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Imparatese in purpura
Palate si manastiri, stralucire si austeritate, dezbinari, iubiri si viclenie, razboinici si patriarhi, tradari, ceremoniale de curte si mirese alese, matasuri, catifele, brocarturi si fosnet de intrigi. O reformulare curajoasa a modului in care percepem prezenta imparateselor care au modelat secole prin staruinta lor inteleapta, prin impunerea suveranitatii imperiale cu pricepere nebanuita si, mai des decat ne-am inchipui, prin strategii nemiloase, salvand Bizantul de la o arta pur simbolica si decorativa si redandu-i lumea sa complexa, nesupusa si profund religioasa. Desi au ajuns sa obtina puterea totala in cadrul dinastiilor bizantine prin casatorie, toate aceste imparatese au continuat sa poarte purpura imperiala si sa exercite Tinand seama de greutatea si intinderea rolurilor lor, influenta exercitata de Irina, Eufrosina si Teodora a fost neobisnuita. In Bizantul secolelor al VIII-lea si al IX-lea, toate femeile, chiar si cele din varful ierarhiei sociale, erau constranse de aceleasi definitii care faceau comportamentul lor acceptabil, bun sau vrednic de lauda. Orbirea unui fiu, ca sa luam un exemplu extrem, este un fapt intolerabil. Si totusi, Carol cel Plesuv a procedat la fel ca Irina si a supravietuit condamnarii teologice (si poate si sociale). Asadar, exista situatii in care pot fi acceptate si gesturile cele mai ,,nefiresti". Iar aici descoperim un indiciu despre coincidenta anormala dintre normele sociale si situatiile iesite din comun, care ar putea sa explice in ce fel cele trei imparatese si-au atins telurile si au reusit sa evadeze din sferele lor de operare obisnuite.o putere colosala singure, de la Constantinopol - Regina Cetatilor, anihilandu-si adversarii fara ezitare prin abile actiuni diplomatice, pregatite pentru imparati din lumea larga, papi si califi, dar si pentru mai-marii familiilor lor. Si au reusit, cu inteligenta si fara scrupule, sa puna capat iconoclasmului official si sa redea icoanelor locul lor de adoratie din Biserica ras
416 pages, Paperback
First published September 13, 2001
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About the author
Judith Herrin
21 books128 followersJudith Herrin studied history at the Universities of Cambridge and Birmingham, receiving her doctorate from the latter; she has also worked in Athens, Paris and Munich, and held the post of Stanley J. Seeger Professor in Byzantine History, Princeton University before taking up her appointment as the second Professor of Late Antique and Byzantine Studies at King's. Upon her retirement in 2008 she became a Research Fellow in the Department.
She is best known for her books, The Formation of Christendom (London 1989), Women in Purple (London, 2000), and Byzantium: the Surprising Life of a Medieval Empire (London, 2007); she has also published widely on Byzantine archaeology and other fields. Her current research interests include women in Byzantium and Byzantium in relation to Islam and the West. In 2002 she was awarded the Golden Cross of Honour by the President of the Hellenic Republic of Greece.
She is best known for her books, The Formation of Christendom (London 1989), Women in Purple (London, 2000), and Byzantium: the Surprising Life of a Medieval Empire (London, 2007); she has also published widely on Byzantine archaeology and other fields. Her current research interests include women in Byzantium and Byzantium in relation to Islam and the West. In 2002 she was awarded the Golden Cross of Honour by the President of the Hellenic Republic of Greece.
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Displaying 1 - 22 of 22 reviews
July 1, 2012
Turns out that it's not accidental that what I knew about the Byzantium was pretty much limited to its adjectival form: byzantine. The top note of this book, even above its putative subject, is that it's not easy to tease facts out of what's left of the Imperial archives--not because the empire didn't believe in keeping archives, but because they also believed in editing them.
In terms of facts there aren't enough about any of the three focal women (Irene, Euphrosyne, and Theodora, each of whom managed to function as empress in an empire that had very little room for women) to fill out a chapter, much less a book. Instead, Herrin uses the knowns and unknowns equally as a scaffold for an examination of a society that was something of an evolutionary dead-end in western history.
Or not...because another word that survives is iconoclasm. Each of Herrin's empresses was deeply involved in the iconoclast controversy and to the extent that they were successful in preserving their beloved icons, they also widened the gap between East and West, Greek and Latin.
It's the interplay between what little is known about these women and the larger issues that were creating what became Europe of the high middle-ages that made this book so fascinating.
In terms of facts there aren't enough about any of the three focal women (Irene, Euphrosyne, and Theodora, each of whom managed to function as empress in an empire that had very little room for women) to fill out a chapter, much less a book. Instead, Herrin uses the knowns and unknowns equally as a scaffold for an examination of a society that was something of an evolutionary dead-end in western history.
