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2RHPZ
11-21-2004, 03:37 AM
Why Alexander was Great

Heroes are thrown up at a time of crisis, when people respond to self-confidence and a person who takes a firm political stand

Historian Lucy Hughes-Hallett

By his death at 32, the Macedonian prince had built a vast empire and an enduring legacy of heroism Military leader's belief in himself considered `modern way of looking at the world,' writes Olivia Ward

He was born a Macedonian prince in the wild Balkan mountains, but he dreamed of a wider world united in language, commerce and learning.

By the time of his death, at the age of only 32, Alexander the Great had taken control of Greece — the heartland of the classical world — and conquered Egypt, Syria, Phoenicia, the Persian Empire, Asia Minor and part of India. Religious leaders in countries he ruled declared him a god, and his victories made Greek the common language of millions. He planted the seeds of Hellenic learning in dozens of newly founded cities from Macedonia to southern Asia in the third century B.C.

Alexander's heroic legend has lingered through millennia in numerous works of literature, history and art. The latest tribute is an epic film opening next week, Alexander. Starring Colin Farrell, it celebrates "one of the greatest military intellects in history." Next Saturday, Toronto's Macedonian community will highlight Alexander with a two-day festival of culture, tradition and food organized by CHIN radio producer Dragica Belchevska.

Not all of Alexander's legacy is glorious: He has been reviled as a ruthless imperialist, a brutal invader, a "demon," even a violent drunk and ****** predator. But in the annals of human heroism, his name is guaranteed supremacy.

"Alexander is a man so fabled that it's hard to believe he existed," says Joann Fletcher, an archeologist and honourary research fellow at the University of York in England. "He accomplished an amazing amount in a very short lifetime. And he had a modern way of looking at the world: tremendous self-belief which is fundamentally attractive today."

Fletcher, the co-author of Alexander the Great: Son of the Gods, says she was drawn to the subject because "I can't imagine a time when I wasn't aware of Alexander." Like many others who grew up in the shadow of the great classical superheroes, she was inspired by the figure who merged man and myth.

Alexander belongs to the pantheon of real and imaginary heroes who have captivated people throughout history. But in an era that has seen the horrifying effects of hero worship in Nazi Germany, Soviet Russia and a host of other dictatorships, why is his brand of heroism still revered and the world seeking new heroes?

"For us today, Alexander is appealing because he's part of the culture of youth," says Waldemar Heckel, professor of ancient history at the University of Calgary. "He accomplished a tremendous amount in a short time and died young before he had to live with the consequences."

But the search for the heroic is never-ending, analysts say, because heroes are always in demand as role models from childhood to old age.

"There is a real need in humanity to have and hold heroes," explains Lance Kurke, an associate professor at Duquesne University in Pittsburgh, and author of the best-selling management book The Wisdom of Alexander the Great: Enduring Leadership Lessons from the Man Who Created an Empire. "People want to emulate their heroes and their deeds are passed on through history books."

That positive view of heroism inspires today's would-be leaders, from business managers to politicians, community workers, human rights activists, soldiers and captains of industry, Kurke says.

And, he adds, Alexander's example was one for the ages: "He was a human-resource genius. He knew the names of all his soldiers and went out of his way to look after their well-being before his own. He inspired absolute loyalty by paying dowries to soldiers, founding cities to provide homes for them, sharing the wealth and hardships."

Although fabulously wealthy through conquest, Alexander shunned corruption and lived as simply as his troops. "He put his men first, led from the front, and was always in the trenches with his troops in a way that is almost never seen today," Kurke said.

The enduring virtues of courage and daring were also Alexander's hallmarks. When deathly ill after the battle of Tarsus, in modern-day Turkey, he accepted a herbal potion from a skilled physician suspected of plotting against him and recovered against the odds. In the same campaign, his drive and creativity were demonstrated when he cut the famous Gordian knot, winning control of the city of Gordium.

