria has galleries beneath it and conduits extending to the Nile by which water is brought to private houses. After a while this water gradually becomes clear and settles, and is habitually used by houseowners and their households because…there is not a single spring in the city. However, the watercourse was in the portion of the town which was under Alexandrian control. This circumstance gave Ganymedes the idea that it was possible to deprive our forces of water, because in order to protect their fortifications our men were distributed over various quarters of the city and used water taken from the conduits and wells of private houses. This plan was approved, and he embarked on a huge and difficult task. He drove tunnels to intercept the conduits, and after isolating all the areas of the city which he himself controlled, strove to raise an enormous quantity of water from the sea, using water-wheels; and this he endlessly poured into Caesar’s area from the higher levels” (The Alexandrian War, chapters 5-6).

According to the account, the change in salinity occurred gradually in the Roman water supply. Caesar’s forces reportedly even held taste tests, comparing the flavors of the water from different houses. Curiosity, however, turned to panic once the Romans realized that the fresh water infrastructure in and around all of the structures under their control had been filled with undrinkable seawater. This sabotage shook Roman morale, but Julius Caesar acted quickly to sure up the resolve of his army during this moment of panic. Caesar ordered new wells to be dug, and he also reassured the army that, since the Alexandrian fleet had been burned, the Romans would be able to use their own ships to freely ship in fresh water from outside the city. Arsinoe and Ganymedes, however, wanted to rebuild their sea power and challenge Caesar’s ships. They scoured the region for anything seaworthy, including patrol boats, administrative vessels, and merchant ships in the vicinity of the city that could be commandeered by the Alexandrian army to reform a makeshift navy. On the gathering, repairing and refurbishing of this fleet, The Alexandrian War commentary reported:

“There were guard-ships stationed at all the mouths of the Nile to collect the customs duties, and in secret docks within the palace old ships which had not been sailed for many years: they repaired the latter and recalled the former to Alexandria. There were no oars: so they took the roofs off colonnades, gymnasia, and public buildings, and the rafters became oars; their natural cleverness provided some things, their plentiful resources others…And so within a few days, contrary to what everyone thought possible, they completed twenty-two quadriremes and five quinqueremes. To these they added a fair number of smaller undecked ships…” (The Alexandrian War, chapter 13).

Once a naval force had been pulled together by the Alexandrians, they began to constantly harass Roman ships coming to and from Alexandria, and the Alexandrian navy was also used to launch amphibious assaults on vulnerable Roman positions. Julius Caesar had to personally sail out with his accompanying fleet to challenge Alexandrian ships on at least two or three occasions. Each time Caesar engaged the makeshift Alexandrian fleet, he would sink a few ships, but he could never destroy the naval force, and they would always return to harass the Roman supply lines and fortifications. Caesar, to further fortify against the Alexandrian naval attacks, decided to expand his foothold on the island that housed the Lighthouse of Alexandria, as well as the bridge that connected the island to Alexandria. The Romans used amphibious tactics of their own in their attempt to secure the causeway to the island. Yet, Caesar’s sailors were caught off guard when Alexandrian forces landed troops to counter-attack the disembarked Roman sailors on the causeway. The chaotic battle was described in The Alexandrian War continuation:

“While Caesar was busy with these operations and urging his soldiers on, a large number of rowers and marines poured on to the causeway from our warships…But once a few of the Alexandrians had found the courage to land further out, on their unprotected side, they began to retreat haphazardly to the ships…Encouraged by their flight, more Alexandrians landed and pursued our disordered troops still more vigorously. At the same time, the men who had remained on board our warships hurried to pull up the ladders and push the ships off from land…As long as he could rally his men and keep them at the fortifications and the bridge, Caesar was in the same danger, but when he saw they were all retreating he withdrew to his own vessel. A crowd of men followed him, swarming on board and not allowing any opportunity to work the ship or push off from shore. Guessing what was going to happen, he jumped overboard and swam to the ships which had stopped somewhat further away. From here he sent boats to help his men in difficulties, and saved some, while his own ship did indeed sink under the number of soldiers, and was lost along with them” (The Alexandrian War, chapter 20-21).

