Julia Balbilla

Julia Balbilla
Princess of Commagene
Born	AD 72 Rome, Roman Empire
Died	after AD 130
Names Julia Balbilla
House	Orontid
Father	Gaius Julius Archelaus Antiochus Epiphanes
Mother	Claudia Capitolina

Julia Balbilla (Greek: Ἰουλία Βαλβίλλα, AD 72 – after AD 130) was a Roman noble woman and poet.[1] Whilst in Thebes, touring Egypt as part of the imperial court of Hadrian, she inscribed three epigrams which have survived.[2]

Family and early life

Balbilla's family were well-connected members of the royal family of the Kingdom of Commagene, a principality in what is now Turkey which was annexed by the Roman Empire.[3] As well as Egyptian and Greek elements, Balbilla's ancestry included Armenian, Median, Syrian and Seleucian lines. Balbilla was the second child of Gaius Julius Archelaus Antiochus Epiphanes and Claudia Capitolina, a Greek woman born in Alexandria. Her older brother was Gaius Julius Antiochus Epiphanes Philopappos, one of the first men of eastern descent to become consul at Rome.

Balbilla's parents were distant cousins. Claudia Capitolina's paternal grandmother was Aka II of Commagene, the great-granddaughter of Antiochus I Theos of Commagene. Balbilla's father, was the first born child of Antiochus IV of Commagene and Julia Iotapa of Commagene. Both Antiochus IV and Iotapa were descendants of Antiochus I Theos.

Balbilla's maternal grandfather, after whom she was named, was Tiberius Claudius Balbilus, a Greek of Egyptian descent. He was an astrologer and a learned scholar. He became one of the highest ranking magistrates of the Equestrian order and was Prefect of Egypt from AD 55 to 59.[4] Balbilus and his father, Thrasyllus of Mendes (Tiberius Claudius Thrasyllus), a grammarian and astrologer were friends of the first Roman emperors including Tiberius, Claudius and Vespasian.

Balbilla's paternal grandparents, Antiochus IV of Commagene and Queen Julia Iotapa were puppet rulers under Rome. Balbilla was born and raised in Rome in the household of her paternal grandfather, Antiochus IV. Prior to Balbilla's birth, Vespasian had ordered Antiochus IV to abdicate the throne of Commagene because of his alleged disloyalty to Rome. Antiochus IV and his brother, Callinicus, were accused of colluding with the Kingdom of Parthia against Rome. It is unknown whether these accusations were true. Vespasian gave Antiochus IV sufficient revenue for a luxurious life in Rome. This afforded Balbilla and her brother a traditional Greek education.

The family later moved to Athens where Balbilla's father, Epiphanes, died in AD 92 of unknown causes. Capitolina then returned to Alexandria where she married Marcus Junius Rufus, a Roman politician. Capitolina spent her remaining years in Alexandria. Balbilla lived with her for a time then returned to the home of her brother, Philopappos, in Athens.

Despite her aristocratic life, Balbilla's status in Rome may not have been secure as her father was not a senator. However, Philopappos did become a senator, serving as a consul until AD 109.[5] When Philopappos died in AD 116, Balbilla built for him a burial monument, the Philopappos Monument, on Musaios Hill, south-west of the Acropolis in Athens. Later, Balbilla married an aristocrat in Athens with no issue.

The Epigrams

Memnon's right leg

Memnon's left leg

Balbilla was a court poet and friend of Hadrian and companion or lady in waiting to his wife, Vibia Sabina. In AD 129, she accompanied them to the Valley of the Kings in Ancient Egypt.[6] Balbilla was commissioned to record the party's return visit from 19 to 21 November 130.[7] Balbilla inscribed three epigrams in Aeolic Greek, known as 'epigrammata', on the legs of the Colossi of Memnon.[8] The statue may have reminded Balbilla of the sculptures on Mount Nemrut and the mausoleum of her ancestor, Antiochus I Theos of Commagene, the descendants of whom she references in her poems. Although the epigrammata were approved public inscriptions, in honor of the Roman imperial family, they are somewhat akin to graffiti.[9] They have elements of wit, history and mythology written in an Homeric tone. The poems display good use of metaphors, verbal and sound echoes. Inspired by Sappho, Balbilla also used traditional lyric themes: the love of songs and a liking for the Muses.

The first and second epigrams tell the story of a mythical king of Ethiopia, Memnon, killed by Achilles at Troy, whom the god Zeus made immortal. Balbilla is not addressing Memnon but is flattering Hadrian and Sabina.