Or not...because another word that survives is iconoclasm. Each of Herrin's empresses was deeply involved in the iconoclast controversy and to the extent that they were successful in preserving their beloved icons, they also widened the gap between East and West, Greek and Latin.
It's the interplay between what little is known about these women and the larger issues that were creating what became Europe of the high middle-ages that made this book so fascinating.
July 19, 2011
I'm glad I read this book. Nothing in this review should detract from the ultimate statement that I am glad I read this book, and I do not regret purchasing it. I think Judith Herrin is a remarkable historian, I think her work is important, and I am glad that she wrote this.
I am somewhat frustrated at her methodology, at the realms of speculation which she indulges in (Siria's remark about her use of the present tense as a tool for inducing urgency is, I think, a little generous; Herrin uses the present rather than the conditional when she is making assertions which are backed by her education and informed hypotheses rather than historical documents), at how difficult it was for me to keep track of who was who and who was doing what. This is clearly a specialist book, and it was harder for me to read than I was anticipating, even as a trained historian; I have never studied the sixth through ninth centuries in much detail, nor have I ever studied Byzantium seriously, and that is my failing, not Herrin's. But this was less of a pleasure to read than I was anticipating, and I'm left with a somewhat bitter taste in my mouth.
I am somewhat frustrated at her methodology, at the realms of speculation which she indulges in (Siria's remark about her use of the present tense as a tool for inducing urgency is, I think, a little generous; Herrin uses the present rather than the conditional when she is making assertions which are backed by her education and informed hypotheses rather than historical documents), at how difficult it was for me to keep track of who was who and who was doing what. This is clearly a specialist book, and it was harder for me to read than I was anticipating, even as a trained historian; I have never studied the sixth through ninth centuries in much detail, nor have I ever studied Byzantium seriously, and that is my failing, not Herrin's. But this was less of a pleasure to read than I was anticipating, and I'm left with a somewhat bitter taste in my mouth.
January 14, 2025
A very interesting historical study about the major roles played by three Byzantine empresses (Irene, Euphrosyne and Theodora) in the 8th and 9th centuries, during the two iconoclastic crises and how they succeeded both in reverting to the right belief and also in navigating the shallow waters of regency as women in charge.
January 16, 2018
This is an excellent history. The first 50 pages is an impressive summary of the 600 years of Christianity. The focus on Empresses Irene, Euphrosyne and Theodora and how they restored icons into Orthodox worship is fascinating which is in 700's-800's. (The West under Rome did not have the iconoclast heresy.)
You definitely get an understanding how convoluted Byzantine politics was in this period.
Where I think the author needed to present or research more was on the queen mother role in ancient Jewish history and how this is reflected in the understanding and reverence of Holy Theotokos. Also not much was really discussed with the role of St. Constantine's mother, a queen mother role and how it effected later generations of the Byzantine Empire.
Great book ! Recommend reading it anyone serious about understanding our European heritage.
You definitely get an understanding how convoluted Byzantine politics was in this period.
Where I think the author needed to present or research more was on the queen mother role in ancient Jewish history and how this is reflected in the understanding and reverence of Holy Theotokos. Also not much was really discussed with the role of St. Constantine's mother, a queen mother role and how it effected later generations of the Byzantine Empire.
Great book ! Recommend reading it anyone serious about understanding our European heritage.
August 11, 2024
Aku baru pernah baca satu buku dari Judith Herrin yaitu Byzantium: The Surprising Life of A Medieval Empire yang menurutku sangat bagus untuk memperkenalkan Romawi Timur secara umum. Di buku ini Judith lebih 'nglotok' untuk menjelaskan bagaimana perempuan bisa jadi pemimpin negara sebesar Roma Baru dengan tiga cerita yaitu Irene, Euphrosyne, dan Theodora.
Judith memulai dengan overview umum sejarah Romawi Timur sampai meruncing ke masa Leon III, Konstantinos V dan kontroversi kebijakan agama Ikonoklasme mereka. Ikonoklasme, keyakinan bahwa venerasi Eikon Kekristenan itu berhala, menjadi latar belakang penting dalam cerita tiga tokoh utama kita.
Irene awalnya adalah istri putra dan penerus Konstantinos V, Leon IV. Judith menceritakan dengan sangat detil dan imajinatif, mengenai awal Irene di bawa dari Athena ke Konstantinopel, lalu seremonial megah pernikahannya. Setelah Leon IV, Irene menjadi wali dari putra mereka, Konstantinos VI. Sejak awal Irene menunjukkan keinginan berkuasanya, mengesampingkan putranya sendiri. Lebih penting lagi Irene menggunakan masa berkuasanya untuk mengembalikan venerasi Eikon yang dilarang dari masa Kaisar Leon III melalui konsili oikumenis.