After that battle, the stalemate between the Romans and the Alexandrians resumed. Yet, Arsinoe would not be able to enjoy her side’s successes for much longer. Curiously, Julius Caesar entered into negotiations with the Egyptians and arranged for Ptolemy XIII to be released in exchange for the surrender of Arsinoe. Unfortunately for Arsinoe, her forces accepted the deal, and the Egyptians agreed to replace her with her younger brother. Ptolemy XIII resumed hostilities against Caesar after he was released, but he was not as effective as his sister and Ganymedes. The Alexandrian War stretched into early 47 BCE, when the arrival of Roman reinforcements pushed the balance of power into Julius Caesar’s favor. Ptolemy XIII mobilized his forces to confront the Romans in one last unsuccessful battle, but the king drowned, prompting the Egyptians to surrender. Cleopatra, as the only adult royal who had not fought against Caesar, was allowed to ascend to the Ptolemaic throne in Egypt. Contrastingly, Arsinoe—still in Roman custody—was paraded through the streets of Rome as part of Julius Caesar’s triumphal celebration in 46 BCE. Despite this humiliation, Caesar ultimately spared Arsinoe and let her go into exile in Ephesus, where she lived at the city’s temple of Artemis. Yet, Caesar’s protection ended when he was killed in 44 BCE. Following Julius Caesar’s death, Cleopatra began a relationship with Caesar’s violent right-hand man, Mark Antony, and they had Arsinoe assassinated in 41 BCE.

Written by C. Keith Hansley

Picture Attribution: (Marble Bust of Hellenistic Queen Arsinoe III of Egypt, 220-210 BC, photographed by Gary Todd at the Altes Museum in Berlin, [Public Domain] via WorldHistoryPics.com and Flickr, atop an illustration of Siege of Alexandria by Julius Caesar, by Louis Poyet (1846–1913), [Public Domain] via Wikimedia Commons).

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Land Of The Lotus Eaters, By Robert Seldon Duncanson (1821–1872)

This landscape painting by the American artist Robert Seldon Duncanson (1821–1872) alludes to the ancient tale of Odysseus and the land of the Lotus Eaters. Odysseus’ encounter with these people served as a turning point in his journey home that marked the start of a gradual transition of events out of the realm of the ordinary and into the extraordinary. Prior to his encounter with the Lotus Eaters, Odysseus had only just set out to sea from defeated Troy, and he subsequently raided the Trojan-aligned lands of the Cicones—actions that were quite mundane and ordinary in the grand scheme of The Odyssey. Then, however, Odysseus’ fleet was harassed by storms and winds for nearly two weeks, pushing the hero and his crew into uncharted waters. After the storms was when the weary Greeks found themselves in the land of the Lotus Eaters. Instead of familiar war and raiding, the Lotus Eaters were, contrastingly, a mysterious people with a fantastical fruit that possessed magical properties. Odysseus, in The Odyssey poem by Homer, recalled:

“[W]e reached the country of the Lotus-Eaters, a race that eat the flowery lotus fruit…Now these natives had no intention of killing my comrades; what they did was to give them some lotus to taste. Those who ate the honeyed fruit of the plant lost any wish to come back and bring us news. All they now wanted was to stay where they were with the Lotus-eaters, to browse on the lotus, and to forget all thoughts of return. I had to use force to bring them back to the hollow ships, and they wept on the way…” (Homer, The Odyssey, book 9, approximately between lines 80-100).

