Domina in a Blue Dress: The Sexual Authority of Atia of the Julii

Monica S. Cyrino

University of New Mexico

The HBO series Rome is remarkable for its presentation of strong, impressively drawn female characters. As the official website declares: “In a culture in which women lack formal power, and men leave for months and years on military campaigns, the wives, daughters, and mothers have built powerful networks of alliances completely independent of the men's worlds” (www.hbo.com/rome). Among these female characters is the vigorous and brilliant portrayal of Atia, the historical niece of Julius Caesar and mother of young Octavian, played by gifted British actress, Polly Walker (Enchanted April, Patriot Games). “Atia is among the women who serve as the shadow rulers of Rome” (www.hbo.com/rome). Critics and journalists writing about the series convey a gleeful unanimity in describing the role of Atia in terms of sheer female evil manifested through a seductive, compelling and thus dangerous sexuality, while their comments also reveal an intriguing preconception about women’s hair color. “There [is]… a show-stealing turn by Polly Walker as Atia, Caesar’s scheming niece; with her flaming red hair and willingness to trade sex for power, she’s like a Latin version of The O.C.’s villain Julie Cooper” (James Poniewozik, Time, August 22, 2005, 65). “Think Alexis Carrington with red hair and less clothing” (Lynette Rice, Entertainment Weekly, August 26, 2005, 29).

This paper will consider the character and actions of Atia, going beyond the color of her hair and her alleged similarities to other modern television vixens, as she expresses her personal authority and self-determination through her complex and vibrant sexuality. The paper will explore Atia’s passionate (though unhistorical) erotic relationship with the brutish but physically alluring Mark Antony (James Purefoy), by examining several scenes where they engage in both sizzling dialogue and graphic sexual activity. This paper will describe how the series presents a clear reversal of the power and gender hierarchies between the lovers that is reminiscent of the Roman elegiac theme of servitium amoris: while Antony pines for her, his domina Atia controls the relationship through a skillful combination of wit and will. In her relationships with her children, Atia also conveys her confident sexuality and authority. This paper will examine how Atia seeks to mold the sexual nature of her teenaged son, Octavian, whose “distinctly feminine anima” is of great concern to her. The maternal bond with her daughter, Octavia, is more complicated, in that Atia attempts to incite the prim Octavia to a more robust sexuality, but is devastated to learn of Octavia’s erotic affair with her rival, Servilia. Yet through the force of her charm, intelligence and resolve, and a wicked sense of humor, Atia succeeds in drawing both of her children, as well as Antony, back into her circle of trust by the end of the twelve-episode arc.

In this investigation, my paper will also demonstrate how Atia articulates a strong and singular virtus in the way her character’s motivation is depicted in the series. The other female characters are motivated by stereotypically “womanly” emotions – Servilia is driven to vengeance because of her erotic rejection by Caesar; Niobe, wife of the centurion Vorenus, is compelled to anxious deception due to her marital infidelity and secret illegitimate son; and young Octavia is left vulnerable to the manipulations of others in her grief and confusion over her husband’s death. Yet Atia is motivated by the most “masculine,” even characteristically Julian, of all goals – to secure the growing power of her family and establish a dynastic succession for her son. In effecting her goals, Atia is certainly ruthless and even vicious, but she also exhibits the highest degree of purpose, integrity and loyalty to her family. This paper will endeavor to redeem Atia from the one-dimensional “she-devil” characterization of the journalists, while recognizing the usefulness of such publicity for attracting viewers to the series.

While this paper will not deal with the historical Atia per se, it will situate the Atia of HBO’s Rome within the matrix of female screen characters in earlier representations of ancient Rome in film and on television, and suggest how the character of Atia might resonate with women in contemporary society today.