WEBVTT - The Impossible Identity of Elegabalus

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<v Speaker 1>Welcome to Noble Blood, a production of iHeartRadio and Grimm

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<v Speaker 1>and Mild from Aaron Manky. Listener discretion advised. Just a

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<v Speaker 1>quick content note before I begin. This episode contains some

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<v Speaker 1>sexual content and descriptions of in vague terms of sexual acts.

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<v Speaker 1>So if that's something that's uncomfortable for you, or something

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<v Speaker 1>that you know you'd be sensitive about listening to with

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<v Speaker 1>young children around, just be aware of it. In twenty

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<v Speaker 1>twenty three, North Hertfordshire Museum in Hitchin, a town north

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<v Speaker 1>of London, made the decision to edit some of the

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<v Speaker 1>informational text it had on its walls. In referring to

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<v Speaker 1>the Roman emperor Eligobolis, the museum would now be using

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<v Speaker 1>feminine instead of masculine pronouns, consistent with the interpretation that Eligobolis,

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<v Speaker 1>who ruled Rome beginning in two hundred and eighteen, was

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<v Speaker 1>a trans woman. Elle Gobles was emperor for just four

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<v Speaker 1>years before her assassination in two hundred and twenty two,

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<v Speaker 1>a d at the age of eighteen. During that time,

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<v Speaker 1>she developed a reputation for pushing gender and sexual boundaries.

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<v Speaker 1>According to one classical source, she preferred she her pronouns

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<v Speaker 1>and announced on one occasion quote call me not lord,

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<v Speaker 1>for I am a lady. Ancient historians reported that she

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<v Speaker 1>wore makeup, shaved her body, and worked wool, a typically

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<v Speaker 1>feminine craft. One ancient historian, Diocassius, said that she would

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<v Speaker 1>stand outside taverns in a wig, soliciting lovers who walked by.

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<v Speaker 1>He further alleged that she had planned to approach a

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<v Speaker 1>physician about performing what today we would describe as a

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<v Speaker 1>vagino plasty. Those accounts led Keith Hoskins, executive member for

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<v Speaker 1>Arts at North Heartz Council, to say in a statement, quote,

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<v Speaker 1>Eligobolis most definitely preferred the she pronoun and as such

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<v Speaker 1>this is something we reflect when discussing her in contemporary times.

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<v Speaker 1>It is only polite and respectful to be sensitive to

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<v Speaker 1>identifying pronouns for people in the past. But this decision

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<v Speaker 1>proved controversial among classicists because none of those stories about

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<v Speaker 1>Eligobolus's gender presentation came directly from her. All of them

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<v Speaker 1>came from classical historians with something of a bone to

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<v Speaker 1>pick with the emperor. Dio Cassius, the ancient historian with

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<v Speaker 1>the most details about Eligobolis's femininity, was not a fan.

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<v Speaker 1>He was a senator under the emperor who had murdered her,

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<v Speaker 1>and therefore he had good reason to slander Eligabolis in

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<v Speaker 1>his writing. Masculinity was incredibly important to ancient Romans, and

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<v Speaker 1>so it was a common strategy for ancient historians to

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<v Speaker 1>depict emperors they didn't like as emasculated or feminine. Other emperors,

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<v Speaker 1>like Nero, Caligula, and even Julius Caesar were accused of

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<v Speaker 1>being too feminine. Nero was said to have worn the

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<v Speaker 1>bridal veil to marry a man, while Roman elder Curio

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<v Speaker 1>once said that Caesar was quote every man's woman. In fact,

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<v Speaker 1>because of his alleged affair with King Nicodemus, the fourth

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<v Speaker 1>of Bethenia, Caesar was called the Queen of Bethenia. In

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<v Speaker 1>the same way, you wouldn't turn to an attack ad

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<v Speaker 1>to write a political candidate's biography. It would be a

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<v Speaker 1>mistake to take those ancient invectives too literally. In an

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<v Speaker 1>article in The Guardian, Zach HER's, assistant professor of classics

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<v Speaker 1>at the University of Colorado in Boulder, said, quote these

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<v Speaker 1>quote unquote biographies of Eligobolis are hit pieces, and that

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<v Speaker 1>he would be inclined to read them as basically fictional.

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<v Speaker 1>Without any narrative accounts of Eligoblists from her perspective, It's

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<v Speaker 1>difficult to know what to make of these competing interpretations.

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<v Speaker 1>On one hand, there is no definitive proof of how

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<v Speaker 1>she identified, and contemporary classicists agree that these sources attesting

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<v Speaker 1>to her transness were biased, even offensive, political propaganda. But

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<v Speaker 1>at the same time, ancient Rome was an incredibly misogynistic

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<v Speaker 1>and transphobic society that prized a stoic, austere, tough masculinity

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<v Speaker 1>above all else. You could also argue that those sources

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<v Speaker 1>were so insulting because Eligobolis was threatening the gender norms

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<v Speaker 1>of the time. Many historical queer lives have shown up

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<v Speaker 1>in the archives in biased sources intending to smear them.

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<v Speaker 1>Given the dearth of transfigures in recorded Western history, Eligobolis

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<v Speaker 1>could be an important node in queer history. But given

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<v Speaker 1>that Roman visions of gender were so different from our own,

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<v Speaker 1>what does it mean for Eligobolists to have been trans?

