Warrior Queens: Boadicea's Chariot (31 page)

Of course the actual conduct of a campaign always presented problems for a Warrior Queen unless she literally took part in it all the grim way: control in time of war (as Queen Elizabeth I was to be gloomily aware) tending to pass from the woman on the throne to the man on the spot. Each successful Warrior Queen had to find her own solution to this dilemma. There were two possible approaches. One was to inspire from on high as if in the guise of a goddess – or as a Holy (Armed) Figurehead. The other artifice – rather more physically testing – was to provide from time to time, as Zenobia had done, the spectacle of a fragile female sharing the military rigours: such a display of courage in the notoriously timorous sex being equally calculated to inspire.

Queen Tamara practised both arts, presenting herself now as the presiding goddess or figurehead, now as the Queen–general by the side of her men. At home she made plans and plotted battles, displaying a flair for military strategy. On the field she made speeches: before the battle of Cambetch in 1196 she spurred on her men with a rousing address, ending ‘God be with you’. ‘To our
king
Tamara!’ her men shouted in reply.
¹⁶

At the famous battle of Basiani in 1205 in which Tamara’s troops routed the Turkish army under the Seljuk Sultan of Rum, the Queen began in one incarnation and ended as the other. On the eve of the conflict Tamara (who was now in her forties) marched with the vanguard of her army to the encampment – traditionally, the Queen went barefoot. She then harangued her men, receiving once again the loud huzza: ‘To our king!’

The following day it was the Queen – or should one say the King? – who gave the command to mount. But at this point the Queen, the goddess and the ikon, became too precious to trust to the clash of battle: Tamara the referee took up a presiding position from which she could watch the event. In no way, however, should the hardihood which Tamara showed in following her men, if not actually fighting, be underestimated: as her chronicler commented on the course of her last illness (when she was in her late fifties), a woman’s constitution was bound to suffer from the hardships of continual campaigning.
¹⁷

The conquests for which this exhaustion was the price were extensive indeed: on the map the breadth and depth of the early-thirteenth-century Georgian territory astound, as does the dimension of Zenobia’s enormous if short-lived empire a thousand years before. After the capture of Byzantium in 1204 by the promulgators of the so-called Fourth Crusade, Tamara sent troops to Trebizond and Kerasund, as a result of which her relative Alexios Comnenos was established as emperor. But this new empire was in effect a Georgian Christian protectorate. There were to be other Muslim semi-protectorates, over which Tamara exerted a loose sway; while beyond the great range of the Caucasus to the north, some of the south Russian peoples paid her tribute.

Where a protectoral relationship did not follow, there could still be substantial rewards for military raids. The Emir of Ardabil, crossing the Arak mountains, indulged in a colossal slaughter of the Georgians in 1209 – twelve thousand killed and others taken into slavery. The next year Queen Tamara ordered Ardabil to be taken by surprise: in revenge an equivalent number of its inhabitants were killed including the Emir himself; and this time the Christians captured the slaves. Daring raids on Marand in Azerbaijan, Tabriz and Kazvin took the Georgian troops deep into north Persia; on their return they brought a good proportion of its treasure back with them. The victory of Basiani had resulted in the surrender of Kars by the Sultan, to which Tamara’s son Giorgi was eventually appointed governor.

With Tiflis, the capital, a city of some hundred thousand people, with Georgia trading not only with its neighbours but far afield, with Russians, Armenians, Persians and Turks among others bowing to her command, Queen Tamara had by the time of her death fulfilled the wildest dreams of her great-grandfather David the Restorer. ‘One knows a lion by its claws and Tamara by her actions’: so ran a contemporary saying.
¹⁸

Queen Tamara’s mercy towards her first husband has been mentioned; it is further to the credit of this Warrior Queen that
her administration was generally marked by benevolence. The appalling punishments inflicted by her father found no place in her scheme of government.
¹⁹
This in itself contradicts the suggestion that Shakespeare in
Titus Andronicus
legitimately founded the character of the Queen of the Goths – ‘that heinous tiger Tamora’ whose life was ‘beast-like and devoid of pity’ – upon that of the Georgian Queen. According to this theory, the Byzantine Emperor Andronicus I, who reigned from 1184 to 1185, would have supplied some of the inspiration. One may remark in passing that the dreadful vengeance on Titus Andronicus’ daughter Lavinia for which Gothic Tamora is remembered with a shudder was set off, rather like Boadicea’s bloody rampage, by the cold-blooded murder of her own two sons ‘for valiant doings in their country’s cause’. But in any case it is generally thought that the sources of the play lie quite elsewhere and Georgian Tamara is acquitted.
²⁰

She has her own literary monument. For it is finally in the great Georgian renaissance of letters and arts that Tamara’s glory lies, as much as in her conquests, and above all in the inspiration given by her – and her court and culture – to Georgia’s national poet Shota Rustaveli. (Georgian brides still regard his poetry as an essential part of their trousseau, so as to teach it to their children.)
²¹

Rustaveli’s exact date of birth is unknown although his birthplace is presumed to be, from his name, the town of Rustavi, south of Tiflis, founded by David the Restorer.
²²
Tradition declares that he was educated in Athens and travelled in Asia – hence the Eastern influences in his work; most importantly tradition declares that he loved Queen Tamara. As a result, he was said to have retreated to the Monastery of the Cross at Jerusalem where he became a monk (there is no suggestion that the love was requited). Whatever the truth of this romantic legend, Rustaveli’s passion for the Queen would not have been that of a languishing poet for some unseen
princesse lointaine
. He was a court official, possibly the Royal Treasurer and even perhaps the Queen’s chronicler who thus described her ‘sevenfold
brilliance’: God ‘who in six days brought forth out of nothingness all that is, rested the seventh day in the sweet and gentle spirit of Tamara’.
²³

