A Re-Examination of Some Structural Problems in Achilles Tatius’ Leucippe and Clitophon
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Cambridge University Press 978-1-108-48303-2 — the Moon in the Greek and Roman Imagination Karen Ní Mheallaigh Index More Information
Cambridge University Press 978-1-108-48303-2 — The Moon in the Greek and Roman Imagination Karen ní Mheallaigh Index More Information Index Achilles’ shield. See Homer Callimachus, – Aëtius, – celestial bowls, – Aglaonice, – Cicero, Somnium Scipionis, –, , See Alcmaeon of Croton, , – selēnoskopia (or ‘view from Moon’) Alcman Cleomedes, , Partheneia (Maiden Songs), – cognitive estrangement. See selēnoskopia (view from Alexander of Abonouteichos, – Moon) amphiphōntes, Colin Webster, , – analogical drift, Corinna, – Anaxagoras of Clazomenae, , –, –, cup of Helios, – Cyrano de Bergerac, , n Anaximander of Miletus, – Anaximenes of Miletus, – Demetrius Triclinius, n, , – Ancient Greek calendar, See also parapēgmata Democritus of Abdera, –, Antiphanes of Berge, – Diogenes of Apollonia, antiphraxis, – dioptra. See Lucian, True Stories Antonius Diogenes, The incredible things beyond Thule earthshine, – and scholarly hoax, – Earthy Moon Theory (EMT), –, –, and the Arctic, – See Plutarch, De facie and the Moon, – problems/challenges, , – narrative complexity, – eclipse Apollo Noumēnios, lunar eclipse, – Apuleius mechanism of eclipse, – lunam despumari, – solar eclipse, , – Aristarchus of Samos, , Empedocles of Acragas, –, , – Aristotle Empedotimus, fire creatures on the Moon, – Endymiones, , – on nature of Moon, Ennius’ dream, – theory of elements, Epimenides of Crete, – Astraeus, Eratosthenes of Cyrene, astral travel. See soul projection Hermes. See selēnoskopia (or ‘view from astronomical observation, , See mountains Moon’) astronomy -
Interpreting the Heroine of a Greek Romance Isabelle Raposo [email protected]
CORE Metadata, citation and similar papers at core.ac.uk Provided by Wellesley College Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2019 Charicleia’s Dream: Interpreting the Heroine of a Greek Romance Isabelle Raposo [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Raposo, Isabelle, "Charicleia’s Dream: Interpreting the Heroine of a Greek Romance" (2019). Honors Thesis Collection. 641. https://repository.wellesley.edu/thesiscollection/641 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. Charicleia’s Dream: Interpreting the Heroine of a Greek Romance Isabelle Kennedy Raposo Submitted in Partial Fulfillment of the Prerequisite for Honors in Classics April 2019 © Isabelle Raposo 2019 Introduction Dreams, Oracles, and Interpretation This thesis will analyze the ways in which Charicleia, the heroine of Heliodorus’ Aethiopica, is characterized, using an oracular dream as a guide to interpretation. About the Aethiopica The Aethiopica, or “An Ethiopian story,” is the only known work of Heliodorus of Emesa, composed about 350 A.D. Little is known about the life of Heliodorus apart from the information he provides at the end of the Aethiopica: -
Interpreting the Heroine of a Greek Romance Isabelle Kennedy
Charicleia’s Dream: Interpreting the Heroine of a Greek Romance Isabelle Kennedy Raposo Submitted in Partial Fulfillment of the Prerequisite for Honors in Classics April 2019 © Isabelle Raposo 2019 Introduction Dreams, Oracles, and Interpretation This thesis will analyze the ways in which Charicleia, the heroine of Heliodorus’ Aethiopica, is characterized, using an oracular dream as a guide to interpretation. About the Aethiopica The Aethiopica, or “An Ethiopian story,” is the only known work of Heliodorus of Emesa, composed about 350 A.D. Little is known about the life of Heliodorus apart from the information he provides at the end of the Aethiopica: “[the Aethiopica’s] author is a Phoenician of Emesa, of the race of the Sun—the son of Theodosius, Heliodorus” (277). Emesa stood on the same ground as the modern city of Homs, Syria, and was known for the local cult of the god ‘LH’GBL or Elahagabal.1 The church historian Sokrates refers to a bishop named Heliodorus, living in Thessaly around 385, who may have started the practice of married men entering the church becoming celibate.2 Synopsis Persinna, the queen of Ethiopia, conceives a child while consorting with her husband Hydaspes and looking at a wall painting of Andromeda. The child is born white as a result, in spite of both of her parents’ having dark skin, and Persinna embroiders the story of her conception on a ribbon. Gathering the ribbon and some unique jewels, she sends the child to be exposed. Sisimithres, a sage who is an advisor to the Ethiopian court, finds the baby and takes her to be raised by shepherds outside the Ethiopian capital city of Meroe. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