Given the friendliness and pacifism of the Lotus Eaters, they did not pose much of a threat to Odysseus. He was easily able to drag his crew away from the mysterious civilization and the threat of the lotus fruit’s addictive magical stupor. It is this early tale from Odysseus’ long Odyssey that lent its name to the landscape painting by Robert Seldon Duncanson. The first contact between the explorers and the Lotus Eaters can be seen playing out at the lower center region of the painting, with figures visible on either side of the central river.  After that encounter, Odysseus’ experiences would become increasingly fantastical, supernatural and grandiose. He would go on to clash with the Cyclopes, meet the wind god Aeolus, survive the mighty Laestrygonians, meet the magical goddess Circe, converse with shades of the dead, withstand the song of the Sirens, navigate between monstrous Charybdis and Scylla, witness the cattle of sun god Helios, live alongside the nymph and goddess Calypso, and find companionship and aid with the godly Phaeacians, who helped Odysseus return to his homeland of Ithaca.

Written by C. Keith Hansley

Sources:

Winston Churchill

Winston Churchill (c. 1874-1965)

“There is nothing like the sympathy of a common cause to make the settlement of other differences easy.”

  • From Sir Winston Churchill’s “The Dictators Have Smiled” (October 1, 1937), included in Winston S. Churchill Step By Step: Political Writings 1936-1939 (Bloomsbury Publishing, 2015).

The Bulgarian Entrapment Of Imperial Conspirators Against Emperor Leo III of Constantinople

Emperor Leo III of Constantinople (r. 717-741) gained power due, in large part, to the actions and reign of a former ruler named Emperor Anastasius II (r. 713-715). Anastasius (also known as Artemios before he seized power) revived Leo’s stalling military and political career by appointing the man as the military leader and governor (or strategos) of the empire’s Anatolic region (or theme). At that time, Leo was a loyal supporter of his emperor, but Anastasius II was subsequently ousted by a rebellion that put Emperor Theodosios III (r. 715-717) on the throne of Constantinople. Anastasius was spared and allowed to live as a monk after the overthrow. Leo, meanwhile, did not recognize the usurper, Theodosios, and instead raised the forces of his Anatolic theme in rebellion. Yet, in questioning Theodosios’ illegitimacy, it also contrastingly shone a light on Anastasius’ legitimacy, and this would pose a problem to Leo when he later overthrew Theodosios III in 717 and became the new ruler of Constantinople. Although the new emperor’s path to power was owed largely to Anastasius II, Leo did not feel any obligation to his old patron. He did not want to be seen as a steward warming the throne for a former emperor’s return, and he certainly did not want to give up the power that he had gained through his own rebellion. Nevertheless, Anastasius still had supporters, and they began mobilizing behind Leo’s back.

Anastasius’ conspiracy consisted of noblemen, religious leaders, military figures, and potential foreign allies—specifically, the Bulgarians. The chronicler, Theophanes (c. 750s-818) mentioned that, along with the former emperor, Anastasius II, the other key leaders of the conspiratorial alliance consisted of a certain patrician named Sisinnios Rhendakis, as well as a magistrate named Niketas Xylinites, and an unnamed archbishop from Thessalonike. Other close associates of Anastasius (who may have been less culpable in the conspiracy) included Count Isoes of Opsikion, as well as a high-level bureaucrat named Theokistes, and a second officer named Niketas, who had authority concerning the walls of Constantinople. The conspirators had made inroads into Bulgarian leadership. Eventually, the Bulgarian leader Tervel (r. 701-718), or his successor, was looped in on the details of the conspiracy. Upon learning of the plot, the Bulgarian ruler contacted the conspirators and offered them logistical and military aid in their endeavor. It was not an outlandish offer, as Tervel had recently helped Emperor Justinian II (r. 685-695, 705-711) return to the throne after rebels had ousted him from power. Tempted by the offer, the conspirators placed their fate and fortunes at the mercy of their Bulgarian backers. This, however, would prove to be a mistake, as the Bulgarian leader’s offer was not what it seemed. The unexpected outcome of the conspiracy was recorded by the chronicler Theophanes, who used the former emperor’s non-regal name of Artemios in the passage:

“In the same year Niketas Xylinites wrote to Artemios in Thessalonike that he should go to Tervel and move against Leo with a Bulgarian alliance. Obeying Niketas, he went off to Tervel, who gave him an army and fifty centenaria of gold. Artemios took them and moved on Constantinople, but when the city did not receive him favorably, the Bulgars handed him over to Leo and went home. The Emperor treated them kindly, but executed Artemios and Xylinites…Since the patrician Sisinnios (surnamed Rhendakis) had been with Artemios, the Bulgars likewise beheaded him. They also gave the Emperor the archbishop of Thessalonike, who was decapitated with Artemios. Leo executed Isoes the patrician and Count of the Opsikion, Theoktistes the protoasekretes, and Niketas Anthrax the officer of the walls because they were Artemios’ friends and colleagues. After he had slit the noses and confiscated the property of the rest, he exiled them” (Theophanes, Chronographia, entry for Annus Mundi 6211 [Sept. 718-Aug. 719).

Tervel or his successor, therefore, did not ultimately help the conspiracy, but instead marched the conspirators to Constantinople and handed them straight over to Emperor Leo III, who executed all of the leaders of the plot. For Leo, this would be one of many plots and dangers that appeared in his first years of rule. In addition to Anastasius’ conspiracy, Leo also had to contend with an Umayyad siege of Constantinople (between 717-718) and he also put down another conspiracy, this time from Italy, by 719. After these raucous events, Emperor Leo III was able to bring some much-needed stability to his empire.

Written by C. Keith Hansley

Picture Attribution: (3D scan of the Madara Rider relief in Bulgaria, dated 8th century, [Public Domain] via the Bulgarian Academy of Sciences and Europeana).

Sources:

  • Theophanes, The Chronicle of Theophanes, translated by Harry Turtledove. Philadelphia: University of Pennsylvania Press, 1982.
  • The Oxford Dictionary of Late Antiquity, edited by Oliver Nicholson. Oxford: Oxford University Press, 2018.
  • https://www.britannica.com/biography/Tervel

Odysseus And The Sirens, By An Unknown Roman Painter In Pompeii (c. 79 CE or Earlier)

This painting, likely depicting the tale of Odysseus and the Sirens, was discovered in the volcanic ruins of the Roman city of Pompeii, which was buried in ash in the year 79. There are no explicit labels or titles on the art that formally designate it as a Homeric scene, but the context clues and iconography clearly point to the artwork being a re-creation of the Siren scene from Homer’s Odyssey. A ship, presumably carrying Odysseus and his crew, can be seen at the low center of the artwork, and Odysseus is displayed famously tied to the ship’s mast. The Sirens, depicted in their ancient form as bird-women hybrids, surround the ship and attempt to use their Siren songs to lure the Greeks to their deaths. In addition to just using their voices, the deadly musicians also tempt the Greeks with the help of an assortment of ancient instruments, such as the aulos and lyre. It truly was a deadly melody. Homer, who wrote of the Sirens in The Odyssey, vividly emphasized the lethality of those mythical beings, writing:

“There is no homecoming for the man who draws near them unawares and hears the Sirens’ voices; no welcome from his wife, no little children brightening at their father’s return. For with their high clear song the Sirens bewitch him, as they sit there in a meadow piled high with the mouldering skeletons of men, whose withered skin still hangs upon their bones” (Homer, The Odyssey, book 12, approximately lines 40-50).

Yet, the Sirens’ songs were to no avail against the Greek crew, for Odysseus had been warned about the peril of their singing by the goddess, Circe. Heeding the caution, the hero had his crewmen plug their ears with wax. Yet, Odysseus, himself—without any deafening plugs—tied himself to the ship mast so as to hear the Sirens’ voices in relative safety. As narrated by Homer, Odysseus explained this plan to his crew, saying, “You must bind me very tight, standing me up against the step of the mast and lashed to the mast itself so that I cannot stir from the spot. And if I beg and command you to release me, you must tighten and add to my bonds” (Homer, The Odyssey, book 12, approximately line 160). The plan worked flawlessly and as intended—a welcome fortuitous change for Odysseus and his unlucky crew. Odysseus’ ear-plugged shipmen rowed past the Sirens without hindrance, carrying their captivated and bewitched captain out of the range of the Sirens’ alluring song, after which Odysseus regained his senses.

