Cleopatra

(redirected from cleopatras)
Also found in: Medical, Encyclopedia.

Cle·o·pat·ra

 (klē′ə-păt′rə, -pä′trə, -pā′-) 69-30 bc.
Egyptian queen (51-49 and 48-30) noted for her beauty and charisma. Octavian defeated the forces led by Cleopatra and Mark Antony at Actium (31).

cleopatra

(ˌkliːəˈpætrə; -ˈpɑː-)
n
(Animals) a yellow butterfly, Gonepteryx cleopatra, the male of which has its wings flushed with orange

Cleopatra

(ˌkliːəˈpætrə; -ˈpɑː-)
n
(Biography) ?69–30 bc, queen of Egypt (51–30), renowned for her beauty: the mistress of Julius Caesar and later of Mark Antony. She killed herself with an asp to avoid capture by Octavian (Augustus)

Cle•o•pa•tra

(ˌkli əˈpæ trə, -ˈpɑ-, -ˈpeɪ-)

n.
69–30 B.C., queen of Egypt 51–49, 48–30.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Cleopatra - beautiful and charismatic queen of EgyptCleopatra - beautiful and charismatic queen of Egypt; mistress of Julius Caesar and later of Mark Antony; killed herself to avoid capture by Octavian (69-30 BC)
Translations
Kleopátra

Cleopatra

[ˌkliːəˈpætrə] NCleopatra

Cleopatra

nKleopatra f

Cleopatra

[ˌkliːəˈpætrə] nCleopatra
References in classic literature ?
Quickness was ready at the call, and the two figures passed lightly along by the Meleager, towards the hall where the reclining Ariadne, then called the Cleopatra, lies in the marble voluptuousness of her beauty, the drapery folding around her with a petal-like ease and tenderness.
Madam, had not thy well grac'd Anthony (Who all alone having remained long,) Requir'd his Cleopatras company.
For Gallagher, the first of our present-day Cleopatras, these divided states were the key to the character: 'I really loved her vulnerability and not knowing what to do'.
The sitter may have 'performed' the role of Cleopatra only for the portrait, or the portrait may record a fully staged performance of the play; either way, this Jacobean woman identified with Cleopatra and wanted to speak through Daniel's lines.
Not the first of the modern Cleopatras, Shakespeare's version has undoubtedly had the greatest effect on the public imagination.
Twentieth-century cinema has presented us with a succession of Cleopatras cynically designed to appeal to contemporary tastes.
In love affairs of the "life-as-art" (zhiznetvorchestvo) variety that center on the Cleopatra topos, real women were venerated by male authors as Cleopatras as a way of finding refuge from reality.
Russian literature of the nineteenth and early twentieth centuries proved receptive both to Pushkin's ancient Cleopatras, in poetry and prose, and his modern ones, which portrayed a Cleopatra-like modern heroine in a fantastic light.
Diomedes' memory seduces him down three different paths, on which we meet three Cleopatras at different periods of her life.
Cleopatra Dismounts by Carmen Boullosa, translated by Geoff Hargreaves.
And the final chapter on several early modern Cleopatras goes in a rewarding new direction, examining the way in which Cleopatra operates both with erotic charisma and with lineage charisma.
Antony and Cleopatra turns on "show," this chapter ending with the rather unconvincing claim that in the last scene Cleopatra is a kind of fame-obsessed leading lady and Octavius the director who shrewdly "sp urn[s] the casting couch" (181).