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ATG Manuscript 20200117 Man! I Feel Like a Woman: An Exploration of Alexander the Great’s Exploration of Gender R. Schenk Martin, B.A. !1 Exploration of feminine gender expression dates back thousands of years, conducted by people of all statuses, including Alexander the Great.1 This paper will focus on the story of Alexander the Great dressing as the goddess Artemis, attempting to determine possible explanations as to why he might have engaged in such behaviour, uncommon as it was during that time. Three theories will be presented: that he merely saw himself as a god and did not care to discern between male and female deities; that Alexander felt himself to be what is contemporarily called transgender; and that he may have dressed as Artemis as an early form of what is now referred to as a drag performance. Finally, additional theories will be explored, which are as intertwining and complex as gender itself. This paper will be working from a queer historian perspective, incorporating queer theory into the study of history in order to deconstruct the heteronormative and cisnormative interpretations of the past. By doing so, a fuller understanding of Alexander the Great will be constructed. Additionally, because the true gender identity of several individuals discussed is unknown, the pronouns will be deferred to match the historical record.2 The basis of this paper comes from a lost history of Ephippus, only known because of references from other authors, such as Athenaeus.3 The full text is available in Appendix B, with translation. In summary, this passage records Alexander dressing as a number of gods, as well as the goddess Artemis. He is also recorded to have appeared in this way at parties and in public, though the reason for his actions is not specified. Expression of Divinity Alexander may have used femininity as an expression of his divinity. Wearing clothing associated with another gender has been used throughout history for a myriad of reasons, including the consolidation of power. For example, King Hatshepsut—a woman—ruled Egypt in the Bronze Age during the 18th dynasty of 1550-1295 B.C., becoming famous to archaeologists mainly due to their tendency to dress as a different gender throughout their reign.4 Hatshepsut was often depicted in hieroglyphs donning male clothing and wearing a false beard, which is also 1 Other famous Greeks (real or mythological) who explored feminine gender expression include Alcibiades, and the characters Tiresias, Iphis, Hermaphroditus and Salmacis, Sithon, and Caenis 2 A list of terms and definitions in regard to sexuality, gender identity and expression, and drag can be found in Appendix A. 3 Athenaeus. The Learned Banqueters, Volume I: Books 1-3.106e, ed. & trans. S. Douglas Olson (Cambridge, MA: Harvard University Press, 2007), 12.537e-38b. 4 Because Hatshepsut’s gender identity cannot be identified here, we will use they, them, and their pronouns. Uro" Mati#, “(De)Queering Hatshepsut: Binary Bind in Archaeology of Egypt and Kingship Beyond the Corporeal,” Journal of Archaeological Method and Theory 23, no. 3 (September 2016): 813-15. https://doi.org/10.1007/s10816-016-9288-9; Cathleen A. Keller, “The Statuary of Hatshepsut,” in Hatshepsut: From Queen to Pharaoh, ed. Catharine H. Roehrig (The Metropolitan Museum of Art: New York, 2006), 158-172. !2 shown in the iconography of their sphinx.5 Mati# argue that this gender presentation was a way of using drag as a means to secure Hatshepsut’s rule, as a woman in such a position was not given equal power to a man.6 This demonstrates the way in which drag could be used to convey a message or identity. For Hatshepsut, this commanded respect; in Alexander’s case, it may have used to suggest his divinity. Power can be accrued through many means. Hatshepsut increased their power through association with the more ‘powerful’ gender. Power could also be amassed through social status, financial gain, or by linking one’s self to divinity. There are many examples that link Alexander and divinity, which furthered his supremacy in the ancient world. Alexander was said to be a direct descendant of Zeus, being descended both from Heracles and Achilles, and even possibly born of Zeus himself.7 The day of his birth was said to be the same day as the day the temple of Artemis burnt down, and rumours noted by Hegesias the Magnesian claimed that the temple had burnt down because Artemis, goddess of childbirth, had left the temple to assist in Alexander’s birth. Alexander’s divinity was seemingly confirmed in his journey to the Siwa Oasis in 332 BC, being welcomed by the priest as paidios or ‘son of god.’8 As a result of this confirmation, Alexander had coins minted by Lysimachus, his companion and bodyguard,9 which showed Alexander young, beardless, and with the horns of Zeus Ammon on the side of his head, linking him to the divine in the eyes of his people.10 The instituting of a policy of proskynesis also demonstrates divine aspiration, encouraging his people to worship him as a divinity.11 All of this demonstrates a clear desire of Alexander to be recognized as divine, which might increase his power. Therefore, his dressing as various gods can be seen as a link to the divine. The male characters he portrays are important choices. Alexander was noted as having 5 e.g., “The Sphinx of Hatshepsut, ca. 1479-1458 B.C.,” Metropolitan Museum of Art, n.d. https://www.metmuseum.org/art/collection/search/544442. 