Konflik anak-ibu tak terhindari, Konstantinos VI berusaha lepas dari ibunya dan sempat berhasil tapi akhirnya Irene bisa kembali berkuasa dan membutakan anaknya sendiri itu (supaya gak bisa berkuasa). Irene bertahan selama lima tahun dan di masa ini Judith menjelaskan banyak pencapaian Irene serta bagaimana dia bisa memerintah negara Romawi. Tapi akhirnya Irene harus jatuh dan menurut Judith penyebab utamanya itu keengganan Irene untuk menikah lagi dan menentukan penerus. Sempat terbesit di pikiran Irene untuk menikahi Charlemagne dan Judith juga menceritakan tentang koronasi raja Frankia itu sebagai ""kaisar Romawi"".
Setelah kejatuhan Irene, beberapa orang sempat menjadi kaisar sebelum terbentuknya Dinasti Amorion oleh Mikhael II yang menikahi Euphrosyne, anak Konstantinos VI dan cucu Irene. Sebelum Mikhael II, Kaisar Leon V mengembalikan Ikonoklasme dan Mikhael meneruskan kebijakan agama ini. Euphrosyne dijelaskan sebagai tokoh perantara penting di antara Dinasti Isauria (dinastinya Konstantinos V dan Irene) ke Dinasti Amorion, disebut sebagai yang mempertahankan venerasi Eikon hidup meski suaminya menjalankan kebijakan Ikonoklasme. Euphrosyne juga penting dalam pemilihan istri untuk anak tirinya, Theophilos, yang akan menjadi kaisar setelah bapaknya.
Dalam buku ini Judith juga menjelaskan kebudayaan Romawi yaitu "bridal show" dimana banyak perempuan-perempuan ditampilkan untuk jadi calon istri putra kaisar.
(Lanjut besok)
Judith memulai dengan overview umum sejarah Romawi Timur sampai meruncing ke masa Leon III, Konstantinos V dan kontroversi kebijakan agama Ikonoklasme mereka. Ikonoklasme, keyakinan bahwa venerasi Eikon Kekristenan itu berhala, menjadi latar belakang penting dalam cerita tiga tokoh utama kita.
Irene awalnya adalah istri putra dan penerus Konstantinos V, Leon IV. Judith menceritakan dengan sangat detil dan imajinatif, mengenai awal Irene di bawa dari Athena ke Konstantinopel, lalu seremonial megah pernikahannya. Setelah Leon IV, Irene menjadi wali dari putra mereka, Konstantinos VI. Sejak awal Irene menunjukkan keinginan berkuasanya, mengesampingkan putranya sendiri. Lebih penting lagi Irene menggunakan masa berkuasanya untuk mengembalikan venerasi Eikon yang dilarang dari masa Kaisar Leon III melalui konsili oikumenis.
Konflik anak-ibu tak terhindari, Konstantinos VI berusaha lepas dari ibunya dan sempat berhasil tapi akhirnya Irene bisa kembali berkuasa dan membutakan anaknya sendiri itu (supaya gak bisa berkuasa). Irene bertahan selama lima tahun dan di masa ini Judith menjelaskan banyak pencapaian Irene serta bagaimana dia bisa memerintah negara Romawi. Tapi akhirnya Irene harus jatuh dan menurut Judith penyebab utamanya itu keengganan Irene untuk menikah lagi dan menentukan penerus. Sempat terbesit di pikiran Irene untuk menikahi Charlemagne dan Judith juga menceritakan tentang koronasi raja Frankia itu sebagai ""kaisar Romawi"".
Setelah kejatuhan Irene, beberapa orang sempat menjadi kaisar sebelum terbentuknya Dinasti Amorion oleh Mikhael II yang menikahi Euphrosyne, anak Konstantinos VI dan cucu Irene. Sebelum Mikhael II, Kaisar Leon V mengembalikan Ikonoklasme dan Mikhael meneruskan kebijakan agama ini. Euphrosyne dijelaskan sebagai tokoh perantara penting di antara Dinasti Isauria (dinastinya Konstantinos V dan Irene) ke Dinasti Amorion, disebut sebagai yang mempertahankan venerasi Eikon hidup meski suaminya menjalankan kebijakan Ikonoklasme. Euphrosyne juga penting dalam pemilihan istri untuk anak tirinya, Theophilos, yang akan menjadi kaisar setelah bapaknya.