Written by C. Keith Hansley

Sources:

  • The Odyssey by Homer, translated by E. V. Rieu and edited by D. C. H. Rieu. New York: Penguin Classics, 2009.
  • https://flic.kr/p/XzT6tM

James Fenimore Cooper

James Fenimore Cooper (1789-1851)

“[A] carrion crow is a better bird than a mocking thresher. The one will, at least, remove foul sights from before the face of man, while the other is only good to brew disturbances in the woods, by cheating the ears of all that hear them.”

  • From James Fenimore Cooper’s The Last of the Mohicans (chapter 12), originally published in 1826. The reprinted edition used here is from the De Luxe Editions Club / The Country Life Press (New York, 1950s?).

The Tale Of Tereus, Procne, and Philomela—The Darkest Story In Greek Mythology

According to ancient Greek myth and legend, a man named Tereus was once the ruler of a powerful Thracian kingdom. He was a mighty warrior, said to have been a demigod son of the war god, Ares. As reckoned by the ancient storytellers, Tereus predated many of the most famous Greek figures and events; for instance, he lived before Theseus ruled in Athens, and several generations were yet to come and go before the time of the Trojan War. Tereus’ era was said to have been a time of constant war and border tensions. The Thracian king won acclaim for fending off invasions of various peoples into his kingdom, and Greece in general. His might and success in battle made Tereus a feared enemy and a coveted ally. One such man who was eager to obtain an alliance with the Thracian ruler was King Pandion of Athens (the son of a nymph), who was at that time struggling in a war against the city of Thebes. In order to achieve the alliance, Pandion diplomatically arranged for one of his daughters to marry Tereus. These circumstances were summarized by a scholar known as Pseudo-Apollodorus (c. 1st-2nd century), who wrote, “Pandion married his mother’s sister, Zeuxippe, and fathered two daughters, Procne and Philomela, and twin sons, Erechtheus and Boutes. When war broke out with Labdacos [of Thebes] over the boundaries of the land, he summoned Tereus, son of Ares, to his assistance from Thrace, and after he had brought the war to a successful conclusion with his help, he gave Tereus his own daughter, Procne, in marriage” (Apollodorus, Library, 3.14.8).

Ovid (43 BCE-17 CE), a Roman poet, envisioned that the goddesses of marriage, love and affection were wary of Tereus from the start. Instead, the union caught the interest of more violent and disagreeable forces, such as the Furies. These signs from the Heavens, however, went unobserved by the mortals below, and so the ill-fated marriage between Tereus and Procne went forward as planned. Foreboding omens aside, the marriage started well. Procne was met with a welcome reception in Thrace, and she and Tereus quickly had a son named Itys. Yet, not long after her son’s birth, Procne became increasingly homesick. In particular, she longed to once again see and converse with her sister, Philomela.

Procne, after stewing in her emotions for a time, finally went to her husband and asked for him to arrange a reunion for the sisters. According to Ovid’s poetic account of the event, Procne presented two options: (1) for Procne to be allowed to go on a trip back to Athens to see her sister, or (2) for Tereus to request that Philomela be allowed to visit Procne in Thrace. Tereus opted for the second option, and he personally journeyed back to Athens to present the request to King Pandion. This, in the beginning, was an innocent—even wholesome—premise and request, but Tereus’ journey to Athens would ultimately lead to disastrous consequences for all involved.

