Octavian, Anthony and Cleopatra: Propaganda and the Ð''myth of Actium'

Workshop 1

Octavian, Anthony and Cleopatra: Propaganda and the Ð''Myth of Actium'

The creation and subsequent sustaining of the Ð''Myth of Actium' is one of the greatest examples of the use of mass propaganda in the ancient world. While scholars such as Murray question the impact that the re-instigation of games at Nikopolis and the extension of the temple of Apollo at Actium would have on the political situation in Rome, its emergence, however, seems to have occurred around 20 BC, a time at which Octavian Augustus has officially restored the Republic (27 BC) and resigned his position as consul, instead holding office as Tribune of the Plebs.

The Augustan version of the battle of Actium is one that is displayed by the three passages. They see Octavian and Antony facing each other as men equal in stature and skill, and the subsequent battle one of epic proportions fought with skill and courage, qualities that were the backbone of Rome's magnificence. We see Antony's triumphs as a General lauded and the focus of hate being Cleopatra, guilty of being an enemy off Rome and enchanting one of her best generals. This contrasts readily with the accounts of the battle which we take to be unaffected by myth and legend. Dio describes a battle lacking much bite, with troops suffering from disease and Antony fleeing leaving his troops at the mercy of Octavian. While Octavian had to push on to Egypt before Antony was finally defeated, Actium was decisive in the political battle. We are told that following the surrender of Antony's troops the last of Antony's allies realised that their cause was lost.

The way in which we see characters and motives portrayed by the passages often recreates historical fact in order to provide a more useful image that can be accepted by the Roman people. With Antony, we are able to see the shift in the way in which he and his role are projected. The passage taken from Plutarch' Parallel Lives shows Octavian attempting to secure political support from those within Rome. Antony was still a popular figure in Rome, both due to his close friendship with Julius Caesar and as a successful general (most notably at Philippi). Plutarch's account shows Antony represented as an Eastern King, having deserted his country of birth. This then shifts to a tragic hero, misled by Cleopatra.

The image of Octavian is the one that receives the greatest transformation. While Murray's acceptance of the view that Syme and Zanker exaggerate the role that Actium plays in "the political ideology and symbolic imagery of the Augustan Principate ", this fails to take into account the myths birth later in the reign. While it is true that Actium played little part in cementing Octavian's position other than as a military victory, its' political ramifications are represented by the notion of a fourth foundation of Rome, as alluded to by Virgil. By his own admission, Octavian was not a great general, but literature fails to portray this. The most significant alteration to fact is seen on the Shield of Aeneas . Octavian is shown commanding his army, "the Senate and People with him", defending the Republic and all that it stands for. This comes at a time when he controls Rome in all but name.

The inscription from part of the victory monument at Nikopolis is a clear indication of the memory which Octavian wanted to remain. The monument, both a symbol Octavian's "victory and power and also a monument of political and religious propaganda " was erected soon after the battle. Just as on the Shield of Aeneas, it suggests that Octavian was supported by the gods. There is consistent reference to Octavian's relationship with Caesar, his star is said to dawn over the crest on Octavian's helmet, and we are told of Neptune, Minerva, Venus and Mars battling against the "grotesque deities " of the East. The appearance of an Amazonomachy scene in the victory monument also

The interest shown by Plutarch in the Battle of Actium comes through his analysis of the career of Antony in his work Parallel Lives. In this he compares and contrasts great political and military figures from the Greece and Rome, possibly with the intention of showing