Dalam buku ini Judith juga menjelaskan kebudayaan Romawi yaitu "bridal show" dimana banyak perempuan-perempuan ditampilkan untuk jadi calon istri putra kaisar.
(Lanjut besok)
October 10, 2021
3/5
I’ll preface this by saying the early Middle Ages are not my strong suit. I found the book to be fairly scholarly/academic in tone but still accessible for a novice of the time period. The book covers three empresses in the late 8th and mid nineth centuries. The main theme of the book and arguement is that these empresses were important because they fought the iconoclastic movement which hated images and icons of religious figures. There is also a lot on ceremony and marriage which I didn’t pay as much attention to. The book has 4 main chapters (plus an intro and conclusion). I found the first two main chapters ( 1st on the world and Constantinople and the 2nd on the Empress Irene) to be the best. I thought the other two main chapters on the empresses Euroysphene and Theodora to be a bit boring.
As a amateur on the time period I don’t know if Herrin is over emphasing the importance of the iconoclastic issue on history or if it was as important as she makes out.
I’ll preface this by saying the early Middle Ages are not my strong suit. I found the book to be fairly scholarly/academic in tone but still accessible for a novice of the time period. The book covers three empresses in the late 8th and mid nineth centuries. The main theme of the book and arguement is that these empresses were important because they fought the iconoclastic movement which hated images and icons of religious figures. There is also a lot on ceremony and marriage which I didn’t pay as much attention to. The book has 4 main chapters (plus an intro and conclusion). I found the first two main chapters ( 1st on the world and Constantinople and the 2nd on the Empress Irene) to be the best. I thought the other two main chapters on the empresses Euroysphene and Theodora to be a bit boring.
As a amateur on the time period I don’t know if Herrin is over emphasing the importance of the iconoclastic issue on history or if it was as important as she makes out.
June 22, 2021
I'm not an academic and was able to understand this book. It was interesting and told a great story.
September 16, 2022
Habiendo leído la edición traducida al castellano por Carmen Martínez Gimeno puedo decir que es un libro de Historia que mezcla dos características muy apreciables en este campo. En primer lugar, es de muy fácil lectura con algunos fragmentos descriptivos muy potentes y que contribuyen a mantener la atención del lector, sea o no un experto en la materia. En esta línea, también contiene una introducción que plantea brevemente antecedentes y el contexto general en el que se va a manejar la autora. Algo que también se agradece cuando no se es experto en el período.
En segundo lugar, sirve para desvelar al público general algo del trabajo del historiador, no se limita a construir una narrativa lineal, sino que también plantea el cuestionamiento de las fuentes utilizadas, presentando los posibles intereses y las motivaciones detrás de estas.
Así pues, se trata de un libro que, sin dejar de lado al público académico, se acerca al público general y deja de lado algunos de los vicios de la divulgación histórica, como es la sobre simplificación del relato o el establecimiento de una única línea narrativa. Al mismo tiempo, puede servir de base o plataforma de lanzamiento para la profundización en el campo de estudio, especialmente si prestamos atención a las citas, referencias y las críticas que realiza la autora.
En segundo lugar, sirve para desvelar al público general algo del trabajo del historiador, no se limita a construir una narrativa lineal, sino que también plantea el cuestionamiento de las fuentes utilizadas, presentando los posibles intereses y las motivaciones detrás de estas.
Así pues, se trata de un libro que, sin dejar de lado al público académico, se acerca al público general y deja de lado algunos de los vicios de la divulgación histórica, como es la sobre simplificación del relato o el establecimiento de una única línea narrativa. Al mismo tiempo, puede servir de base o plataforma de lanzamiento para la profundización en el campo de estudio, especialmente si prestamos atención a las citas, referencias y las críticas que realiza la autora.
March 3, 2019
This book was very informative as to the roles of three certain empresses from the late eighth century to the mid ninth century. At first, I thought this book was supposed to be about the roles of women in Byzantine - a sort of feminist book. And while this book does talk about this topic, the main point I got was about iconoclasm vs icon veneration. All three of the emperors focused on were iconoclasts, Christians who believed that icons were being used in idolatry, and put in place the law of iconoclasm. Each of their empresses, however, were iconophiles, Christians who venerated icons but did not idolize them. It put into perspective the idea that holy icons played more of a part in the secular and religious lives of women, allowing them to participate in what would otherwise be for men only (since most women couldn't read or write and were uneducated). This book is only given 4 stars because it was a little more editorial than I would have liked, but I still highly recommend this book to anyone interested in learning more about Byzantium, and/or medieval history in general.
