Monday, September 9, 2024

Did increased trade between India and the Roman Empire point to Caesarion's ultimate fate?

by Mary Harrsch © 2024


William Dalyrumple's new book, The Golden Road, (https://www.theguardian.com/.../the-golden-road-how...) appears to explore, in depth, a lucrative trade relationship between India and the Roman Empire that developed after Octavian's defeat of Antony and Cleopatra. But, was this relationship developed because of Rome's subsequent control of Egypt or did it reflect India's collaboration in the disposal of Caesarion by agents of Octavian in India?

Ptolemaic-era gold diadem with dangling pearl or shell ornaments pointing to early trade between Ptolemaic Egypt and India, 225-175 BCE, that I photographed at the Getty Villa in 2006. 
 

"Behold, you came with your vague charm. In history only a few lines are found about you, and so I molded you more freely in my mind. I molded you handsome and sentimental. My art gives to your face a dreamy compassionate beauty. And so fully did I envision you, that late last night, as my lamp was going out -- I let go out on purpose -- I fancied that you entered my room, it seemed that you stood before me; as you might have been in vanquished Alexandria, pale and tired, idealistic in your sorrow, still hoping that they would pity you, the wicked -- who whispered "Too many Caesars." - Constanine P. Cavafy, Greece, (1863-1933).

Although this evocative poetry is quite moving, it envisions Caesarion in a vanquished Alexandria while Plutarch relates Caesarion actually escaped to India, at least for a time, before being betrayed to Octavian’s agents.
Caesarion, who was said to be Cleopatra's son by Julius Caesar, was sent by his mother, with much treasure, into India, by way of Ethiopia. There Rhodon, another tutor like Theodorus, persuaded him to go back, on the ground that [Augustus] Caesar invited him to take the kingdom. - Plutarch, Life of Antony
Plutarch's account coincides with an oral tradition in India that the Cheras of Kerala traded extensively with Egypt and the descendants of that royal family were told letters were exchanged with Cleopatra.
The [Canadian] historian George Woodcock states Caesarion did indeed manage to escape with a large treasure and was granted asylum in Kerala. Lucy Hughes-Hallet in her book “Cleopatra: histories, dreams, distortions” says the Queen herself intended to flee to India but fell ill and therefore ordered her son to leave without her...whether or not he reached Kerala and survived is not known clearly, but the story assumes that he arrived in Kerala and was received as a honored guest of the royal family. In fact, such was the respect and importance of this guest that there is said to have been a matrimonial alliance between the Egyptian prince and a Chera princess. -Cleopatra and Cheraman Perumal
Furthermore, Nicolaus of Damascus reported ongoing communications between factions in India and Augustus at this time.
"This writer [Nicolaus of Damascus] states that at Antioch, near Daphne, he met with ambassadors from the Indians, who were sent to Augustus Caesar. It appeared from the letter that several persons were mentioned in it, but three only survived, whom he says he saw. The rest had died chiefly in consequence of the length of the journey. The letter was written in Greek upon a skin; the import of it was, that Porus was the writer, that although he was sovereign of six hundred kings, yet that he highly esteemed the friendship of Cæsar; that he was willing to allow him a passage through his country, in whatever part he pleased, and to assist him in any undertaking that was just."
I am disturbed that so many western scholars seem to discount the writings of eastern scholars when it comes to Caesarion's demise. When I asked Gemini about it, Gemini said most western scholars claim there simply wasn't enough time for Caesarion to reach India before Octavian's forces besieged Alexandria. I personally find that statement utterly ridiculous. The battle of Actium occurred on 2 September 31 BCE. Octavian did not seize control of Alexandria until 1 August 30 BCE - almost a full year later. Do they assume a very intelligent Cleopatra VII would have waited until the last minute to safeguard her precious son by Julius Caesar?
Other scholars point to the sudden increase in trade with India as just a consequence of Rome's complete takeover of Egypt and resulting exposure to Indian luxury goods. But did India trade as heavily with Egypt before Octavian's conquest? The geographer Strabo observes the intensity of activity at Alexandria's ports was significantly higher than it was under Ptolemaic rule.
Of course, any time you are evaluating ancient sources, you must consider the statement's accuracy if the source is patronized by a particular ruler. In Strabo's case, Strabo's participation in the military campaign into Arabia Felix alongside Aelius Gallus suggested a deeper connection with the Roman state. While it doesn't definitively prove direct financial support from Augustus, it strengthens the case for Strabo's work being influenced by, and potentially beneficial to, the emperor's interests.
So, what about the missive from a ruler in India (Porus is actually a Greek term referring to a king or chieftain and not necessarily a name) offering their assistance in "any undertaking that was just?" The clue that the document was written on animal skin points to the correspondence being of royal or noble origin and the contents deemed important enough to use animal skin and not more perishable palm leaves used commonly in India of that period for day-to-day administrative communications. The fact that it was intercepted near Antioch reflects the possibility of an origin in northwest India. At that time, northwest India was known as the Indo-Greek Kingdoms originally administered by descendants of Alexander the Great's commanders.
These Kingdoms periodically clashed with the Cheras of Kerala in southern India over control of trade, particularly the pearl trade, much of it involving pearl diving activities in the gulf of Manar. One or more of these chieftains would have been more interested in garnering control of the pearl trade than in any past promise of asylum made by one of the Cheras of Kerala to the 17-year-old descendant of a Ptolemy who no longer held any meaningful sovereignty.
All of this information was gleaned from my research of Indian's ancient pearl trade to see if a study of the source of pearls in Ptolemaic and Roman jewelry could point to the ultimate fate of Caesarion. I plan to public a full research article as my health permits.
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Saturday, September 7, 2024