Alexander's personal attributes were contradictory. He was a killer who showed mercy to those who swore loyalty and a clear-thinking strategist whose orgiastic revels spun out of control. But his qualities were also rooted in reality.

That isn't always true of heroes throughout the ages, says British cultural historian Lucy Hughes-Hallett. Rather, our view of heroes may say more about the dreams of society than the glory of the great.

"Heroes tend to be chosen by the public, rather than self-created," says Hughes-Hallett, author of Heroes: Saviours, Traitors and Supermen. "What they do have in common is immense energy and self-confidence, and that is widely appealing."

The barbaric violence wrought by modern dictators, she says, has caused revulsion. But in turbulent times, people look on the bright side of the superhero who promises to fulfil a need for security by imposing his own will.

"When people are afraid they look to a strong protector or champion. In different times, they may want one of integrity. But on the whole, heroes are thrown up at a time of crisis, when people respond to self-confidence and a person who takes a firm political stand."

That, Hughes-Hallett says, was clear in the recent American election, in which Senator John Kerry, a decorated war hero but colourless politician, lost to George W. Bush, who had never faced an enemy in battle but presented a feisty, resolute image.

"It was interesting to see the extent to which the U.S. candidates were assessed by the public not for their political ability and experience, but for the way they measured up to the ideal of a Homeric hero," she said.

For an anxious public, then, heroism may come down to seduction as much as ability.

"Something that those who have been objects of hero worship know very well is the art of self-presentation. We tend to flatter ourselves that in our era we've invented the public image. But the whole idea of manipulating public opinion through the presentation of politicians predates the modern media," she says.

Alexander the Great was acutely aware of image, historians have found. He strictly supervised portraits done by contemporary artists, and emphasized godlike traits to remind viewers of legends that he was semi-divine. But he also took care to learn the customs and dress codes of each new territory he conquered, to inspire loyalty by showing himself as a man of the people.

The legacy of Alexander, like other conquerors who followed, is under constant debate between those who see him as a great unifier and spreader of civilization, and those who count him among the major mass murderers and colonizers of history. On the whole, says Hughes-Hallett, such superheroes have asserted a "pernicious influence on political life. The more the (voters) are prepared to hand over responsibility to some `great man,' the greater the danger that they will lose their own will to act."

The rejection of compromise that many heroes exhibit is a poor example to people hoping for peace and progress in their own communities, she adds.

Yet the search for the heroic goes on — at an intensifying pace. "The hero industry is in massive overdrive," says California-based media critic Norman Solomon, co-author of Target Iraq: What the News Media Didn't Tell You. "Among politicians, heroism has become a holy grail."

In post-9/11 America, Solomon says, patriotism, heroism and the military are all bound up in the public mind and boosted by a "multiplier effect" supplied by the media. "The spin machine fills the (leadership) vacuum."

But even before the trauma of the terrorist bombings, media images were powerful enough to make American voters confuse illusion and reality, he adds. Ronald Reagan, who ended his presidency mentally and physically weakened, was still portrayed as a vigorous "great leader" by media playing to a hero-worshipping public.

"The essence of propaganda is repetition. It creates a water-dripping-on-stone effect that's intense."

However, Solomon points out, worshipping at the shrine of a heroic leader also undermines the way in which a democratic political process should work.

"The U.S. political culture is susceptible to heroes, but it's contrary to the concept of collective action and mass movements. People should work together to organize horizontally rather than vertically, without relying on a hero popping up. Political strength develops from a base that has long-term significance."

Throughout history, including the aftermath of Alexander's short reign, bloody wars of succession took place when leaders ruled unilaterally. In recent times, autocrats like Yugoslavia's Josip Broz Tito and Cuba's Fidel Castro — as well as Yasser Arafat in the Palestinian territories — fought off potential successors as rivals, leaving their people poorly prepared for the future.

Alexander himself left no direct heirs, as his only two known sons were both murdered in the power struggle that followed his death. His conquered territories fell under the rule of separate dynasties and eventually crumbled: a bleak testament to the hubris of empire.