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<v Speaker 1>How do we divine whatever Eligobolis's own desires were for

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<v Speaker 1>her gender when the historical record is so murky. I'm

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<v Speaker 1>Dana Schwartz, and this is noble blood. You probably noticed

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<v Speaker 1>that I'm also choosing to use feminine pronouns to refer

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<v Speaker 1>to Eligobolis. My reasoning is given that there is no

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<v Speaker 1>way of knowing for certain in this situation from more

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<v Speaker 1>than eighteen hundred years ago, I figure there's no harm

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<v Speaker 1>in choosing to be more inclusive rather than less. But

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<v Speaker 1>I do want to be very clear my analysis is

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<v Speaker 1>no means prescriptive or even necessarily correct. Given that gender

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<v Speaker 1>identity is an incredibly complicated topic, especially from historical eras

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<v Speaker 1>that didn't share a modern vocabulary or understanding, I don't

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<v Speaker 1>think we will ever find a definitive, quote unquote right

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<v Speaker 1>answer to how Eligabolis would have wanted to self identify.

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<v Speaker 1>But what we can do is examine her story with

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<v Speaker 1>nuance and try to understand it as best we can

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<v Speaker 1>given all the context available to us. Anyway, Eligobolos's rule

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<v Speaker 1>was controversial from the beginning. A little bit of background.

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<v Speaker 1>The previous emperor Macrinus had got the job by assassinating

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<v Speaker 1>the other candidate, Karkala, who was Eligabolus's cousin, and then

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<v Speaker 1>to ensure that Eligabolis's family wouldn't enact revenge. Macrinus exiled

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<v Speaker 1>the family to Syria, where Eligablis's family was originally from,

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<v Speaker 1>but exile did not stop Eligabolis's grandmother from plotting to

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<v Speaker 1>overthrow Macrinus. Their family led a religious sect that worshiped

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<v Speaker 1>the sun god eligabel The young Eligabolis, named after the deity,

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<v Speaker 1>was the heir to the priesthood of that religious sect,

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<v Speaker 1>even though at this time she was just fourteen. Soldiers

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<v Speaker 1>who visited Syria, many of whom supported the assassinated Caracala

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<v Speaker 1>over the new emperor, often stopped to see Eligabolis perform

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<v Speaker 1>her priestly rituals. They were purportedly captivated by her good

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<v Speaker 1>looks evocative of those of the young god Dionysus, and

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<v Speaker 1>her sensual dancing. Eligoblis's grandmother took advantage of that, lying

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<v Speaker 1>to the soldiers by telling them that Eligobolus was Caracalla's

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<v Speaker 1>illegitimate son and positioning her as the true heir to

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<v Speaker 1>the throne. The grandmother also bribed these soldiers with her

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<v Speaker 1>vast wealth, which these soldiers were excited to receive since

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<v Speaker 1>they already resented Macrinus for his stingy wages. These soldiers

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<v Speaker 1>declared Eligobolus the emperor and brought her to Antioch, where

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<v Speaker 1>Macrinus was based, to overthrow him and install her as

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<v Speaker 1>his replacement. When they got there, the troops launched an

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<v Speaker 1>attack on Macrinus, and they won, executing both Macrinus and

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<v Speaker 1>his son. Their severed heads were brought to Eligobolis as

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<v Speaker 1>war trophies, and the Roman senate was forced to accept

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<v Speaker 1>teenage Eligobolis as the new emperor. As Eligoblis made her

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<v Speaker 1>way from Antioch to Rome, ancient historian Herodian said that

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<v Speaker 1>Eligoblis had a painting of herself sent ahead to be

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<v Speaker 1>hung over a statue of the goddess Victoria in the

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<v Speaker 1>Senate house. She was said to have done this so

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<v Speaker 1>that the people would get to know her as the

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<v Speaker 1>new emperor in advance of her arrival, but many considered

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<v Speaker 1>it an act of hubris. Roman senators making an offering

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<v Speaker 1>to the goddess Victoria would have to kneel in front

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<v Speaker 1>of the painting of Eligoblis, seeming to put the new

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<v Speaker 1>emperor and the goddess on an equal playing field. Eligobless

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<v Speaker 1>finally arrived in Rome in the late summer of two

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<v Speaker 1>hundred and nineteen AD, refusing to wear the usual Roman

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<v Speaker 1>garb of wool togas. Instead, she donned a luxurious silk robe.

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<v Speaker 1>Given that Eligobles was barely through puberty when she began

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<v Speaker 1>her reign, her grandmother treated her as a proxy ruler.

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<v Speaker 1>During her rule, Eligoblus's mother, Julius Semias, and grandmother Julia

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<v Speaker 1>Mesa were the first women allowed into the Senate, Soemius

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<v Speaker 1>was given the senatorial title of Clarissima and Maisa was

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<v Speaker 1>deemed Mater castorum et senatus, or mother of the army

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<v Speaker 1>camp and of the Senate. Ancient historians noted how unorthodox

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<v Speaker 1>it was for women to be so influential on Eligoblus's rule,

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<v Speaker 1>with her mother and grandmother's likenesses printed on coins and inscriptions.

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<v Speaker 1>Another controversial aspect of Aligobolus's rule was her religious beliefs.

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<v Speaker 1>At the end of two hundred twenty, Eligoblus declared Eligobel

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<v Speaker 1>to be the central god of the Roman pantheon instead

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<v Speaker 1>of Jupiter, and made herself the quote highest priest of

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<v Speaker 1>the unconquered God, the son Eligabel, supreme Pontiff. Every summer

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<v Speaker 1>solstice she put on a festival in Eligobel's honor, distributing

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<v Speaker 1>free food and riding through the streets on a jewel

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<v Speaker 1>encrusted chariot. The Roman elites were scandalized that the populace

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<v Speaker 1>was worshiping a foreign god, and Eligobolus was to blame.