When the August Hadrian Heard Memnon

Memnon the Egyptian I learnt, when warmed by the rays of the sun,
speaks from Theban stone.
When he saw Hadrian, the king of all, before rays of the sun,
he greeted him - as far as he was able.
But when the Titan driving through the heavens with his steeds of white,
brought into shadow the second measure of hours,
like ringing bronze Memnon again sent out his voice.
Sharp-toned, he sent out his greeting and for a third time a mighty roar.
The emperor Hadrian then himself bid welcome to
Memnon and left on stone for generations to come.
This inscription recounting all that he saw and all that he heard.
It was clear to all that the gods love him.

When with the August Sabina I Stood Before Memnon

Memnon, son of Aurora and holy Tithon,
seated before Thebes, city of Zeus,
or Amenoth, Egyptian King, as learned.
Priests recount from ancient stories,
greetings, and singing, welcome her kindly,
the August wife of the emperor Hadrian.
A barbarian man cut off your tongue and ears:
Impious Cambyses; but he paid the penalty,
with a wretched death struck by the same sword point
with which pitiless he slew the divine Apis.
But I do not believe that this statue of yours will perish,
I saved your immortal spirit forever with my mind.
For my parents were noble, and my grandfathers,
the wise Balbillus and Antiochus the king.

When on the first day
We didn't hear Memnon

Yesterday Memnon received [Hadrian's] wife in silence,
so that the beautiful Sabina might come back here again.
For the lovely form of our queen pleases you.
When she arrives, send forth a divine shout,
so the king won't be angry with you. As it is now,
you've fearlessly detained for too long his noble wedded wife.
And Memnon, trembling at the power of Hadrian,
suddenly spoke, and she rejoiced to hear it.

Balbilla dedicates the third epigram to her parents and grandfathers and to her noble bloodline.

For pious were my parents and grandfathers:
Balbillus the Wise and King Antiochus;
Balbillus, the father of my mother of royal blood and King Antiochus, the father of my father. From their line I too draw my noble blood,
and these verses are mine, pious Balbilla.

After her poetry, no more is known about Balbilla.

A fourth epigram, in elegiac couplets, entitled and perhaps authored by a certain "Demo" or "Damo" is a dedication to the Muses. The poem is traditionally published with the works of Balbilla, though the internal evidence suggests a different author.[10] In the poem, Demo explains that Memnon has shown her special respect. In return, Demo offers the gift for poetry, as a gift to the hero. At the end of this epigram, she addresses Memnon, highlighting his divine status by recalling his strength and holiness.[11] Internal evidence on the leg of Memnon suggests that this poem was written at some point in or after AD 196.[12]

Demo

Son of Aurora, I greet you. For you addressed me kindly,
Memnon, for the sake of the Pierides, who care for me,
song-loving Demo. And bearing a pleasant gift,
my lyre will always sing of your strength, holy one.