But Alexander's heroic legacy lives on regardless.

"It changes from generation to generation," says Heckel, a specialist in war and conquest in the ancient world. "In the early part of the 20th century, Alexander was depicted as a good Christian Englishman spreading love and tolerance. After World War II, he became more Stalin-like. In recent years, he's become a terrible monster."

None of those extreme views are true, Heckel says. Rather, Alexander was a skilled commander who managed to win over his troops and those he conquered.

In his short life as a supreme ruler, he had almost no attempts on his life, and his integrated style of political rule was modern enough to raise the hackles of allies angry to see former enemies brought into the fold as equals.

Unlike some of the would-be heroes who came after him, Alexander did not appear to have believed himself above ordinary mortals, or to have savaged his foes for the sake of proving himself an invincible conqueror. Nor did he think of himself as the icon of a master race: a lesson for the power-seekers of today.

"If he accepted a role as the son of a god, he did it because it was useful," said Heckel.

"If he conquered an empire, he knew that he would have to deal with it later on. His style was to accommodate the population, not to subjugate it through terror. He may not have been a man you'd like to know. But in the ancient world, he was better than most."

Andyman
11-21-2004, 04:40 AM
Duly Noted p-)

DarkAngel
11-21-2004, 06:10 AM
Hmm, actually I read that Alexander DID later come to share the Persian view that he (as Imperial ruler) was omnipotent. He introduced the disgusting practice of "proskynesis" or bowing to someone as one would to a God. Apparently, his incredible success on the battlefield filled him with megalomania, and he ended up turning on the very officer corp that won him his victories.

Carnage and Culture by Victor Davis HAnson gives a very realistic portrayal of Alexander both on the battlefield, as well as the political and cultural results of his victories. Its a good read.

djon
11-22-2004, 12:16 AM
Was he gay? :lol: .... i mean as potrayed by the new oliver stone film

Seiyuuki
11-22-2004, 05:26 AM
He was bi******, I think, back during that time, it wasn't out of the norm to be homo****** or bi******. Thebes has an all homo****** fighting unit that had a pretty tough reputation and they never retreated from battle.

bishop1
11-22-2004, 04:34 PM
Yeah, back in the ancient days it seemed like most every man was bi******, but that doesnt seem frowned upon as long as they made plenty of babies to keep their city-state, country etc going... And especially with the Sacred Band of Thebes and the Spartans, it was abvious that nature helped them fight and win.
Im about half way through Virtues Of War, has anyone else picked it up?

achilles
11-22-2004, 08:57 PM
Too fast for me CAG147 in posting something about Alexander :) . I ve been having that on mind for the last couple of days especially now before the forthcoming film by Oliver Stone.


He is one of the most controversial historical figures i must say. Intelligent, ruthless sometimes, overly ambitious and he loved alcohol, women and men, just to name a few of his traits.

As seiyuuki pointed out, bi******ity seemed to be the norm during the Greek (and largely Roman) antiquity and of course pure homo******ity was not perceived as a sin. We are talking about different times, different kind of people and different mentalities. Saying that Alexander was 'gay' is a statement that simply misses the whole picture.
There is a theory according to which Spartans, yeah those ferocious soldiers, were encouraged to develop homo****** relationships with their fellow soldiers in order to have a bigger motivation to protect each other during the battle.


Cant wait to watch the film ;)

DarkAngel
11-23-2004, 02:49 AM
On a related note:

http://www.mg.co.za/Content/l3.asp?cg=BreakingNews-InternationalNews&ao=125941

:lol: Seems like not everyone is happy to him him depicted as bi******!

2RHPZ
11-26-2004, 03:46 AM
Critics pan Hollywood portrayal of Alexander the Great

Julian Borger
Friday November 26, 2004
The Guardian

Hollywood continued its long tradition of serving up turkeys for the Thanksgiving holiday with the release yesterday of Oliver Stone's sword-and-sandal epic Alexander.

