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If the author should be told that the sentimental love of our day was unknown to the pagan world, he would not cite last the two lovers, Antony and Cleopatra, and the will of the powerful Roman general, in which he expressed the desire, wherever he might die, to be buried beside the woman whom he loved to his latest hour. His wish was fulfilled, and the love-life of these two distinguished mortals, which belongs to history, has more than once afforded to art and poesy a welcome subject.

In regard to Cleopatra, especially, life was surrounded with an atmosphere of romance bordering on the fabulous. Even her bitterest foes admire her beauty and rare gifts of intellect. Her character, on the contrary, presents one of the most difficult problems of psychology. The servility of Roman poets and authors, who were unwilling frankly to acknowledge the light emanating so brilliantly from the foe of the state and the Imperator, solved it to her disadvantage. Everything that bore the name of Egyptian was hateful or suspicious to the Roman, and it was hard to forgive this woman, born on the banks of the Nile, for having seen Julius Cæsar at her feet and compelled Mark Antony to do her bidding. Other historians, Plutarch at their head, explained the enigma more justly, and in many respects in her favour.

It was a delightful task to the author to scan more closely the personality of the hapless Queen, and from the wealth of existing information shape for himself a creature in whom he could believe. Years elapsed ere he succeeded; but now that he views the completed picture, he thinks that many persons might be disposed to object to the brightness of his colours. Yet it would not be difficult for the writer to justify every shade which he has used. If, during his creative work, he learned to love his heroine, it was because, the more distinctly he conjured before his mind the image of this wonderful woman, the more keenly he felt and the more distinctly he perceived how fully she merited not only sympathy and admiration, but, in spite of all her sins and weaknesses, the self-sacrificing affection which she inspired in so many 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 phrase gains its greatest importance from the fact that it adorns the hymn which the poet dedicated to Octavianus and his victory over Antony and Cleopatra. It was a bold act, in such an ode, to praise the victor’s foe. Yet he did it, and his words, which are equivalent to a deed, are among this greatly misjudged woman’s fairest claims to renown.

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

The Greek Plutarch, who lived much nearer the period of our heroine than Dio, estimated her more justly than most of the Roman historians. His grandfather had heard many tales of both Cleopatra and Antony from his countryman Philotas, who, during the brilliant days when they revelled in Alexandria, had lived there as a student. Of all the writers who describe the Queen, Plutarch is the most trustworthy, but even his narrative must be used with caution. We have closely followed the clear and comprehensive description given by Plutarch of the last days of our heroine. It bears the impress of truth, and to deviate widely from it would be arbitrary.

Unluckily, Egyptian records contain nothing which could have much weight in estimating the character of Cleopatra, though we have likenesses representing the Queen alone, or with her son Cæsarion. Very recently (in 1892) the fragment of a colossal double statue was found in Alexandria, which can scarcely be intended for any persons except Cleopatra and Antony hand in hand. The upper part of the female figure is in a state of tolerable preservation, and shows a young and attractive face. The male figure was doubtless sacrificed to Octavianus’s command to destroy Antony’s statues. We are indebted to Herr Dr. Walther, in Alexandria, for an excellent photograph of this remarkable piece of sculpture. Comparatively few other works of plastic art, in which we here include coins, that could render us familiar with our heroine’s appearance, have been preserved.

Though the author must especially desire to render his creation a work of art, it is also requisite to strive for fidelity. As the heroine’s portrait must reveal her true character, so the life represented here must correspond in every line with the civilization of the period described. For this purpose we placed Cleopatra in the centre of a larger group of people, whom she influences, and who enable her personality 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 stamped itself upon his own imagination, he might remember with pleasure the hours which he devoted to this book.

Georg Ebers

Tützing on the Starnberger See, October 5, 1893.