Nerva–Antonine family tree

v t e Nerva–Antonine family tree
Q. Marcius Barea Soranus Q. Marcius Barea Sura Antonia Furnilla M. Cocceius Nerva Sergia Plautilla P. Aelius Hadrianus Titus (r. 79–81) Marcia Furnilla Marcia Trajanus Pater Nerva (r. 96–98) Ulpia[i] Aelius Hadrianus Marullinus Flavia[ii] Marciana[iii] C. Salonius Matidius[iv] Trajan (r. 98–117) Plotina P. Acilius Attianus P. Aelius Afer[v] Paulina Major[vi] Lucius Mindius (2) Libo Rupilius Frugi (3) Salonia Matidia[vii] L. Vibius Sabinus (1)[viii] Paulina Minor[vi] L. Julius Ursus Servianus[ix] Matidia Minor[vii] Sabina[iii] Hadrian[v][x][vi] (r. 117–138) Antinous[xi] C. Fuscus Salinator I Julia Serviana Paulina M. Annius Verus[xii] Rupilia Faustina[xiii][xiv] Boionia Procilla Cn. Arrius Antoninus L. Ceionius Commodus Appia Severa C. Fuscus Salinator II L. Caesennius Paetus Arria Antonina Arria Fadilla[xv] T. Aurelius Fulvus L. Caesennius Antoninus L. Commodus Plautia unknown[xvi] C. Avidius Nigrinus M. Annius Verus[xiii] Calvisia Domitia Lucilla[xvii] Fundania[xviii] M. Annius Libo[xiii] Faustina[xv] Antoninus Pius (r. 138–161)[xv] L. Aelius Caesar[xvi] Avidia[xvi] Cornificia[xiii] Marcus Aurelius (r. 161–180)[xix] Faustina Minor[xix] C. Avidius Cassius[xx]^[clarification needed] Aurelia Fadilla[xv] Lucius Verus (r. 161–169)[xvi] (1) Ceionia Fabia[xvi] Plautius Quintillus[xxi] Q. Servilius Pudens Ceionia Plautia[xvi] Cornificia Minor[xxii] M. Petronius Sura Commodus (r. 177–192)[xix] Fadilla[xxii] M. Annius Verus Caesar[xix] Ti. Claudius Pompeianus (2) Lucilla[xix] M. Plautius Quintillus[xvi] Junius Licinius Balbus Servilia Ceionia Petronius Antoninus L. Aurelius Agaclytus (2) Aurelia Sabina[xxii] L. Antistius Burrus (1) Plautius Quintillus Plautia Servilla C. Furius Sabinus Timesitheus Antonia Gordiana Junius Licinius Balbus? Furia Sabina Tranquillina Gordian III (r. 238–244)
(1) = 1st spouse (2) = 2nd spouse (3) = 3rd spouse   Reddish-purple indicates emperor of the Nerva–Antonine dynasty   lighter purple indicates designated imperial heir of said dynasty who never reigned   grey indicates unsuccessful imperial aspirants   bluish-purple indicates emperors of other dynasties dashed lines indicate adoption; dotted lines indicate love affairs/unmarried relationships Small Caps = posthumously deified (Augusti, Augustae, or other)
Notes: Except where otherwise noted, the notes below indicate that an individual's parentage is as shown in the above family tree. Sister of Trajan's father: Giacosa (1977), p. 7. Giacosa (1977), p. 8. Levick (2014), p. 161. Husband of Ulpia Marciana: Levick (2014), p. 161. Giacosa (1977), p. 7. DIR contributor (Herbert W. Benario, 2000), "Hadrian". Giacosa (1977), p. 9. Husband of Salonia Matidia: Levick (2014), p. 161. Smith (1870), "Julius Servianus". Smith (1870), "Hadrian", pp. 319–322. Lover of Hadrian: Lambert (1984), p. 99 and passim; deification: Lamber (1984), pp. 2–5, etc. Husband of Rupilia Faustina: Levick (2014), p. 163. Levick (2014), p. 163. It is uncertain whether Rupilia Faustina was Frugi's daughter by Salonia Matidia or another woman. Levick (2014), p. 162. Levick (2014), p. 164. Wife of M. Annius Verus: Giacosa (1977), p. 10. Wife of M. Annius Libo: Levick (2014), p. 163. Giacosa (1977), p. 10. The epitomator of Cassius Dio (72.22) gives the story that Faustina the Elder promised to marry Avidius Cassius. This is also echoed in HA "Marcus Aurelius" 24. Husband of Ceionia Fabia: Levick (2014), p. 164. Levick (2014), p. 117.
References: DIR contributors (2000). "De Imperatoribus Romanis: An Online Encyclopedia of Roman Rulers and Their Families". Retrieved 2015-04-14. Giacosa, Giorgio (1977). Women of the Caesars: Their Lives and Portraits on Coins. Translated by R. Ross Holloway. Milan: Edizioni Arte e Moneta. ISBN 0-8390-0193-2. Lambert, Royston (1984). Beloved and God: The Story of Hadrian and Antinous. New York: Viking. ISBN 0-670-15708-2. Levick, Barbara (2014). Faustina I and II: Imperial Women of the Golden Age. Oxford University Press. ISBN 978-0-19-537941-9. Smith, William, ed. (1870). Dictionary of Greek and Roman Biography and Mythology.

Ancestry

Ancestors of Julia Balbilla

16. (=18., 20., 22., 26.)King Mithridates III of Commagene 8. (=10.)King Antiochus III of Commagene 17. (=19., 21., 23.)Princess Iotapa of Media Atropatene 4. King Antiochus IV of Commagene 18. (=16., 20., 22., 26.)King Mithridates III of Commagene 9. (=11.)Princess Iotapa of Commagene 19. (=17., 21., 23.)Princess Iotapa of Media Atropatene 2. Gaius Julius Archelaus Antiochus Epiphanes 20. (=16., 18., 22., 26.)King Mithridates III of Commagene 10. (=8.)King Antiochus III of Commagene 21. (=17., 19., 23.)Princess Iotapa of Media Atropatene 5. Princess Iotapa of Commagene 22. (=16., 18., 20., 26.)King Mithridates III of Commagene 11. (=9.)Princess Iotapa of Commagene 23. (=17., 19., 21.)Princess Iotapa of Media Atropatene 1. Julia Balbilla 12. Thrasyllus of Mendes 6. Tiberius Claudius Balbilus 26. (=16., 18., 20., 22.)King Mithridates III of Commagene 13. Aka II of Commagene 27. (=17., 19., 21., 23.)Princess Iotapa of Media Atropatene 3. Claudia Capitolina