The film was well and truly roasted by America's critics, who were clearly irritated at having to spend nearly three hours sitting through the $160m (£84.8m) epic.

They dug deep to find the appropriate response to the occasion - a concerted raspberry heard across the cinematic world.

The Los Angeles Times declared Mr Stone's homage to Alexander the Great an "indifferent epic" and a "plodding endeavour" - and that was one of the better reviews.

The Toronto Star called it "not just a bad movie but a bad movie of truly epic proportions", while Entertainment Weekly magazine warned: "You know a Hollywood spectacle is in trouble when its hero yearns to go forward, vanquishing more armies and taking over more lands, but his soldiers just want to go home - and the audience sides with the weary mutineers."

Mostly, the critics found the film's long-winded narration of Alexander's conquests simply boring, complaining that Stone had lost the idiosyncratic style that made his earlier films, such as Platoon and Natural Born Killers, memorable.

They reserved most of their barbed comments for Colin Farrell's portrayal of Alexander as a tortured bi****** with an unconvincingly dyed blond mane.

"Alexander," the Boston Globe remarked, "is full of brilliant highlights, and they're all in Colin Farrell's hair."

The New York Times sympathised with the Irish actor - for having been "upstaged by his epically bad dye job".

The American novelist Gore Vidal was one of the few to come to Mr Stone's defence yesterday, telling ******* news agency that the critics had failed to appreciate the film's "breakthrough" in making its action hero a bi******.

However, press coverage pointed out that nothing is shown of Alexander's legendary love affair with his childhood friend Hephaistion, except a few hugs.

The Los Angeles Times said the portrayal of the relationship was "so chaste and comradely you might mistake these lovers for Eagle Scouts comparing notes on merit badges".

Moreover, the Washington Post argued that Alexander's gay side was depicted by Mr Stone with the "cruelest, least imaginative stereotyping".

"His Alexander, as expressed through the weepy histrionics of Colin Farrell, is more like a desperate housewife than a soldier. He's always crying," it said.

Another reviewer on the paper concluded: "It's amazing, really, that he can persuade his army to leave downtown Pellas, let alone take on Europe, north Africa and Asia. But follow him they do. And so we must, too, with only our luminous watches to lead us through the torturous darkness."

Link (http://film.guardian.co.uk/news/story/0,12589,1360145,00.html)

Clarsachier
11-26-2004, 11:00 AM
If Hollywood hates it with such intensity - it can't be all bad.
p-)

Snake Eater Wannabe
11-26-2004, 12:16 PM
no i think wut their trying to say is we all know he was bi****** but we dont want to watch a movie about it. i mean ya he was but he was bi, there for he also liked women so show that. i mean i also heard that the movie skips like half of his most famous battles.

Seiyuuki
11-27-2004, 05:16 AM
no i think wut their trying to say is we all know he was bi****** but we dont want to watch a movie about it. i mean ya he was but he was bi, there for he also liked women so show that. i mean i also heard that the movie skips like half of his most famous battles.

*Spoiler*

The movie cover his campaign starting from Gaugamela.

They do show he like woman... :lol:

hughdotoh
12-06-2004, 04:54 AM
Why should Hollywood pull the gay thing into Alexander? The guy was a megalomaniac, and he had his own SS unit (like Saddam's republican guard, most of whom were tikriti arabs). Just because a guy surrounded himself with picked men doesn't necessarily mean he was gay.

If Ollie Stone did Braveheart, I bet he'd portray Wallace as gay. He just wants controversy, like all liberal Hollywood folks.

12-07-2004, 01:01 AM
alexander married a persian girl

2RHPZ
12-07-2004, 03:25 AM
The Greeks won't sue Oliver Stone: they don't know where to start

By Jim White
(Filed: 06/12/2004)

Alexander the Great, so we are told, held sway over most of the known world by the time he was 30. Which is more than can be said of Oliver Stone's movie version. Far from winning hearts and conquering minds, the reaction in Greece when the picture was first released was one of spume-flecked fury. The hissing noise, emanating from the country where they have long laid claim to the old Macedonian imperialist, was that of steam emerging from starched collars. Before they had even seen the picture, 25 of Athens's top lawyers became exercised about rumours that the greatest of all adopted Greek heroes was depicted as not entirely hetero******.