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<v Speaker 1>Eligobolus's love life was just as salacious. She took a

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<v Speaker 1>number of lovers, both male and female. Rumor had it

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<v Speaker 1>that Eligobolus wanted to marry a male charioteer named Heracles,

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<v Speaker 1>declaring him Caesar and herself his wife. She was also

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<v Speaker 1>said to have had an affair with athlete Aurelius Zodocus,

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<v Speaker 1>allegedly making him her husband and allowing him to have

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<v Speaker 1>political influence behind the scenes. Her most controversial relationationship was

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<v Speaker 1>with Vestal virgin Aquilia Severa, Vesta's high priestess, who Eligbleis

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<v Speaker 1>was said to have married in order to produce quote

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<v Speaker 1>godlike children. This was extremely taboo because any Vestal virgin

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<v Speaker 1>who had sex was supposed to be punished and buried alive.

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<v Speaker 1>These relationships were all speculations, but officially speaking, Eligbless would

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<v Speaker 1>end up marrying four times to four different women in

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<v Speaker 1>just four years. The emperor was also known to have

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<v Speaker 1>bizarre dinner parties. She gave her guests strange delicacies, like

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<v Speaker 1>camel's heels or flamingo's brains, or all green or all

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<v Speaker 1>blue meals. Sometimes she was said to have brought out

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<v Speaker 1>lions or bears to freely wander around the dining room.

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<v Speaker 1>One Roman historian alleged that she placed whoopee cushions on

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<v Speaker 1>all of the chairs as a prank, the first recorded

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<v Speaker 1>use of whoope cushions in Western history. These deviations from

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<v Speaker 1>quote normal Roman life made Eligoblis unpopular. When her grandmother,

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<v Speaker 1>Julia Mason, noted that Eligabless's reputation had soured, she decided

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<v Speaker 1>to replace her with her other daughter's son, Severus Alexander,

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<v Speaker 1>who was fifteen. Alexander was elevated to caesar in June

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<v Speaker 1>two hundred and twenty one, and Eligables and Alexander were

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<v Speaker 1>expected to rule together over the following year. Eligobless went

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<v Speaker 1>along with it at first, but she grew disillusioned with

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<v Speaker 1>being a co emperor. When she started noticing that the

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<v Speaker 1>Imperial Roman army liked Alexander better. She petitioned the Senate

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<v Speaker 1>to depose Alexander, and when they refused, she tried to

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<v Speaker 1>have him assassinated to no avail. According to ancient historian

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<v Speaker 1>Cassius Dio, Eligablis started a rumor that Alexander was about

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<v Speaker 1>to die to make sure the Imperial army wasn't on

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<v Speaker 1>his side. A riot broke out, with many soldiers trying

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<v Speaker 1>to throw Eligabolis into the barracks. On March thirteenth, two

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<v Speaker 1>hundred twenty two, Eligableis appeared to step down, she and

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<v Speaker 1>her mother performing a ceremony where they officially passed the

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<v Speaker 1>torch to Alexander. Upon hearing the soldiers cheer louder for

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<v Speaker 1>Alexander than they did for her, she was incensed and

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<v Speaker 1>immediately changed her mind. She called for the arrest and

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<v Speaker 1>execution of everyone there. The imperial army responded by attacking

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<v Speaker 1>Eligabilis and her mother. They tried to flee, but she

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<v Speaker 1>was found her mother holding her tight. They were both killed,

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<v Speaker 1>with their heads cut off and their bodies stripped, naked

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<v Speaker 1>and dragged across Rome. Not everything in that story, compiled

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<v Speaker 1>together from various and all very biased sources, can be verified.

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<v Speaker 1>Modern classicists have confirmed only the basics that Eligabolis was

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<v Speaker 1>the head priest of the worship of the Sun god.

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<v Speaker 1>Eligabel arrived from Syria to violently take over the Roman

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<v Speaker 1>government when she was fourteen, ruled for four years, married

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<v Speaker 1>four times, and was executed and succeeded by her cousin Alexander.

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<v Speaker 1>The most lurid details, including unfortunately planting whoopee cushions on

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<v Speaker 1>unsuspecting dinner guests, were all possibly fabricated. Many of the

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<v Speaker 1>most controversial aspects of her rule were related to her

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<v Speaker 1>gender and sexuality, from dancing sensually to posing as a

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<v Speaker 1>sex worker outside of a bar, to marrying a vestal

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<v Speaker 1>virgin and proposing to a male charioteer. But where did

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<v Speaker 1>those details come from and why would ancient historians have

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<v Speaker 1>invented or exaggerated them. Why was Eligobolis's gender and sexuality

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<v Speaker 1>such an issue for ancient historians? As I mentioned earlier,

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<v Speaker 1>Eligabolists reigned during a time when Rome had extremely strict

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<v Speaker 1>standards for masculinity. The ideal Roman citizen exhibited masculine characteristics

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<v Speaker 1>like valor, excellence, courage, dominance, and an austere presentation, as

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<v Speaker 1>opposed to women who were considered decadent, soft, and extravagant.

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<v Speaker 1>Men who didn't fit the masculine ideal were considered to

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<v Speaker 1>be afflicted with molita, a Latin term which can be

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<v Speaker 1>translated as softness or effeminacy. Those with mantilla were considered

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<v Speaker 1>to be preoccupied with their appearances. They shaved their bodies,

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<v Speaker 1>wore perfume, and rouged their cheeks. They were also seen

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<v Speaker 1>as overly indulgent, eating rich foods and seeking out sex.

