preview

Cassius Dio's Portrayal Of Cleopatra As An Enemy Of Rome

Decent Essays

Introduction: This essay's focus is on how Cleopatra and the threat she posed to Rome are described by contrasting and comparing the writings of historian Cassius Dio and poet Horace. The passages centre on the hostilities between Cleopatra and Rome, Octavian and Cleopatra's suicide. Subsequently written many years after the events, therefore their validity cannot be verified as true and accurate. Commentary will be on how both extracts bolster and support, for the most part, the contemporary unfavourable Cleopatra propaganda that portrayed her as an enemy of Rome but also shows an underlying appreciation for her as an Egyptian Queen. The comparisons within both texts use, powerful rhetorical negative imagery to help depict Cleopatra as …show more content…

In Horace's Ode 1.37, the first four verses describe her as the mad drunken queen with her enslaved militia hungry for power, whereas in the final four verses his depiction about turns, he now praises and applauds her bravery in choosing a righteous and majestic death, saying how she 'did not have a woman's fear of the sword … brave enough to take deadly serpents in her hand' (Reading 1.2 in Fear 2008, p28. In conclusion, the comparisons between both passages are mostly parallel when showing Cleopatra in as bad a light as possible, thus adding to the negative propaganda created by Octavian. Cassius's subject matter is based on a rhetorical speech given by an accomplished orator whose aim was to persuade in favour of his own political agenda. By using drama and poetic licence based on Roman's undecided feelings about Cleopatra, Horace is able to show the contrasts in how she was perceived. Word Count: 507 Bibliography: Fear, T. (2008) 'Cleopatra' AA100 Book, Chapter …show more content…

During this time he was involved with an independent group of artists known as the Impressionists. The Impressionists movement developed as a result of the growing deviation by artists such as Renoir, Manet and Pissarro to traditional artistic compositions and techniques in favour of the modernist idioms of contemporary subject matter and unusual visual angles. This modern approach resulted in arguments between art traditionalists and modernists, with technical ability and competence becoming main focuses. Consequently Cezanne's work was heavily criticised by traditionalist defenders as lacking artistic aptitude and non-conformity to customary artistic regimes, one supporter of his work commented how Cezanne 'has been most maligned and misjudged over the past fifteen years by press and public alike' (Riviere, 1877, in Harrision, 2008

Get Access