6 Mati#, “(De)Queering Hatshepsut”, 814-5. 7 Plutarch. Lives, Volume VII: Demosthenes and Cicero. Alexander and Caesar, trans. by Bernadotte Perrin (Cambridge, MA: Harvard University Press, 1919), 2.1; 3.1-2. 8 Diodorus Siculus. Library of History, Volume VIII: Books 16.66-17, trans. C. Bradford Welles (Cambridge, MA: Harvard University Press, 1963), 17.51.1-4.; Quintus Curtius. History of Alexander, Volume I: Books 1-5, trans. J. C. Rolfe (Cambridge, MA: Harvard University Press, 1946), 4.7.25-8.; Plutarch Lives VII, 27.5-9. 9 “Tetradrachm (Coin) Portraying Alexander the Great.” Art Institute of Chicago, n.d. https:// www.artic.edu/artworks/141573/tetradrachm-coin-portraying-alexander-the-great. 10 “Tetradrachm.” Art Institute of Chicago. 11 Plutarch. Lives, Volume VII, 54.3-4.; Arrian. Anabasis of Alexander, Volume I: Books 1-4, trans. P. A. Brunt (Cambridge, MA: Harvard University Press, 1976), 4.12.1-2. !3 dressed as Artemis, Zeus Ammon, Hermes, and Herakles.12 Zeus Ammon was particularly important to Alexander, as he claimed his divinity from Zeus, and received that confirmation from a priest at Zeus Ammon’s temple.13 Hermes is also associated with Hermaphroditus, the only known true intersex individual in Greek myth.14 Herakles is perhaps the most interesting character for Alexander to emulate, as Herakles also dressed as a woman during his slavery to Omphale.15 Herakles therefore signifies that a man who dresses—and indeed lives—as a woman can still maintain status as a strong, masculine hero. This has particularly strong implications for Alexander, demonstrating the ability to portray oneself as a woman, while maintaining masculine principles and identity. While it is important to examine the choices of male gods Alexander dressed as, it is equally, if not more important, to question why Alexander chose to dress as Artemis. It must be remembered that Artemis was already closely related to Alexander, as she had reportedly left her temple on his birth day in order to assist with his divine birth. Additionally, Artemis is one of the least feminine goddesses in the Greek pantheon, abstaining from the company of men and trained in weaponry, specifically the bow. This may encourage the belief that Alexander chose Artemis not merely because she was a woman, but because she was a strong, independent huntress. However, Alexander also clearly associated himself with more overtly feminine goddesses. When Alexander was wounded in combat and his men worried that his injuries were severe in nature, Alexander quoted Aphrodite, reassuring his men that he was not in mortal danger.16 By trying to convince his men that he was fine, Alexander would have done something that he did regularly; in this case, it must be assumed that for Alexander, either quoting Aphrodite or quoting the Iliad was a regular activity. But if he quoted the Iliad regularly, why would he not quote a hero such as Achilles or Odysseus, both of whom would have more quotes in regard to surviving battles or to do with arrows? Instead, he chooses to quote the feminine, female goddess of love. This suggests that Alexander often quoted Aphrodite, linking him to the most feminine goddess. Expression of Gender While it is clear that Alexander enjoyed linking himself to the divine, this theory does not explain why he would specifically make the effort to dress as a goddess, which would 12 Athenaeus. The Learned Banqueters, 12.537e-38b. 13 Plutarch, Lives VII, 27.8 14 Ovid, Metamorphoses, trans. M. Simpson (Amherst, MA: University of Massachusetts Press, 2001), 4.274-388 15 Lucian, Dialogues of the Dead. Dialogues of the Sea-Gods. Dialogues of the Gods. Dialogues of the Courtesans, trans. M. D. MacLeod (Cambridge, MA: Harvard University Press, 1961), Dialogues of the Gods, 15.237 16 Plutarch, Lives VII, 28.3 !4 have been abnormal at the time. One possible explanation is that Alexander was actually what we could conceptualize today as a trans woman, though in a review of the literature, social construction around trans identities in the ancient world is not evident. This suggests that if Alexander was trans, he was unable to openly identify as such.
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