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<v Speaker 1>These tropes almost perfectly describe ancient historians' depictions of Eligobolis.

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<v Speaker 1>Eligobolus was considered to have molita, uniting her love of

0:17:28.119 --> 0:17:34.600
<v Speaker 1>lavish dinner parties, expensive robes, and voracious sexual appetites. The

0:17:34.760 --> 0:17:38.359
<v Speaker 1>term molita also gives us a clue as to why

0:17:38.800 --> 0:17:45.280
<v Speaker 1>Eligabolis's sexuality and gender were such huge issues for ancient historians.

0:17:46.000 --> 0:17:51.920
<v Speaker 1>Because sexuality was so deeply tied to Roman ideals, molita

0:17:52.119 --> 0:17:57.439
<v Speaker 1>was typically assigned to outsiders, especially from the quote East.

0:17:58.200 --> 0:18:05.159
<v Speaker 1>Romans viewed Persians and Syrians as overly extravagant, feminine, sexual,

0:18:05.280 --> 0:18:10.280
<v Speaker 1>and servile. A common trope of Molita was the mythical

0:18:10.560 --> 0:18:16.800
<v Speaker 1>Sardanopoulis of Assyria. Allegedly, Sardanopoulos lived as a woman during

0:18:16.880 --> 0:18:21.160
<v Speaker 1>his rule, hanging out with his concubines, putting on cosmetics,

0:18:21.560 --> 0:18:26.879
<v Speaker 1>speaking with a higher tone, wearing women's clothing, and spinning wool.

0:18:27.359 --> 0:18:31.800
<v Speaker 1>He also drank heavily and pursued both men and women

0:18:32.200 --> 0:18:35.840
<v Speaker 1>without a care for his reputation, much to the chagrin

0:18:36.080 --> 0:18:41.000
<v Speaker 1>of Roman authors. Many of those same tropes also show

0:18:41.119 --> 0:18:44.760
<v Speaker 1>up in descriptions of Eligabolis, who was also said to

0:18:44.800 --> 0:18:48.800
<v Speaker 1>have affected a quote soft and melting voice to sound

0:18:48.880 --> 0:18:52.840
<v Speaker 1>more like a woman where eyeshadow, work with wool, and

0:18:53.040 --> 0:18:57.760
<v Speaker 1>hang out with sex workers. Cassius Dio, the ancient historian

0:18:57.800 --> 0:19:02.280
<v Speaker 1>who had the most issues with eligablo alleged femininity, even

0:19:02.400 --> 0:19:09.119
<v Speaker 1>called Eligoblis Sardanopoulos. According to contemporary historian martin Ix, many

0:19:09.320 --> 0:19:15.719
<v Speaker 1>Romans nicknamed her the Assyrian. Ancient historian Herodian also ties

0:19:15.840 --> 0:19:21.000
<v Speaker 1>Eligoblis's femininity to her status as a foreigner, especially as

0:19:21.080 --> 0:19:26.679
<v Speaker 1>the high priestess of an unfamiliar religion. Herodian emphasizes that

0:19:26.720 --> 0:19:32.920
<v Speaker 1>Eligobolus performed orgiastic dances in the temple of Amisia in Syria,

0:19:33.320 --> 0:19:36.920
<v Speaker 1>and then brought those dances to perform in altars around

0:19:37.119 --> 0:19:41.720
<v Speaker 1>Rome and even in the theater, embodying a sensual foreign

0:19:41.800 --> 0:19:46.520
<v Speaker 1>sensibility inappropriate for the leader of Rome. He also suggests

0:19:46.640 --> 0:19:52.240
<v Speaker 1>that Eligoblis's Syrian origins caused her to reject standard Roman

0:19:52.400 --> 0:19:57.679
<v Speaker 1>men's clothing, preferring silk dresses with gold embroidery and gem

0:19:57.880 --> 0:20:03.880
<v Speaker 1>covered golden tiaras, which Herodian associates with the Phoenicians, as

0:20:03.880 --> 0:20:08.359
<v Speaker 1>opposed to the plain wool clothes worn by most Roman men.

0:20:09.240 --> 0:20:14.400
<v Speaker 1>Eligoblis's foreign femininity was such a problem for ancient historians

0:20:14.800 --> 0:20:18.800
<v Speaker 1>because the emperor, as the most powerful person in Rome,

0:20:19.480 --> 0:20:25.040
<v Speaker 1>was expected to embody their version of ideal manliness. The

0:20:25.200 --> 0:20:30.080
<v Speaker 1>perfect Roman man was expected to dominate in his relationships

0:20:30.119 --> 0:20:33.680
<v Speaker 1>with women or boys, but also on a wider scale

0:20:33.880 --> 0:20:38.920
<v Speaker 1>with foreigners. The emperor being a foreigner herself not only

0:20:39.000 --> 0:20:42.359
<v Speaker 1>meant that she didn't care to be the ideal Roman man,

0:20:42.840 --> 0:20:47.880
<v Speaker 1>but also that she wasn't advancing Roman cultural dominance by

0:20:48.119 --> 0:20:54.879
<v Speaker 1>embodying absolute masculinity. This helps us to explain another aspect

0:20:55.240 --> 0:21:01.879
<v Speaker 1>of Eligboless's transness, her stereotypically feminine and passive role in sex.