Upon reaching the Athenian city, Tereus began negotiating an agreement with King Pandion and princess Philomela. Yet, in the midst of the discussions, Tereus suddenly and obsessively became enamored with his sister-in-law. It was not a healthy affection. Instead, perhaps corrupted by the blood of his war god father, Ares, Tereus wanted to conquer and control Philomela, and he soon found himself willing to do whatever it took to have his way. Although Tereus raged with lust and desire inside his own mind, his outside demeanor did not show it, and the Athenian royals sensed no danger. Instead, Philomela wholeheartedly endorsed the idea of going to see her sister in Thrace. King Pandion, wishing to think it over during the night, decided to hold a royal banquet that evening and gave Tereus a place to stay for the late hours. The Thracian king’s patience was wearing thin, but he managed to restrain himself until morning, by which time Pandion had made a decision. Tragically, the Athenian king decided to place Philomela, without any Athenian guards or attendants, at the mercy of the increasingly unstable Tereus.

Philomela, unaware of the growing danger, willingly traveled with the Thracian king out of Athenian territory, beyond the jurisdiction, forces and assistance of her father. Yet, as soon as the travel party crossed into the lands of Tereus’ Thracian kingdom, the king dropped his gentlemanly act. Ovid vividly narrated the disturbing scene:

“Triumphant, the vile barbarian scarcely could wait
for his moment of bliss, and his greedy eyes never swerved from his prey,
like an eagle closely watching the hare it has caught in its crooked
talons and dropped in the nest high up where it cannot escape.
The end of the journey at last! They had disembarked from the wave-worn
ship and landed in Thrace, when Tereus dragged Philomela
up to a stone hut hidden away in an ancient forest.
White and shaking in abject terror, she tearfully asked him,
‘Where is my sister?’ But now she was trapped. His ugly intentions
were all too clear. His virgin prize was alone, and he brutally
raped her.”
(Ovid, Metamorphoses, 6. 514-525)

Tereus, after committing the heinous deed, immediately turned to covering up the crime. He secretly imprisoned Philomela in a hidden stone cell near his palace. Yet, he still worried that she would tell the world of his hellish act. Paranoid and desperate to silence his victim, Tereus grabbed a knife and unspeakably cut out Philomela’s tongue. The princess survived the grievous wound and was forced to continue her captivity in the hidden stone prison. To pass the time, Philomela had only some weaving and sewing equipment left to her by Tereus. Yet, that was exactly how Philomela achieved her revenge. Although she could not tell her story by voice, she could still stitch and weave her testimony into cloth.

Tereus could not spend all of his time watching Philomela. After all, he had a kingdom to run and a wife, Procne, who was expecting the return of her sister. Tereus lied to Procne, telling her that Philomela had died on the road. A few others, however, knew more of the truth—some guards and a few servants knew of the stone prison and the mute captive it held. A few of these witnesses may have come to sympathize with imprisoned and mutilated Philomela. Whatever the case, the chained princess was able to arrange for one of the servants to smuggle a cloth to Procne, and on that cloth was an account of all that had befallen Philomela since she departed Athens with Tereus. Ovid described this scene in his poem, writing:

“Poor Philomela was helpless: her guards precluded escape,
the walls of the hut were firmly constructed of solid stone,
and her speechless lips couldn’t tell the truth of her barbarous treatment.
But suffering sharpens the wits and misfortune makes one resourceful.
She craftily strung a warp on a primitive Thracian loom,
and into the pure white threads she wove a message in purple
letters revealing the crime. When the piece was completed, she handed it
over to one of her sister’s women and gestured her orders
to put it at once in her mistress’ hands. The woman then took it
to Procne as bidden, with no idea of what it contained.
The wife of the merciless tyrant unrolled the woven material,
only to read the pitiful story of what had befallen
her very own sister. Amazing to tell, she said not a word.
All speech was choked by her grief. The words that she needed weren’t there
to express her outrage. Tears were foregone, as she rushed to confound
all right and wrong. Her heart was totally set on revenge.”
(Ovid, Metamorphoses, 6.572-586)

Procne, it goes without saying, found the accusation to be credible and compelling. As soon as the testimony came into her hands, she began gathering information about the location of her sister’s prison and began concocting ideas about how to break Philomela out of her cell. In Ovid’s account of events, Procne postponed action until the time of a festival honoring the wine-god, Dionysus (or Bacchus), which allowed her to wander at night and act erratically without arousing any suspicion from Tereus’ guards and loyalists. Using the festival as cover, Procne subtly wove her way to the location of Philomela’s prison and finally freed her tormented sister with surprising ease. Procne then disguised Philomela in festival garb, and the sisters snuck away to a safer section of the palace compound. Unfortunately, that location also happened to be where Procne’s son, Itys, was spending the evening.