The Furies and Medusa: Distinctions in Greco-Roman Art

History resource article by Mary Harrsch © 2024

Orestes Pursued by the Furies by William-Adolphe Bouguereau (PD)

Although I have studied the plays of the Oresteia many years ago I did not remember that The Furies as well as Medusa have serpents for hair until I read Classical Wisdom's recent article about The Furies. It explains how The Furies were transformed from raving avengers to goddesses worshipped in Athens for their oversight of justice. This raised a question in my mind, from a Greco-Roman art perspective, as to how depictions of a fierce female with serpents for hair is identified as Medusa and not one of the Furies. Gemini told me:

"While both Medusa and the Furies are depicted with snakes for hair, there are several key visual cues that can help differentiate them in Greco-Roman art:

Medusa:

Face: Medusa is often portrayed with a hideous, distorted face, sometimes with protruding tongue or fangs. Her expression is typically one of terror or rage.

Wings: Medusa is usually depicted without wings.

Weapon: She is often armed with a sword or a shield, reflecting her role as a dangerous monster.

Petrifying Gaze: The most distinctive feature of Medusa is her petrifying gaze. Artists often depict her looking directly at the viewer, implying the viewer's potential transformation into stone.

Furies:

Face: The Furies, also known as Erinyes, are typically depicted with more human-like faces, although they may have a fierce or menacing expression.

Wings: The Furies are often portrayed with wings, symbolizing their swiftness and relentless pursuit of their victims.

Weapons: The Furies are often depicted with whips, torches, or snakes, which they use to inflict punishment.

Pursuit: The Furies are usually depicted in a state of pursuit, often chasing after their victims.

In summary, while both Medusa and the Furies share the characteristic of snake-like hair, their overall appearance and context within the artwork can help distinguish them. Medusa is typically more monstrous and intimidating, while the Furies are often more human-like and associated with pursuit and punishment."

I then pointed out the article said The Furies were often depicted in antiquity (not in the painting below) as old women and wouldn't this be a distinct difference as well? Gemini replied:

"Yes, that's a good point. The Furies are often depicted as having the visage of old women, which can help distinguish them from Medusa. This image of old women reflects their ancient and primordial nature as deities of vengeance and retribution.

So, to summarize the key differences:

Face: Medusa has a hideous, distorted face, while the Furies have the visage of old women.

Wings: Medusa is typically without wings, while the Furies often have wings.

Weapon: Medusa is often armed with a sword or shield, while the Furies use whips, torches, or snakes.

Gaze: Medusa has a petrifying gaze, while the Furies are often depicted in pursuit.

By considering these factors, you can more accurately identify whether a depiction in Greco-Roman art is of Medusa or one of the Furies."

The article mentioned how the song of The Furies was used to drive transgressors mad. So, I asked "When Athena convinced The Furies to essentially become the Eumenides, did they continue to use their devastating song to punish the convicted?"

Gemini replied:

"Yes, even after their transformation into the Eumenides (the Gracious Ones), the Furies continued to use their devastating song to punish the convicted. However, the nature of their punishment changed.

Before their transformation, the Furies were known for their relentless pursuit of victims and their ability to drive them to madness and suicide with their blood-curdling screams. After their transformation at the urging of Athena, they became more associated with justice and retribution. Their song, while still powerful, was now used to inflict a sense of guilt and shame upon those who had committed crimes.

The Eumenides were seen as agents of divine justice, ensuring that wrongdoers were punished and that order was maintained in society. Their song, while no longer as terrifying as it once was, still carried a significant weight and served as a powerful deterrent against evil."

If you are interested in studying the trio of plays known as the Oresteia, in which the Furies play a prominent role, I highly recommend The Great Courses series, "Greek Tragedy" presented by Professor Elizabeth Vandiver of Whitman College. Her other courses include "The Iliad," "The Odyssey," "The Aeneid" and "Herodotus:The Father of History", the very first course of The Great Courses offerings that I purchased and inspired me to buy others ever since. At present, I am thoroughly enjoying another of The Great Courses programs, "The Greek World: A Study of History and Culture" presented by Professor Robert Garland of Colgate University. I found his observation some scholars have suggested The Trojan War was triggered by the Trojans increasing demands for payment from the Greeks for passage through the Hellespont to trade with the Black Sea region, and not Helen's abduction, interesting, too.

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