0:21:02.640 --> 0:21:06.360
<v Speaker 1>In her sexual life, she was said to quote recreate

0:21:06.600 --> 0:21:12.840
<v Speaker 1>female characteristics within the male. The Historia Augusta presents Eligabolis

0:21:12.880 --> 0:21:16.960
<v Speaker 1>as quote taking the role of Venus in her private

0:21:17.119 --> 0:21:20.000
<v Speaker 1>re enacting of the story of the Judgment of Paris,

0:21:20.520 --> 0:21:24.240
<v Speaker 1>even going so far as to quote model the expression

0:21:24.359 --> 0:21:28.200
<v Speaker 1>on her face onto which that Venus is usually painted.

0:21:29.240 --> 0:21:32.840
<v Speaker 1>Cassius Dio adds that she slept with women to learn

0:21:32.920 --> 0:21:36.359
<v Speaker 1>to quote imitate their actions when she should lie with

0:21:36.440 --> 0:21:40.119
<v Speaker 1>her male lovers. She was said to have hired agents

0:21:40.200 --> 0:21:44.160
<v Speaker 1>to find and bring well endowed men to her quarters,

0:21:44.600 --> 0:21:50.160
<v Speaker 1>occasionally seeking them out herself at public baths. Ancient Romans

0:21:50.320 --> 0:21:56.119
<v Speaker 1>saw gender and sexuality as inexorably intertwined. They had a

0:21:56.200 --> 0:22:00.880
<v Speaker 1>gender binary, but one's gender identity was determined by someone's

0:22:00.960 --> 0:22:04.480
<v Speaker 1>birth sex, as well as the role they played in

0:22:04.560 --> 0:22:10.000
<v Speaker 1>sexual encounters. One half of the binary was the penetrators,

0:22:10.040 --> 0:22:14.439
<v Speaker 1>who were seen as strong, stoic, aggressive, and masculine, and

0:22:14.640 --> 0:22:19.719
<v Speaker 1>the other half were the penetrated, who were seen as weak, frivolous,

0:22:19.880 --> 0:22:24.080
<v Speaker 1>vein and feminine. If you were a penetrator. Who you

0:22:24.119 --> 0:22:27.199
<v Speaker 1>were attracted to didn't matter. You could have sex with

0:22:27.359 --> 0:22:31.080
<v Speaker 1>men or women, and you would still be considered masculine

0:22:31.359 --> 0:22:34.520
<v Speaker 1>as long as you took the active role during sex.

0:22:35.119 --> 0:22:37.720
<v Speaker 1>On the other hand, if you took a passive role

0:22:37.840 --> 0:22:43.280
<v Speaker 1>during sex, that would fundamentally change your gender identity. Women

0:22:43.400 --> 0:22:47.720
<v Speaker 1>and men who were penetrated in sexual encounters were both

0:22:48.000 --> 0:22:52.040
<v Speaker 1>considered to be feminine. As long as your sexual role

0:22:52.160 --> 0:22:57.040
<v Speaker 1>aligned with your societal role. Men being the penetrators and

0:22:57.160 --> 0:23:02.840
<v Speaker 1>women being the penetrated, you'd fit within Roman gender norms.

0:23:03.400 --> 0:23:07.359
<v Speaker 1>If you deviated from those norms, most commonly by being

0:23:07.440 --> 0:23:11.160
<v Speaker 1>a man that also wanted to be penetrated, you would

0:23:11.200 --> 0:23:16.040
<v Speaker 1>be humiliated and insulted for being too womanly. It also

0:23:16.240 --> 0:23:19.400
<v Speaker 1>went the other way around. If a man were thought

0:23:19.440 --> 0:23:23.000
<v Speaker 1>of as too womanly or soft, he would be assumed

0:23:23.119 --> 0:23:27.480
<v Speaker 1>to be the passive partner in sex. Who was allowed

0:23:27.680 --> 0:23:31.320
<v Speaker 1>to be the passive partner in sex depended not only

0:23:31.440 --> 0:23:36.320
<v Speaker 1>on one's gender, but also on their societal role. Women,

0:23:36.520 --> 0:23:42.080
<v Speaker 1>being the quote inferior gender, had to always occupy a

0:23:42.200 --> 0:23:48.200
<v Speaker 1>sexually passive role. Boys, slaves, and foreigners were also permitted

0:23:48.240 --> 0:23:51.840
<v Speaker 1>to be sexually passive. In their relationships with adult men.

0:23:52.960 --> 0:23:57.480
<v Speaker 1>This dynamic shows up in historical accounts of eligobolists. It

0:23:57.600 --> 0:24:01.040
<v Speaker 1>was fine for Eligoblists to do sexy dances as a

0:24:01.080 --> 0:24:04.880
<v Speaker 1>young attractive boy, but she was expected to age out

0:24:04.920 --> 0:24:08.760
<v Speaker 1>of it in her adulthood. It was extra scandalous that

0:24:08.800 --> 0:24:12.479
<v Speaker 1>she was sexually passive, given that she was the ruler

0:24:12.600 --> 0:24:19.040
<v Speaker 1>of Rome, expected to dominate everyone at all times. Contemporary

0:24:19.119 --> 0:24:24.720
<v Speaker 1>classicist Zachary Hurs alludes to another Roman trope to describe

0:24:24.880 --> 0:24:31.160
<v Speaker 1>why Eligabolis was depicted as sexually passive, the Canidis. This

0:24:31.280 --> 0:24:36.160
<v Speaker 1>word does not have a direct translation, It functions as

0:24:36.200 --> 0:24:41.000
<v Speaker 1>a kind of slur that describes foreign born men who

0:24:41.160 --> 0:24:46.880
<v Speaker 1>dance sensually and like to be anally penetrated, which nearly

0:24:47.160 --> 0:24:52.159
<v Speaker 1>exactly lines up with depictions of Eligabolis. Given that the