In Ovid’s telling of the tale, Itys looked just like his father, which, given the circumstances, sent Philomela and Procne into a murderous rage. According to the incredibly dark tale, the crazed sisters murdered the boy and covered up the killing by hiding the body among the kitchen’s stew and roasts. Even more disturbing, Procne then delivered a bowl of the grisly meat to her husband, Tereus.

Accounts differ by this point in the tale. According to Ovid, Procne and Philomela confronted Tereus in the king’s throne room, revealing to him that he was eating his murdered son. Pseudo-Apollodorus’ account, however, insisted that the sisters snuck out of the palace and fled. In that version of events, Tereus soon discovered that Itys was missing and he pieced together what happened. He then raced after Procne and Philomela. In both accounts, that of Ovid and Apollodorus, some sort of divine intervention took place after Tereus successfully intercepted the sisters. The gods had a vested interest in the three, after all, as Tereus was the son of the war god, Ares, and the sisters were granddaughters of a Naiad nymph named Praxithaea. As the story goes, perhaps to avoid further bloodshed and tragedy, the trio were all miraculously transformed into birds.

Written by C. Keith Hansley

Picture Attribution: (Philomela by E. C. Burne-Jones (Public Domain via Wikimedia) on top of Tereus and Philomela by Crispijn van de Passe (b. 1564 – d. 1637), [Public Domain] via the Rijksmuseum).

Sources:

  • Metamorphoses by Ovid. Translated by David Raeburn. Penguin Classics; Revised Edition, 2004.
  • Apollodorus, The Library of Greek Mythology, translated by Robin Hard. New York, Oxford University Press, 1997.
  • The Oxford Dictionary of Classical Myth and Religion, edited by Simon Price and Emily Kearns. New York: Oxford University Press, 2003.

Eurybates And Talthybios Bringing Briseis To Agamemnon, by Giovanni Battista Tiepolo (1696–1770)

This photograph of an artwork by Giovanni Battista Tiepolo (1696–1770) shows a pivotal scene that occurred during the Trojan War. In particular, the artwork depicts a Trojan captive named Briseis being brought to the Greek commander, Agamemnon. In the prelude to the depicted image, Briseis had been captured alongside another woman named Chryseis. At the initial time of capture, Agamemnon had taken custody of Chryseis as his captive, and Briseis was claimed by Achilles. Yet, in a divine twist, it turned out that Chryseis was the daughter of a priest of Apollo, and the god punitively lashed out after the girl’s capture by ravaging the Greek army with a terrible plague. King Agamemnon, in order to end the plague, reluctantly decided to return Chryseis to her father, the priest. The king, however, was loath to lose his spoils of war. Agamemnon felt entitled to make up for his losses by taking a replacement captive from one of the other leaders in his army—in particular, he wanted Briseis, who was with Achilles. The famous hero balked at the demand, but King Agamemnon, who was the leader of the Greek coalition, ultimately used his authority and status to force Achilles to give up Briseis. Homer described the scene in The Iliad, writing, “Agamemnon did not forget his quarrel with Achilles and the threat he had made at the assembly. He spoke to Talthybius and Eurybates, his heralds and busy attendants: ‘Go to Achilles’ hut, take fair-cheeked Briseis by the hand and bring her here” (Homer, The Iliad, book 1, approximately line 320). It is this scene of Talthybius and Eurybates bringing Briseis to Agamemnon that Tiepolo re-creates in his artwork.