October 8, 2011
This is a very readable book about the history of 3 strong women in Byzantine history - with an interesting comparison of their power with that of women in the western empires and kingdoms. I found the exposition on the wars about icons the least interesting, even though it was integral to their story.
This is the story of three Byzantine empresses who between 780 and 856 restored the veneration of icons, thus saving the Byzantine Empire from a purely symbolic and abstract decorative art, and ensuring its influence for centuries to come. Judith Herrin evokes the complex and deeply religious world of Constantinople - at that time the largest, finest and wealthiest metropolis of the known world - its monuments and palaces, its court ceremonies and rituals, the special role of eunuchs, the bride-shows and elaborate wedding ceremonies, as well as fanatical monks and warring patriarchs, sudden exile, assassination and murder.
This is the story of three Byzantine empresses who between 780 and 856 restored the veneration of icons, thus saving the Byzantine Empire from a purely symbolic and abstract decorative art, and ensuring its influence for centuries to come. Judith Herrin evokes the complex and deeply religious world of Constantinople - at that time the largest, finest and wealthiest metropolis of the known world - its monuments and palaces, its court ceremonies and rituals, the special role of eunuchs, the bride-shows and elaborate wedding ceremonies, as well as fanatical monks and warring patriarchs, sudden exile, assassination and murder.
September 29, 2013
A) why the changing of tenses? It is incredibly distracting.
B) pretty unconvincing - her attempt to create a meaningful link between the three empresses and present them as being important figures is actually undermined by her continually telling you that this or that run-of-the-mill action was 'brilliant' - I want to read about remarkable women in antiquity as much as anyone but you're not going to convince me that when there's an attempted coup, sending a letter to the emperor saying that there's an attempted coup takes brilliant planning and presence of mind.
B) pretty unconvincing - her attempt to create a meaningful link between the three empresses and present them as being important figures is actually undermined by her continually telling you that this or that run-of-the-mill action was 'brilliant' - I want to read about remarkable women in antiquity as much as anyone but you're not going to convince me that when there's an attempted coup, sending a letter to the emperor saying that there's an attempted coup takes brilliant planning and presence of mind.
April 25, 2017
I had not paid enough attention to the premise of the book to realize that the thread that held all of these empresses together (besides serving as regents for minor children) was their defense of icons in the iconoclast controversies. It made for very good Lenten reading. Interesting and I appreciated Herrin's giving voice to often forgotten empresses.
July 17, 2024
Sobre la reivindicación de tres mujeres en el imperio bizantino versa este libro. Mujeres que no sólo ejercieron el poder de utilizando su influencia sobre los hombres, entre bambalinas sino que lo ejercieron de forma plena y completamente directa en una muestra de lo que la autora llama el imperial femenino.
March 22, 2015
Took a bit to get into but the chapters on Irene, Euphrosyne and Theodora were fascinating. Truly remarkable women who helped guide the Byzantine Empire through some rough decades.
February 18, 2019
Interesting history often overlooked. I’d give it 4 stars if it had been better edited; some sections are repetitive. Well worth reading!
September 18, 2025
This is an astonishing book in regards to the inner workings of Byzantine court politics as exercised by three female empresses. I’ve always been aware of the grandeur of Byzantium but I do not expect it to be quite dramatic, full of treachery and backstabbing even between kinsmen (and kinswomen). Prominent Byzantinist, Judith Herrin, spares nothing when it comes to critically questioning the motives and purpose behind the chronicles of these three empresses. Propaganda abounded but it shows that the Byzantine court was reserved only for the ambitious and Machiavellian individuals.
These three empresses — Irene of Athens, Euphrosyne, and Theodora the Blessed — played quite an important role in the longue durée of Byzantine characteristics that we now associate it with; which is the tradition of icon veneration that is now shared with the wider orthodox communities. There was a time when Byzantium entered a period known as Iconoclasm, a doctrine that rejected the worship of icons. The iconoclasts pursued the destruction of many icons and branded their adherents as idolaters. Yet, what seems to be a religious doctrine based on the idea that worshipping icons is idolatrous behaviour, Herrin has pointed out that the truth is more than that. This belief was invoked whenever there was a significant military threat. Introduced and enacted by Constantine V and Leo V as an answer to a growing threat from the Arabs and the Bulgars. Military disasters and failures, they reckon, were because of God’s displeasure towards the idolatrous Christians. However, by choosing Iconoclasm over Iconophilism, they alienated the Papal State of Rome and the Frankish Kingdom of Charlemagne.