The Knight in Panther’s Skin
, Rustaveli’s great epic poem (of about sixteen hundred quatrains) concerns the long and various adventures of Avtandil and his brother-in-arms Tariel (he of the panther’s skin), in the style of an Eastern romance. It has been described as ‘a hymn to friendship, loyalty and high endeavour’ as well as giving an allegorical portrait of Georgia’s golden age.
²⁴
If Rustaveli’s poem is also ‘the Odyssey of Georgia’, it is unfortunate that because of the closed nature of the Georgian language to most foreigners (unlike classical Greek taught for so long in English-speaking schools)
The Knight in Panther’s Skin
has never enjoyed the same lyrical appreciation outside its country of origin. An eloquent tribute paid to it by Sir Maurice Bowra in
Inspiration and Poetry
(1955) gives however some indication of the riches in store even in translation: ‘It is notoriously dangerous to write about the poetry of a language which one does not know … Yet sometimes [i.e. in the case of Rustaveli] the temptation is too strong.’
²⁵

The poem
^f2
is dedicated to Queen Tamara, ‘the jet-haired and ruby-cheeked’, and it is believed that the description of the Princess Tinatin, beloved of the knight Avtandil, stands at Rustaveli’s tribute to his queen. As in a fairy story, Tinatin is ‘radiant as the rising sun, born to illuminate the world around her, so fair that the very sight of her would make a man lose his wits. It would need ten thousand leagues and the wisdom of the sages to utter the praise of the king’s daughter.’

Beautiful as Tinatin may be, the story has to begin with the decision whether she – the only child of the King, but female – may reign after him. The verdict of the viziers, leading to Tinatin’s coronation, is a deliberate echo of the circumstances
of Tamara’s own accession: ‘Woman though she is, God had created her to be a sovereign. We may say without flattery that she knows how to rule, as indeed we have often remarked among ourselves.’ In short: ‘A lion’s cubs are lions all, male and female alike.’

In spite of this, one notes that Tinatin’s father is still sad at his lack of a son, which means that he has no knight who is his equal. Yet Avtandil, sent out into the world by Tinatin, describes her to strangers in formidable terms: she is ‘the sovereign of Arabia whom her hosts of strong-armed vassals regard as king’. Nor is Tinatin the only powerful female character in the story. Quite apart from Avtandil’s own valorous travels,
The Knight in Panther’s Skin
gives a fascinating picture of a world where men and women mix as equals. There is no hint here, in what the author himself described as ‘a Persian tale’ found in Georgia, of the restrictions of the Islamic world; women receive men freely in their chambers, for example, clearly knowing nothing of the harem or purdah.

Dularkukht is another princess who succeeds to the rule of a kingdom, in this case on the death of her brother: moreover she is described as a Warrior Queen: ‘though she is a woman, [she] is hard as rock – even her fighting men cannot excel her in feats of arms’. Another princess, Asmat, is made ruler of a seventh part of India, and instructed to ‘take the man of your choice for consort’. It is indeed with marriage that the poem ends: Avtandil marries Tinatin and ascends the throne as ‘lord and sovereign of Arabia’.

Queen Tamara died on 18 January 1212, having reigned for twenty-four years, and was buried at Gelati, the tomb of her ancestors. Her son Giorgi, then eighteen, succeeded her. But with her death the golden age of Georgia was fast fading away, even as the adventures of the knight Avtandil had drawn to a close. Giorgi gave himself over to base favourites and died leaving only an illegitimate child. His sister Rusudani was then proclaimed ‘King of Kartli’; her lusts too were in stark contrast to the pious austerity of her mother. On the horizon the drumming hordes of Genghis Khan promised a threat to Georgia in the future far
greater than these unfortunate dissipations on the part of her royal family.

In 1236, little more than fifty years after Queen Tamara’s accession, her daughter Rusudani fled Tiflis from the Mongolian invasion, leaving her lands, once the great empire of Tamara, to be ravished. The golden age of Georgia had become a memory. In the words of the Epilogue to
The Knight in Panther’s Skin
:
²⁶
‘Their tale is ended like a dream of the night. They are passed away, gone beyond the world. Behold the treachery of time; to him who thinks it long, even for him it is a moment …’.

¹
It gives some indication of the time scale involved to point out that Queen Tamara stood in the same relationship to David the Restorer as Queen Elizabeth II of Great Britain to King Edward VII; although Elizabeth II acceded only forty-two years after her great-grandfather’s death, as opposed to fifty-nine in the case of Tamara.

²
Here quoted from Katharine Vivian’s prose translation for the Folio Society 1977. A ‘poetic recreation’ in English by Venera Urushadze was also published in Georgia, 1979.

CHAPTER TWELVE

Isabella with her Prayers

She with her prayers

He with many armed men.

JUAN DEL ENCINA
on Ferdinand and Isabella of Spain

I
t was in April 1492, at Santa Fe, an encampment outside the recently conquered Moorish town of Granada, that Christopher Columbus received the final agreement to explore the new world. He set off a few months later. Columbus was granted the vital backing by a woman as well as by a man: by Isabella of Castile as well as Ferdinand of Aragon. For the two were independent monarchs and had been so since the inception of their reigns. Their extraordinary partnership had lasted twenty-odd years so far. Instead of confirming Isabella as a typically devout and secluded Spanish princess, leaving the sphere of action to her dominant warrior husband, the passage of time had actually transformed her. To the Pope himself, Ferdinand and Isabella were jointly the ‘Catholic kings’ and in a phrase euphonious to modern ears, ‘the athletes of Christ’.
¹