Fictional references

• The Emperor by Georg Ebers (1880).[13]
• Memoirs of Hadrian by Marguerite Yourcenar (1951)[14]
• Opus Gemini (part of the Romanike series) by Codex Regious (2014).[15]
• The Glass Ball Game radio play (part of the Caesar! series by Mike Walker.[16]

Further reading

• Julia Balbilla (2010) by Patricia Rosenmyer.[17]
• Matrona Docta: Educated Women in the Roman Élite from Cornelia to Julia Domna (2004) by Emily Ann Hemelrijk.[18]
• Early Roman Rule in Commagene by Michael A. Speidel [19]
• Hellenism and Empire: Language, Classicism, and Power in the Greek World, AD 50-250 (1996) by Simon Swain.[20]
• Amalia Cirio, Gli epigrammi di Giulia Balbilla, Pensa Multimedia, 2011.
• Patricia A. Rosenmeyer, The Language of Ruins: Greek and Latin Inscriptions on the Memnon Colossus (2018).

References

1. Plant I. M. Women Writers of Ancient Greece and Rome: An Anthology University of Oklahoma Press, 2004, chapter 43. ISBN 0806136219, 9780806136219
2. Pomeroy S. B. Spartan Women Oxford University Press, USA, 2002. p128. ISBN 0198030002, 9780198030003
3. Rowlandson J. Women and Society in Greek and Roman Egypt: A Sourcebook. Cambridge University Press, 1998 p310 ISBN 0521588154, 9780521588157
4. Lamour D. H. J. and Wilson K. (ed.) An Encyclopedia of Continental Women Writers, Volume 1 Taylor & Francis, 1991, p 74 ISBN 0824085477, 9780824085476.
5. Boatwright M. T. Peoples of the Roman World. Cambridge University Press, 2012, p87. ISBN 0521840627, 9780521840620.
6. Opper T. Hadrian: Empire and Conflict. Harvard University Press, 2008 p204. ISBN 0674030958, 9780674030954.
7. Stevenson J. Women Latin Poets: Language, Gender, and Authority, from Antiquity to the Eighteenth Century. Oxford University Press, 2005, p56. ISBN 0198185022, 9780198185024
8. Speller E. Following Hadrian: A Second-Century Journey Through the Roman Empire. Oxford University Press, USA, 2004, pXV. ISBN 0195176138, 9780195176131.
9. Keegan P. Graffiti in Antiquity. Routledge, 2014, p58. ISBN 1317591275, 9781317591276.
10. Brennan, T. C. (1998). "The Poets Julia Balbilla and Damo at the Colossus of Memnon". The Classical World. 91 (4): 215–234. doi:10.2307/4352060. ISSN 0009-8418. JSTOR 4352060.
11. Plant, I. M. (2004). Women writers of ancient Greece and Rome: an anthology. University of Oklahoma Press. ISBN 0-8061-3621-9. OCLC 53375124.
12. "A List of Women Authors from the Ancient World". Sententiae Antiquae. 2018-03-08. Retrieved 2020-03-07.
13. Ebers G. The Emperor Wildside Press LLC, 2010, p29. ISBN 1434412644, 9781434412645.
14. Yourcenar M. Memoirs of Hadrian Farrar, Straus and Giroux, New York 1951. ISBN 0-374-52926-4.
15. Codex Regius. Opus Gemini. CreateSpace Independent Publishing Platform, 2014. ISBN 1502542374, 9781502542373.
16. Caesar BBC Radio 4 website. Accessed 15 August 2015.
17. Rosenmyer P. Julia Balbilla Routledge, London 2010. ISBN 9780415430067.
18. Hemelrijk E. A. Matrona Docta: Educated Women in the Roman Élite from Cornelia to Julia Domna. Psychology Press, 2004. ISBN 0415341272, 9780415341271.
19. Speidel M. A. Early Roman Rule in Commagene Archived 2015-12-27 at the Wayback Machine Mavors Institut, Basel. PDF.
20. Swain S. Hellenism and Empire: Language, Classicism, and Power in the Greek World, AD 50-250 Clarendon Press, Oxford, 1996. ISBN 0198147724, 9780198147725

External Link

• The Colossi of Memnon? When are graffiti not graffiti?, blog by Mary Beard