The bulk of this book is how the three empresses worked hard and cunningly to subvert the Iconoclastic policy. Obviously, there’s no doubt that venerating the icons had been their tradition that was abruptly demonised and vilified. Women in Purple contained a wealth of valuable information regarding Byzantine court protocols which were incredibly rigid and many. It’s quite a surprise to learn that, behind the busy schedule of being an empress, they could find the time to exercise their power by working together with eunuchs who normally filled the high bureaucratic positions within the Byzantine Empire.
Out of all three empresses, the most notable for me is Irene of Athens. How could I not realize that she’s the contemporary of Charlemagne and Harun al-Rashid? In order to cling to power, too, she blinded his only son and heir.
Judith Herrin’s Women in Purple is a delight to read. It’s readable despite the vast amount of information presented in the book.
These three empresses — Irene of Athens, Euphrosyne, and Theodora the Blessed — played quite an important role in the longue durée of Byzantine characteristics that we now associate it with; which is the tradition of icon veneration that is now shared with the wider orthodox communities. There was a time when Byzantium entered a period known as Iconoclasm, a doctrine that rejected the worship of icons. The iconoclasts pursued the destruction of many icons and branded their adherents as idolaters. Yet, what seems to be a religious doctrine based on the idea that worshipping icons is idolatrous behaviour, Herrin has pointed out that the truth is more than that. This belief was invoked whenever there was a significant military threat. Introduced and enacted by Constantine V and Leo V as an answer to a growing threat from the Arabs and the Bulgars. Military disasters and failures, they reckon, were because of God’s displeasure towards the idolatrous Christians. However, by choosing Iconoclasm over Iconophilism, they alienated the Papal State of Rome and the Frankish Kingdom of Charlemagne.
Civitas Dei (the City of God) is a Neo-Byzantine style mosaic of the Cathedral of Aachen. Had the Iconoclasts triumphed over the Iconophiles, we might not be able to see the splendour of Byzantine art.
The bulk of this book is how the three empresses worked hard and cunningly to subvert the Iconoclastic policy. Obviously, there’s no doubt that venerating the icons had been their tradition that was abruptly demonised and vilified. Women in Purple contained a wealth of valuable information regarding Byzantine court protocols which were incredibly rigid and many. It’s quite a surprise to learn that, behind the busy schedule of being an empress, they could find the time to exercise their power by working together with eunuchs who normally filled the high bureaucratic positions within the Byzantine Empire.
Morning entrance of Byzantine Empress to the tomb of her ancestors by Vasily Sergeyevich Smirnov. The lives of Byzantine empresses were full of courtly ceremonies and rituals.
Out of all three empresses, the most notable for me is Irene of Athens. How could I not realize that she’s the contemporary of Charlemagne and Harun al-Rashid? In order to cling to power, too, she blinded his only son and heir.
Judith Herrin’s Women in Purple is a delight to read. It’s readable despite the vast amount of information presented in the book.
June 5, 2025
If you are quite deep in the knowledge of Byzantium, the title of Empress of Byzantium is most commonly associated with Theodora, the wife of Justinian The Great. However, this book sought to depict the lives of three other Empresses in Medieval Byzantium, whose lives, while less popular in people's imagination were more consequential to the fates of Byzantine Empire and Western Civilization as a whole.
They are Irene, Euphrosyne and Theodora (not associated whatsoever with other Theodoras throughout Byzantine history), three women who caught up in the Iconoclasm controversy, as various Emperors condemned veneration of holy icons as idolatry and sought to destroy them and associated iconoclasm with military victory. These three women were credited with gradually returning Byzantine to the path of Icon veneration, thus putting in place the whole Eastern Orthodox Christianity foundation. To survive the infamous Byzantine politics, these Empresses had to find allies, either from their own families or with the eunuchs, who transcends both the men and women realms, while working against the innate sexism that surrounds the whole Imperial rule (and much other things).
Overall, I found the book interesting by the first part, Empress Irene, as the book gradually turns boring as the lives of other two Empresses were not as interesting as Irene, without discounting their roles and importance in reversing the iconoclasm. The book, while short, has very long but few chapters, which makes reading the book a lumbering experience. However, I am a huge byzantophile, so it is mostly an okay experience.
They are Irene, Euphrosyne and Theodora (not associated whatsoever with other Theodoras throughout Byzantine history), three women who caught up in the Iconoclasm controversy, as various Emperors condemned veneration of holy icons as idolatry and sought to destroy them and associated iconoclasm with military victory. These three women were credited with gradually returning Byzantine to the path of Icon veneration, thus putting in place the whole Eastern Orthodox Christianity foundation. To survive the infamous Byzantine politics, these Empresses had to find allies, either from their own families or with the eunuchs, who transcends both the men and women realms, while working against the innate sexism that surrounds the whole Imperial rule (and much other things).