Theagenes' Sōphrosynē in Heliodorus' Aethiopica
Virtue Obscured: Theagenes’ Sōphrosynē in Heliodorus’ Aethiopica RACHEL BIRD Swansea University The concept of sōphrosynē has a central role in the genre of the Greek novel.1 The five extant texts have at their heart the representation of a mutual, heterosexual erotic relationship between beautiful, aristocratic youths and, in all of the novels apart from Longus’ Daphnis and Chloe, the protagonists’ possession of sōphrosynē is a crucial part of their identity. They must prove their sōphrosynē when faced with sexual advances from lustful antagonists, and they often prove their fidelity through their innate regard for this virtue. While as a term and con- cept sōphrosynē2 is semantically complex, encompassing the qualities and psy- chological states of temperance, moderation, sanity, self-control and chastity, in the novels it generally refers to sexual restraint and the motivation behind chastity. The texts differ in their respective treatments of sōphrosynē: there is a spectrum from the representation of mutual chastity in Xenophon of Ephesus’ novel, which has been labelled obsessive,3 to the irreverent subversion of chastity found in Achilles Tatius’ Leucippe and Clitophon.4 Despite these divergent treatments, the role of sōphrosynē is always fundamental to the ethics of these novels. Heliodorus’ Aethiopica has long been considered a complex work, particu- larly in terms of its narrative structure.5 The characterisation of its protagonists ————— 1 I consider the five extant works of Chariton, Xenophon of Ephesus, Longus, Achilles Ta- tius and Heliodorus to be examples of the genre of the Greek novel. For discussion of sōphrosynē in the novels, see Anderson 1997; De Temmerman 2014; Kaspryzsk 2009. -
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon ASHLI J.E. BAKER Bucknell University Eros is “…δεινὸς γόης καὶ φαρμακεὺς καὶ σοφιστής…” (Plato, Symposium 203d) Introduction In the beginning of Book Two of Achilles Tatius’ Leucippe and Clitophon, the clever but thus far failed lover Clitophon witnesses a remarkable – and useful – scene. He passes by just as Clio, Leucippe’s slave, is stung on the hand by a bee. He sees Leucippe soothe Clio’s pain by singing incantations (ἐπᾴδω) she says she learned from an Egyptian woman.1 When Clitophon, determined to woo Leu- cippe, finds himself alone with her on the following day, he pretends that he too has been stung by a bee. Leucippe approaches, asking where he has been stung. In reply, Clitophon says, ————— 1 παύσειν γὰρ αὐτὴν τῆς ἀλγηδόνος δύο ἐπᾴσασαν ῥήματα· διδαχθῆναι γὰρ αὐτὴν ὑπό τινος Αἰγυπτίας εἰς πληγὰς σφηκῶν καὶ μελιττῶν. Καὶ ἅμα ἐπῇδε· καὶ ἔλεγεν ἡ Κλειὼ μετὰ μικρὸν ῥᾴων γεγονέναι. (2.7 - “…she would, she said, stop her pain by chanting two spells; she had been taught by an Egyptian woman how to deal with wasp- and bee-stings. As she had chanted, Clio had said that the pain was gradually relieved.”). All Greek text of Leu- cippe and Clitophon is that of Garnaud 1991. All translations are cited, with occasional alterations, from Whitmarsh 2001. I want to give special thanks to Catherine Connors for her insightful comments throughout the drafting of this paper. Thanks too to Alex Hollmann and Stephen Trzaskoma for feedback on earlier versions of this project. -
Publications 2020
Faculty of Classics, University of Oxford: publications 2020 This list contains some of the work published by members of the Faculty with the year of publication 2020. Allan, W. (2020), ‘Poetry and Philosophy in the Sophists’, Araucaria 44: 285-302. Armstrong, R. (2020), ‘Hercules and the Stone Tree: Aeneid 8.233–40’ CQ 70.2. Ashdowne, R. (2020), ‘-mannus makyth man(n)? Latin as an indirect source for English lexical history’ in L. Wright (ed.), The Multilingual Origins of Standard English (Berlin & Boston), 411-441. Ballesteros. B. (2020), 'Poseidon and Zeus in Iliad 7 and Odyssey 13: on a case of Homeric imitation’, Hermes: Zeitschrift für Klassische Philologie 148: 259–277. Benaissa, A. (2020), ‘A Papyrus of Hermogenes’ On Issues in the Bodleian Library’, Archiv für Papyrusforschung 66.2: 265–272. Benaissa, A. (2020), ‘The Will of Haynchis Daughter of Isas’, Zeitschrift für Papyrologie und Epigraphik 214: 230–235. Benaissa, A. (2020), ‘Late Antique Papyri from Hermopolis in the British Library I’, Zeitschrift für Papyrologie und Epigraphik 215: 257–272. Benaissa, A. (2020), ‘P.Oxy. LXXVII 5123 and the Economic Relations between the Apion Estate and its Coloni Adscripticii’, Journal of Juristic Papyrology 50 (forthcoming 2020). Beniassa, A. (2020), ‘An Official Deposition from the Early Fifth Century’, in J. V. Stolk and G. van Loon (eds.), Text Editions of (Abnormal) Hieratic, Demotic, Greek, Latin and Coptic Papyri and Ostraca. ‘Some People Love Their Friends Also When They Are Far Away’: Festschrift in Honour of Franscisca A.J. Hoogendijk (Leiden), 167–170. Benaissa, A. (2020),‘Notes on Oxyrhynchite Toponyms’, Tyche 35 (forthcoming 2020). -
