Cleopatra | Page 2

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 Caesarion.
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
TUTZING ON THE STARNBERGER SEE, October 5, 1893.

CLEOPATRA.
Gorgias, the architect, had learned to bear the scorching sunbeams of
the Egyptian noonday. Though not yet thirty, he had directed--first as
his late father's assistant and afterwards as his successor--the
construction of the huge buildings erected by Cleopatra in Alexandria.
Now he was overwhelmed with commissions; yet he had come hither
ere the hours of work were over, merely to oblige a youth who had
barely passed the confines of boyhood.
True, the person for whom he made this sacrifice was Caesarion, the
son whom Cleopatra had given to Julius Caesar. Antony had honoured
him with the proud title of "King of kings"; yet he was permitted

neither to rule nor even to issue orders, for his mother kept him aloof
from affairs of state, and he himself had no desire to hold the sceptre.
Gorgias had granted his wish the more readily, because it was apparent
that he wanted to speak to him in private, though he had not the least
idea what Caesarion desired to confide, and, under any circumstances,
he could give him only a brief interview. The fleet, at whose head the
Queen had set sail, with Mark Antony, for Greece, must have already
met Octavianus's galleys, and doubtless a battle wherein the destiny of
the world was decided had also been fought upon the land, Gorgias
believed that the victory would fall to Antony and the Queen, and
wished the noble pair success with his whole heart. He was even
obliged to act as if the battle had been already determined in their
favour, for the architectural preparations for the reception of the
conquerors were entrusted to his charge, and that very day must witness
the decision of the location of the colossal statues which represented
Antony hand in hand with his royal love.
The epitrop Mardion, a eunuch, who as Regent, represented Cleopatra;
and Zeno, the Keeper of the Seal, who rarely opposed him, wished to
have the piece of sculpture erected in a different place from the one he
favoured. The principal objection to the choice made by the powerful
head of the government was that it had fallen on land owned by a
private individual. This might lead to difficulties, and Gorgias opposed
it. As an artist, too, he did not approve Mardion's plan; for though, on
Didymus's land, the statues would have faced the sea, which the Regent
and the Keeper of the Seal regarded as very important, no fitting
background could have been obtained.
At any rate, the architect could now avail himself of Caesarion's
invitation to overlook from the appointed place of meeting--the lofty
steps of the Temple of Isis--the Bruchium, and seek the best