Overall, I found the book interesting by the first part, Empress Irene, as the book gradually turns boring as the lives of other two Empresses were not as interesting as Irene, without discounting their roles and importance in reversing the iconoclasm. The book, while short, has very long but few chapters, which makes reading the book a lumbering experience. However, I am a huge byzantophile, so it is mostly an okay experience.
October 15, 2020
Έχοντας βρει μετά από πολύ καιρό αντίτυπο του συγκεκριμένου βιβλίου στα ελληνικά, έκατσα με μεγάλη προσοχή και το μελέτησα από την πρώτη μέχρι και την τελευταία του σελίδα. Η γενική εντύπωση που μου δημιούργησε το συγκεκριμένο βιβλίο, είναι ότι προσπαθεί με μια σειρά τραβηγμένων από τα μαλλιά υποθέσεων να συνδέσει πολιτικά, ιδεολογικά και θρησκευτικά την Ειρήνη, την Ευφροσύνη και τη Θεοδώρα. Αξίζει να σημειωθεί εδώ πως το κεφάλαιο για την Ευφροσύνη είναι 80% υποθέσεις και 20% ιστορικά τεκμήρια. Ο ρόλος της ως κρυφής εικονόφιλης βασίζεται σε κείμενα που γράφτηκαν τουλάχιστον 1 αιώνα μετά το θάνατό της και είναι σε μεγάλο βαθμό τελείως αναξιόπιστα.
Εντούτοις η συγγραφέας προσπαθεί τόσο στην Ειρήνη όσο και στη Θεοδώρα να δώσει πολιτικά κίνητρα πίσω από την εικονόφιλη πολιτική τους, επισημαίνοντας πάντοτε όλες τις (αντικρουόμενες συχνά) απόψεις της εποχής.
Κλείνοντας, πρέπει να επισημανθεί πως η Herrin πάσχει από οξύ οριενταλισμό, καθώς θεωρεί τον ρόλο του Βυζαντίου (δηλ. Της ρωμαϊκής αυτοκρατορίας την οποία δεν κατονομάζει ποτέ έτσι, αποκαλώντας συχνά τους κατοίκους της ως "Έλληνες") σημαντικό μόνο για την αναχαίτιση των Αράβων από τη χριστιανική Ευρώπη...η οποία τελεολογικά θα έφτανε κάποτε στην αναγέννηση και εν τέλει στον Διαφωτισμό. Όταν διαβάζεις τέτοιες απόψεις από αναγνωρισμένους ακαδημαϊκούς καταλαβαίνεις γιατί το "Βυζάντιο" στην Ελλάδα είναι μια τόσο δυσνόητη και απρόσιτη περίοδος για τον μέσο Έλληνα πολίτη.
Εντούτοις η συγγραφέας προσπαθεί τόσο στην Ειρήνη όσο και στη Θεοδώρα να δώσει πολιτικά κίνητρα πίσω από την εικονόφιλη πολιτική τους, επισημαίνοντας πάντοτε όλες τις (αντικρουόμενες συχνά) απόψεις της εποχής.
Κλείνοντας, πρέπει να επισημανθεί πως η Herrin πάσχει από οξύ οριενταλισμό, καθώς θεωρεί τον ρόλο του Βυζαντίου (δηλ. Της ρωμαϊκής αυτοκρατορίας την οποία δεν κατονομάζει ποτέ έτσι, αποκαλώντας συχνά τους κατοίκους της ως "Έλληνες") σημαντικό μόνο για την αναχαίτιση των Αράβων από τη χριστιανική Ευρώπη...η οποία τελεολογικά θα έφτανε κάποτε στην αναγέννηση και εν τέλει στον Διαφωτισμό. Όταν διαβάζεις τέτοιες απόψεις από αναγνωρισμένους ακαδημαϊκούς καταλαβαίνεις γιατί το "Βυζάντιο" στην Ελλάδα είναι μια τόσο δυσνόητη και απρόσιτη περίοδος για τον μέσο Έλληνα πολίτη.
December 25, 2019
Judith Herrin is one of those great historians that has the skill to make complicated subjects approachable and interesting without dumbing complex topics down.
Her book about the 3 Byzantine empresses explores the life of those 3 women, the Byzantine society at the time, their influence in Byzantium and the world surrounding it. It also shows how these women weilded power, exploited the cracks withing the court and fractions in order to achieve their goals, stabilise and preserve power for themselves and their heirs and the dynasty which they belonged to.
Women in Purple is a rich and fascinating read, and although the sources about medieval women are filled with various issues Herrin expertly navigates through them and presents a well researched and superbly written history.