Written by C. Keith Hansley

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Pliny the Younger

Pliny the Younger (c. 61/62-113)

“It is a poor thing if authority can only test its powers by insults to others, and if homage is to be won by terror; affection is far more effective than fear in gaining you your ends. Fear disappears at your departure, affection remains, and, whereas fear engenders hatred, affection develops into genuine regard.”

  • From The Letters of Pliny the Younger (8.24), translated by Betty Radice. New York: Penguin Classics, 1963, 1969.

Cleopatra Berenice III—The Egyptian Queen Who Married Her Uncle, Father, And Stepson

Ancient Egypt’s Ptolemaic Dynasty was known for its long tradition of incestuous royal marriages. Generation after generation, Ptolemies married Cleopatras, with many of the wed monarchs being siblings. Incest was the norm for the Ptolemies, and marrying outside the dynasty was an uncommon exception. Yet, even among the Ptolemies, some members were more incestuous than most. Take, for instance, Cleopatra Berenice III, who married her uncle, father, and stepson.

Cleopatra Berenice III, often simply known as Berenice III, was born around the year 120 BCE. Her father was the king of Egypt, Ptolemy IX “Soter,” who ruled during an awkward power struggle between his brother, Ptolemy X “Alexander,” and their mother Cleopatra III (who had been queen of Egypt since 141 or 140 BCE). Cleopatra III, after the death of her husband Ptolemy VIII in 116 BCE, continued to wield power through co-rule arrangements with her sons. Berenice’s father, Ptolemy Soter, was dominant between 116-107 BCE, whereas Ptolemy Alexander gained supremacy between 107-88 BCE. Alexander—who by that point already had a son, Ptolemy XI, from a previous relationship—married the aforementioned Berenice. Together, Ptolemy Alexander and Berenice had a daughter, whose name was not recorded. The couple’s power increased after the suspicious death of the dowager queen, Cleopatra III, in 101 BCE. Thereafter, Berenice assumed the title and role as Queen of Egypt, ruling alongside her husband Ptolemy Alexander until he was killed during a wave of rebellion in 88 BCE.

With the death of Ptolemy Alexander, the political life of Berenice III could have been at an end. Yet, her father, Ptolemy IX Soter, gave her a second wind. Soter, who seized power in Egypt after the death of Alexander, quickly realized he was in need of a queen, as the king had by that time divorced or abandoned his previous wives. To rectify the situation, Soter invited his widowed daughter, Berenice, to become his official wife and queen, if only for her to occupy the role ceremoniously and to serve as a co-ruler. They ruled together until Soter’s death in 81 BCE, after which Berenice intended to rule Egypt alone. Rome, however, had other ideas.

Berenice III ruled briefly on her own, but she was challenged by her stepson, Ptolemy XI (son of Ptolemy Alexander). Backed by the Roman dictator, Sulla, Ptolemy XI arrived in the Ptolemaic capital of Alexandria and pressed his claim to the throne. A diplomatic solution to the situation was attempted, with Berenice and Ptolemy XI marrying in 80 BCE. Yet, reportedly after only eighteen days of marriage, Ptolemy XI assassinated Berenice, sparking a murderous riot in Alexandria. Ptolemy XI was killed during the vengeful Alexandrine uprising, and Berenice’s half-brother, Ptolemy XII “Auletes” succeeded to the throne as the next Ptolemaic king of Egypt.

Written by C. Keith Hansley

Picture Attribution: (Left: Statue head of Ptolemy X, dated 2nd century BCE, photographed by Flickr user akhenatenator, [Public Domain] via Flickr. Next: Tetradrachm coin of Ptolemy XI, [Public Domain] via BNF and Wikimedia. Then: Hermopolis, Portrait of a Ptolemaic Queen from the Louvre, [Public Domain] via Livius.org And: Rose granite statue head, probably Ptolemy IX Philometor Sotêr, photographed by Gary Todd, [Public Domain] via Flickr and WorldHistoryPics.com)

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