0:24:52.240 --> 0:24:57.880
<v Speaker 1>Canidis only shows up in politically charged smear campaigns, historians

0:24:57.920 --> 0:25:00.240
<v Speaker 1>tend to think of the Canidis as more of a

0:25:00.440 --> 0:25:05.680
<v Speaker 1>concept character or trope than an actual identity. Hers calls

0:25:05.720 --> 0:25:09.639
<v Speaker 1>the Cannidis a quote public identity, comparing the concept to

0:25:09.720 --> 0:25:15.080
<v Speaker 1>the contemporary idea of the stereotypical welfare queen. While the

0:25:15.280 --> 0:25:20.040
<v Speaker 1>character could describe real individuals. It functioned more as a

0:25:20.160 --> 0:25:25.800
<v Speaker 1>rhetorical tool, intended to draw the public's attention to dangers

0:25:25.840 --> 0:25:31.840
<v Speaker 1>to the status quo. Hers read depictions of Eligobolus's canidis

0:25:32.119 --> 0:25:36.959
<v Speaker 1>like sexual passivity as an expression of anxiety about the

0:25:37.000 --> 0:25:42.199
<v Speaker 1>state of Roman political life. Emperors previously had been chosen

0:25:42.320 --> 0:25:46.840
<v Speaker 1>from an elite class of senators and died peacefully after

0:25:46.880 --> 0:25:52.160
<v Speaker 1>a successor had already been determined. But Eligabolis was symptomatic

0:25:52.280 --> 0:25:56.840
<v Speaker 1>of a new status quo in which military support mattered

0:25:56.880 --> 0:26:01.480
<v Speaker 1>more than senatorial support, and new two emperors, most of

0:26:01.520 --> 0:26:04.199
<v Speaker 1>whom had barely gone through puberty by the time they

0:26:04.240 --> 0:26:09.280
<v Speaker 1>came to power, rose to the throne violently. Cassius Dio

0:26:09.400 --> 0:26:14.199
<v Speaker 1>and Marius Maximus, senators who wrote popular histories of Eligobolis,

0:26:14.560 --> 0:26:18.240
<v Speaker 1>would have been salty about losing power in that new system,

0:26:18.720 --> 0:26:23.160
<v Speaker 1>and they used the power of their pens to denigrate Eligabolis.

0:26:23.800 --> 0:26:28.280
<v Speaker 1>The stock character of the Canidis was a powerful tool,

0:26:28.840 --> 0:26:32.800
<v Speaker 1>not only because the Canidis was viewed in derogatory terms,

0:26:33.280 --> 0:26:38.760
<v Speaker 1>but because canidie never spoke for themselves. Lacking the political

0:26:38.840 --> 0:26:44.359
<v Speaker 1>upper hand, ancient historians took the rhetorical one. As Hers

0:26:44.400 --> 0:26:48.119
<v Speaker 1>put it Quote Doo and Maximus could no longer govern,

0:26:48.560 --> 0:26:54.639
<v Speaker 1>but they still could write ancient historians bias against Eligobolists

0:26:55.000 --> 0:26:59.320
<v Speaker 1>could partly explain why she was feminized in the historical record.

0:27:00.080 --> 0:27:03.280
<v Speaker 1>As we mentioned earlier in the episode, it was common

0:27:03.440 --> 0:27:08.359
<v Speaker 1>practice for ancient historians to call leaders quote too feminine

0:27:08.720 --> 0:27:13.360
<v Speaker 1>as a means to discredit them. But still, even considering

0:27:13.520 --> 0:27:20.800
<v Speaker 1>that tradition, Eligobolis remains an outlier. Other leaders like Julius, Caesar, Nero,

0:27:20.960 --> 0:27:26.040
<v Speaker 1>and Caligula were all alleged to be keneidie, wearing women's clothing,

0:27:26.200 --> 0:27:30.640
<v Speaker 1>acting passively during sex, and shaving their bodies, but none

0:27:30.720 --> 0:27:35.240
<v Speaker 1>of them have been reconsidered by contemporary historians to be

0:27:35.600 --> 0:27:43.520
<v Speaker 1>trans women. What makes Eligobolis so different. What's so striking

0:27:43.640 --> 0:27:48.480
<v Speaker 1>about Eligobolus's gender presentation is that she bucked traditional Roman

0:27:48.560 --> 0:27:52.760
<v Speaker 1>understandings of sex and gender. While Caesar may have been

0:27:53.000 --> 0:27:56.520
<v Speaker 1>every man's wife and Nero was said to have acted

0:27:56.600 --> 0:27:59.760
<v Speaker 1>as a bride in a marriage ceremony to one of

0:27:59.800 --> 0:28:04.240
<v Speaker 1>his freedmen, Elligoblis asked to be treated as a woman

0:28:04.400 --> 0:28:08.560
<v Speaker 1>throughout her life, not just during sex or in relation

0:28:08.880 --> 0:28:13.200
<v Speaker 1>to a male partner. She appeared to have a remarkably

0:28:13.520 --> 0:28:17.720
<v Speaker 1>modern view of gender as an identity separate from her

0:28:17.800 --> 0:28:23.400
<v Speaker 1>sexual role, but whether or not Eligblis actually represented herself

0:28:23.440 --> 0:28:28.440
<v Speaker 1>as a woman remains up for debate. Unlike many historical

0:28:28.520 --> 0:28:33.680
<v Speaker 1>queer figures, Eligoblis, as the ruler of Rome, had power

0:28:33.800 --> 0:28:38.120
<v Speaker 1>over how she represented herself through statues and coins she