Her book about the 3 Byzantine empresses explores the life of those 3 women, the Byzantine society at the time, their influence in Byzantium and the world surrounding it. It also shows how these women weilded power, exploited the cracks withing the court and fractions in order to achieve their goals, stabilise and preserve power for themselves and their heirs and the dynasty which they belonged to.
Women in Purple is a rich and fascinating read, and although the sources about medieval women are filled with various issues Herrin expertly navigates through them and presents a well researched and superbly written history.
April 25, 2020
I read another one of Judith Herrin's books before, so I knew going into this that it was going to be dull. But it's a great topic that's hard to find books on, so I read it anyway. And guess what? It was STILL incredibly dry and dull and I STILL had trouble finishing it. Herrin's work always seems a little unfocused; I'm not sure she has a point she's making. Her bland prose might be more readable if she split this book into three parts instead of three chapters, then split each part into smaller chapters. A huge hunk of dull literature does not leave one enthused to finish their daily reading.
I would recommend this book to people who are doing research on the topic, but if you read history for pleasure like me, skip this one.
I would recommend this book to people who are doing research on the topic, but if you read history for pleasure like me, skip this one.
January 17, 2025
interesante y escrito de forma sencilla y entretenida, tal vez en algunos puntos lo sentí repetitivo pero también eso hizo que de alguna u otra forma recordara lo antes leído.
irene es madre
irene es madre
March 31, 2014
Umha das minhas melhores leituras dos últimos anos sobre a política do alto medievo no Império Oriental.
Umha narraçom coerente e viva que contextualiza o ascenso ao poder das três mulheres retratadas, com especial cuidado em transmitir a ritualidade diária e também a escepcional que marcou a sua vida. Com a iconomaquia como fio condutor e com umha ótica ceptista com as hagiografias iconodulas das três emperatrizes (especialmente com a santifiada Teodora) o livro construi umha narraçom que semelha fiel à história. Quando a autora tem que recurrir a suposiçons gerais sobre eventos vitais das purpuradas que nom ficam retratadas nas crônicas da época sempre as sinala e justifica com outras fontes sobre os elementos comuns da vida imperial. Ademais o trabalho de contextualizaçom histórica (crise imperial do século VII, coroaçom imperial de Carlomagno, expansom muçulmana...) é completo e permanentemente ligado com os feitos narrados. A autora fai um esforço magnífico em enquadrar os sucesos da vida das emperatrizes e a emperador e entender os seus motivos últimos.
O estilo de escritura é agradável mais profissional, as páginas passam com rapidez. Está afastado da narraçom historiográfica mais clássica, umha simples enumeraçom de actos imperiais, traiçons e movimentos políticos. O texto ganha fluidez e cercania quando analisa polo miúdo os motivos
culturais e pessoais que guiaram os feitos.
Como resumo diria que é um achegamento profundo mas ameno à vida destas três protagonistas da Historia, e também é um jeito excelente de conhecer mais sobre o conflito iconomaquico, a formaçom da conciência post-romana em Ocidente, a evoluçom da mesma em Oriente e em geral todos os eventos que conformaram os seguintes séculos no continente.
Umha narraçom coerente e viva que contextualiza o ascenso ao poder das três mulheres retratadas, com especial cuidado em transmitir a ritualidade diária e também a escepcional que marcou a sua vida. Com a iconomaquia como fio condutor e com umha ótica ceptista com as hagiografias iconodulas das três emperatrizes (especialmente com a santifiada Teodora) o livro construi umha narraçom que semelha fiel à história. Quando a autora tem que recurrir a suposiçons gerais sobre eventos vitais das purpuradas que nom ficam retratadas nas crônicas da época sempre as sinala e justifica com outras fontes sobre os elementos comuns da vida imperial. Ademais o trabalho de contextualizaçom histórica (crise imperial do século VII, coroaçom imperial de Carlomagno, expansom muçulmana...) é completo e permanentemente ligado com os feitos narrados. A autora fai um esforço magnífico em enquadrar os sucesos da vida das emperatrizes e a emperador e entender os seus motivos últimos.
O estilo de escritura é agradável mais profissional, as páginas passam com rapidez. Está afastado da narraçom historiográfica mais clássica, umha simples enumeraçom de actos imperiais, traiçons e movimentos políticos. O texto ganha fluidez e cercania quando analisa polo miúdo os motivos
culturais e pessoais que guiaram os feitos.
Como resumo diria que é um achegamento profundo mas ameno à vida destas três protagonistas da Historia, e também é um jeito excelente de conhecer mais sobre o conflito iconomaquico, a formaçom da conciência post-romana em Ocidente, a evoluçom da mesma em Oriente e em geral todos os eventos que conformaram os seguintes séculos no continente.
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