Colin Farrell's portrayal of the man whose very name evokes all that is mighty about Hellenic manhood, so they had heard, was less swaggering champion than a sort of Balkan Graham Norton, mincing his way across the globe on an exhaustive search for a nice young man to share interior design tips and settle down to some fireside embroidery. It was, the Athenian briefs insisted, a grotesque libel. Something had to be done. And, in order to seek recompense on behalf of an entire nation so grievously damaged by the implication, they were prepared to subject Stone to the full majesty of the oldest legal system in the world.

"We would have reacted the same way if the issue didn't involve homo******ity," Yannis Varnakos, spokesman for the 25 lawyers, claimed. "We just don't want a distortion of historical facts."

Then, last Friday, came depressing news for those of us who relish the wilder absurdities of litigation: the lawyers shelved their plans. Their change of mind came about after they saw the movie. There was no immediate word as to why they had decided not to bother going to court. But we can only speculate that, having sat through its longueurs, the group of putative litigants simply didn't know where to start. What was more damaging to their reputation: the implication that their hero showed an interest in the cut of other men's tunics or the fact that he appeared, as he set about garrotting Goths and murdering Mongols, to be wearing Britney Spears's hair? Would the self-esteem of the Greek diaspora be more damaged by their man's occasional glance at the curve of his bodyguard's thigh or by Farrell's vocal interpretation, which suggests that the greatest military strategist in history hailed from a Dublin council estate?

What a shame that the lawyers backed down. Imagine if they had gone through with litigation and actually won. Stone would have been obliged publicly to admit that it was unlikely Alexander wore blond highlights and had a habit, every time he marched into a new city, of turning to his generals and saying: "Bejaysus." Compensation would have been paid to every Greek for the slur on their past, and a precedent set that Hollywood would no more be able to distort historical fact. If nothing else, that would have put an immediate end to the career of Mel Gibson.

Better still if the legislation had been retrospective. Lawyers could then have crawled all over the Hollywood canon looking for fabrications, distortions and misrepresentations, demanding back-dated recompense to those who had been wronged. What an economic boost that would immediately prove for Native Americans. No longer would those on reservations be obliged to run casinos to earn a living; they could sit back and survive on the estate of John Wayne. Mexicans and Russians would be due a mighty windfall. So would anyone from Mars.

As for the British, well, where do you start: the pickings would be so rich. For almost as long as Hollywood has been around, the English have been libelled as effete, sadistic toffs, routinely attempting to put wholesome American good guys to the sword, before being comprehensively outwitted. Sure, it has provided many a classically trained actor with a healthy pension, but if the Greeks were upset by Farrell, imagine the damage to the self-esteem of the British upper classes every time Stephen Berkoff wheezes on to screen. Not that you have to be posh to be in line for a pay-out. As the new Peter Richardson movie, Churchill: The Hollywood Years, satirically suggests, anyone involved in the British war effort deserves damages. That is if you regard as satire Richardson's vision of Churchill as an American Bruce Willis lookalike saving Britain while humming a hip-hop version of Hang out Your Washing on the Siegfried Line; some might suggest it is a no more exaggerated depiction of Hollywood's grasp on the nuances of history than is Alexander.

Mind you, not even the British are at the head of the queue of those owed a bit of slack from the American movie industry. A couple of years ago, newspapers reported on a survey that revealed the disproportionate number of Hollywood villains who had English accents. One reader wrote in to point out that the British - and this goes for the Greeks, as well - should not get too sensitive about their movie representation. "If you are worried about always providing the bad guy, you should try watching films when you come from where I come from," the correspondent wrote. "I am German."

Link (http://www.telegraph.co.uk/opinion/main.jhtml?xml=/opinion/2004/12/06/do0603.xml)