0:28:38.200 --> 0:28:44.240
<v Speaker 1>commissioned as official representations of her and her reign. According

0:28:44.440 --> 0:28:49.600
<v Speaker 1>to scholar Eric R. Varner, imperial portraits and coins were

0:28:49.880 --> 0:28:54.400
<v Speaker 1>actually at times a space in which rulers blurred gender

0:28:54.440 --> 0:28:59.719
<v Speaker 1>boundaries in their self presentation. Beginning with Augustus, male rulers,

0:28:59.800 --> 0:29:05.240
<v Speaker 1>ais and goddesses were visually conjoined. For example, on certain coins,

0:29:05.600 --> 0:29:10.400
<v Speaker 1>Augustus's face was put on the goddess Diana's body, with

0:29:10.520 --> 0:29:14.440
<v Speaker 1>her hair cascading from his head. There's also an example

0:29:14.480 --> 0:29:17.880
<v Speaker 1>of a statue of Marcus Aurelius with his head added

0:29:17.920 --> 0:29:22.800
<v Speaker 1>to a female body dressed in an ornate toga. That said,

0:29:23.040 --> 0:29:27.560
<v Speaker 1>even with that precedent for gender bending in Roman imperial representations,

0:29:28.080 --> 0:29:33.640
<v Speaker 1>Eligoblus's portraits adhered to masculine standards. This isn't to say

0:29:33.640 --> 0:29:36.920
<v Speaker 1>that her coins were typical, fitting the rest of her

0:29:37.120 --> 0:29:42.080
<v Speaker 1>norm flouting rein Her coins are strange. Roman coins typically

0:29:42.120 --> 0:29:44.880
<v Speaker 1>have a head's side with a portrait of an important

0:29:44.920 --> 0:29:49.280
<v Speaker 1>person and a tail's side with a scene including Roman

0:29:49.360 --> 0:29:54.160
<v Speaker 1>gods or a personification of Rome, intended to reinforce the

0:29:54.280 --> 0:29:57.479
<v Speaker 1>dominance of Rome and the legitimacy of the current ruler.

0:29:58.120 --> 0:30:03.480
<v Speaker 1>In Eligobolus's coins, the quote tales side has a chariot

0:30:03.640 --> 0:30:06.360
<v Speaker 1>pulling a meteorite with an eagle on top of it,

0:30:06.760 --> 0:30:11.800
<v Speaker 1>an image utterly unique to her rule. On the head's side,

0:30:12.120 --> 0:30:16.680
<v Speaker 1>her portraits depict her wearing her sacred robes, again flouting

0:30:16.840 --> 0:30:21.760
<v Speaker 1>Roman norms of austere dress. Even though these coins break

0:30:21.840 --> 0:30:26.400
<v Speaker 1>from conventions in most ways, they do portray her as male,

0:30:26.880 --> 0:30:31.200
<v Speaker 1>with sideburns and a mustache. That said, she could have

0:30:31.360 --> 0:30:36.400
<v Speaker 1>publicly identified as male and expressed her transness in private,

0:30:37.240 --> 0:30:40.200
<v Speaker 1>or she could have tried to persuade the members of

0:30:40.240 --> 0:30:43.719
<v Speaker 1>her court for her coins to represent her as a woman,

0:30:44.120 --> 0:30:48.400
<v Speaker 1>and they could have refused. It remains unclear whether and

0:30:48.560 --> 0:30:52.720
<v Speaker 1>to what extent Eligabolis wanted to be seen as a woman,

0:30:53.440 --> 0:30:57.440
<v Speaker 1>given that the one source that attests to her requesting

0:30:57.560 --> 0:31:01.160
<v Speaker 1>to be referred to by feminine pronouns and requesting a

0:31:01.280 --> 0:31:06.040
<v Speaker 1>vaginoplasty come from one source with every intention to slander

0:31:06.120 --> 0:31:09.840
<v Speaker 1>her and her feminine qualities. It's hard to argue that

0:31:09.840 --> 0:31:13.640
<v Speaker 1>that is inherently an accurate rendering of her wishes to

0:31:13.680 --> 0:31:17.640
<v Speaker 1>be treated as a woman. There's no evidence that explicitly

0:31:17.800 --> 0:31:22.800
<v Speaker 1>refutes that framing, but there's nothing that directly supports it either.

0:31:24.040 --> 0:31:27.640
<v Speaker 1>With the evidence we do have, it seems most likely

0:31:27.840 --> 0:31:32.560
<v Speaker 1>that she was, at least to a certain extent, transfeminized

0:31:32.640 --> 0:31:37.600
<v Speaker 1>by a society hostile to any form of gender nonconformity.

0:31:38.240 --> 0:31:44.120
<v Speaker 1>Her religious dancing and silk robes threatened Roman norms of masculinity,

0:31:44.320 --> 0:31:49.720
<v Speaker 1>especially for emperors. Ancient historians interpreted this as evidence that

0:31:49.800 --> 0:31:53.120
<v Speaker 1>she presented herself as a woman, both in terms of

0:31:53.160 --> 0:31:57.080
<v Speaker 1>her appearance and her sexual role. They portrayed her this

0:31:57.160 --> 0:32:00.440
<v Speaker 1>way not necessarily because they took any interest in how

0:32:00.480 --> 0:32:04.640
<v Speaker 1>she understood herself, but in order to emphasize the danger

0:32:04.760 --> 0:32:08.840
<v Speaker 1>of her foreign influence. It was a kind of trans

0:32:09.000 --> 0:32:13.520
<v Speaker 1>panic about excessive femininity at the center of Roman life,

0:32:13.960 --> 0:32:20.920
<v Speaker 1>conflating male femininity with sex, work, decadence, and irresponsibility. But

0:32:21.120 --> 0:32:25.960
<v Speaker 1>this portrait of Eligobolis as a decadent, opulent emperor has

0:32:26.000 --> 0:32:30.720
<v Speaker 1>also kept her alive in the literary imagination. Her flounting

0:32:30.800 --> 0:32:34.320
<v Speaker 1>the status quo made her an inspirational figure to many

0:32:34.520 --> 0:32:38.600
<v Speaker 1>artists and writers. In the nineteen sixties, a number of

0:32:38.760 --> 0:32:43.920
<v Speaker 1>queer writers created fictional portraits of her reign, from boddice

0:32:44.000 --> 0:32:47.880
<v Speaker 1>rippers like Child of the Sun to literary fiction like

0:32:47.920 --> 0:32:52.800
<v Speaker 1>the novel Family Favorites. At a time when homosexuality was

0:32:52.840 --> 0:32:58.240
<v Speaker 1>still criminalized right before the Stonewall Riots, those more sympathetic

0:32:58.360 --> 0:33:02.920
<v Speaker 1>depictions of Eligobolis situated her as a node in a

0:33:03.120 --> 0:33:09.320
<v Speaker 1>longer queer lineage. We may never know exactly who Eligobolis

0:33:09.640 --> 0:33:13.080
<v Speaker 1>was or how she saw herself, but she opens up

0:33:13.160 --> 0:33:18.000
<v Speaker 1>the possibility to consider queer life in other eras, and

0:33:18.040 --> 0:33:22.240
<v Speaker 1>she allows us to examine the complexities of how ancient

0:33:22.360 --> 0:33:32.640
<v Speaker 1>Romans viewed sex and gender. That's the end of the

0:33:32.680 --> 0:33:36.160
<v Speaker 1>story of Eligobolis, but stick around after a brief sponsor

0:33:36.200 --> 0:33:40.640
<v Speaker 1>break to see how Eligbolis inspired Oscar Wilde's picture of

0:33:40.720 --> 0:33:56.720
<v Speaker 1>Dorian Gray. Oscar Wilde learned about Eligobolis while honeymooning in Paris,

0:33:57.120 --> 0:33:59.920
<v Speaker 1>where he picked up a copy of Yours Karl Heusmann

0:34:00.200 --> 0:34:03.840
<v Speaker 1>book a reboir that had just come out. Araboar was

0:34:03.880 --> 0:34:09.120
<v Speaker 1>a novel that celebrated decadence, centering around an eccentric dandy

0:34:09.480 --> 0:34:14.080
<v Speaker 1>who retreats into his own esthetic world. Heismans brings up

0:34:14.120 --> 0:34:19.040
<v Speaker 1>Eligobolis as a fellow aesthete, a figure that transcended her

0:34:19.080 --> 0:34:24.360
<v Speaker 1>everyday life by focusing on beauty and excess. That book

0:34:24.560 --> 0:34:28.960
<v Speaker 1>inspired Oscar Wilde to write the Picture of Dorian Gray

0:34:29.560 --> 0:34:32.880
<v Speaker 1>to such a degree actually, that both texts were cited

0:34:33.280 --> 0:34:38.200
<v Speaker 1>in Wild's eighteen ninety five trial for gross indecency as

0:34:38.320 --> 0:34:43.520
<v Speaker 1>evidence of his degeneracy. In the original manuscript of Dorian Gray,

0:34:43.960 --> 0:34:48.640
<v Speaker 1>Wild cites Eligabolus as a true esthete in his musings

0:34:48.680 --> 0:34:52.680
<v Speaker 1>about the nature of art, writing quote the young Priest

0:34:52.800 --> 0:34:55.480
<v Speaker 1>of the Sun, while yet a boy had been slain

0:34:55.560 --> 0:34:59.040
<v Speaker 1>for his sins, used to walk in jeweled shoe on

0:34:59.239 --> 0:35:03.680
<v Speaker 1>dust of gold in silver. This reference to Eligbolis and

0:35:03.880 --> 0:35:07.880
<v Speaker 1>any reference to Aragua was cut from the final text.

0:35:08.520 --> 0:35:12.760
<v Speaker 1>It's unclear why Eligabolis didn't make it into the final draft,

0:35:13.160 --> 0:35:18.040
<v Speaker 1>but scholar Nicholas Frankel suggests that editor John Marshall Stoddart

0:35:18.320 --> 0:35:24.239
<v Speaker 1>quote oversaw the elimination of anything that's smacked generally of decadence,

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<v Speaker 1>and Eligbolis certainly fit the bill. Noble Blood is a

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<v Speaker 1>production of iHeartRadio and Grimm and Mild from Aaron Manky.

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<v Speaker 1>Noble Blood is hosted by me Danish Forts, with additional

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<v Speaker 1>writing and researching by Hannah Johnston, Hannah Zwick, Courtney Sender,

0:35:55.400 --> 0:35:59.640
<v Speaker 1>Julia Milani, and Armand Cassam. The show is edited and

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<v Speaker 1>perdue used by Noahmy Griffin and rima Il Kahali, with

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<v Speaker 1>supervising producer Josh Thain and executive producers Aaron Mankey, Alex Williams,

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<v Speaker 1>and Matt Frederick. For more podcasts from iHeartRadio, visit the

0:36:15.040 --> 0:36:19.319
<v Speaker 1>iHeartRadio app, Apple Podcasts, or wherever you listen to your

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<v Speaker 1>favorite shows.