1 INTRODUCTION Achilles Tatius Despite the Explosion of Interest In
Cambridge University Press 0521642647 - Vision and Narrative in Achilles Tatius’ Leucippe and Clitophon Helen Morales Excerpt More information 1 INTRODUCTION Achilles Tatius Despite the explosion of interest in ancient fiction over the last few decades, Leucippe and Clitophon remains the least studied of the five major Greek novels. To my knowledge, this is the first published monograph on Achilles; so far Leucippe has been left on the shelf. ‘Most moderns,’ explains Ewen Bowie in his entry on Achilles Tatius in the Oxford Classical Dictionary, ‘uncertain how to evaluate him, prefer Longus and Heliodorus.’1 Graham Anderson concurs: ‘Even at the lowest level of literary criticism, at which writers receive one-word adjectives, one can do something for the rest of the extant novelists: Xenophon of Ephesus is na¨ıve, Heliodorus cleverly convoluted, Longus artfully simple: yet what is one to say about Achilles?’2 Scholarship on the novel is moving forward so quickly that these comments will soon seem dated. Nevertheless, they are symptomatic of a fundamental difficulty: there is no consensus about what to make of Achilles Tatius; at the most basic level, about how to read him. Parody? Pastiche? Pornography? It is, as John Morgan puts it, a ‘hyper-enigmatic’ novel.3 Part of the problem is that Achilles Tatius is frequently eval- uated against the norms of the genre (often as the Joker in the pack: ‘[Achilles Tatius] inverse syst´ematiquementles conventions du genre’;4 ‘He conducts a prolonged guerrilla war against the conventions of his own genre’5), and the norms and the genre are themselves problematic to define.6 It is important to note that recent approaches to the genre have been driven by the last few decades’ 1 OCD, 3rd edn (1996), 7. -
Reading for Pleasure: Narrative, Irony, and Erotics in Achilles Tatius
READING FOR PLEASURE: NARRATIVE, IRONY, AND EROTICS IN ACHILLES TATIUS Tim Whitmarsh Leucippe & Clitophon is exceptional among the corpus of extant Greek novels in that it is almost entirely narrated by a central pro- tagonist in the narrative.1 The opening words are those of an un- named figure explaining how he met Clitophon lamenting his experi- ences in love; and in response to his request, Clitophon narrated his tale. That tale then becomes the remainder of the novel (there is no return to the outer frame at the conclusion). This feature—so-called ‘ego-narration’ (or, to use a technical phrase, ‘character-bound nar- ration’2)—has often been remarked upon from a narratological per- spective: commentators have shown how subtly Achilles manipulates his readers’ knowledge and ignorance of events for the purposes of narrative tension and drama.3 In this essay I want to take a rather dif- ferent approach. What sort of narrator is Clitophon? How does his identity affect his selection and interpretation of material? And what pleasures are to be had from observing his partisanship and blind- spots? In other words, does Clitophon’s narrative dramatise a certain kind of approach to novel-reading, an approach that is itself explored, distanced, problematised, ironised? Ego-narratives are not in and of themselves ironical, they become so when they are read as such; when, that is, a gap (be it cognitive, moral or intellectual) opens up between the focalization of the nar- rator and that of the reader. But for a narrative to be read as ironical (rather than, say, simply contemptible), the reader must recognise a complicity with a figure (not necessarily a character, but an identifi- able perspective) within the text who shares her perspective.4 The 1 If we restrict the corpus to the canonical five, that is. -
Author BC AD ACHILLES TATIUS 500? Acts of Paul and Thecla, of Pilate, of Thomas, of Peter and Paul, of Barnabas, Etc
Author BC AD ACHILLES TATIUS 500? Acts of Paul and Thecla, of Pilate, of Thomas, of Peter and Paul, of Barnabas, etc. at the earliest from 2d cent. on AELIAN c. 180 AESCHINES 345 AESCHYLUS *525, †456 AESOP 1 570 AETIUS c. 500 AGATHARCHIDES 117? ALCAEUS MYTILENAEUS 610 ALCIPHRON 200? ALCMAN 610 ALEXIS 350 AMBROSE, Bp. of Milan 374 AMMIANUS MARCELLINUS †c. 400 AMMONIUS, the grammarian 390 ANACREON2 530 ANAXANDRIDES 350 ANAXIMANDER 580 ANDOCIDES 405 ANTIPHANES 380 ANTIPHON 412 ANTONINUS, M. AURELIUS †180 APOLLODORUS of Athens 140 APOLLONIUS DYSCOLUS 140 APOLLONIUS RHODIUS 200 APPIAN 150 APPULEIUS 160 AQUILA (translator of the O. T.) 2d cent. (under Hadrian.) ARATUS 270 ARCHILOCHUS 700 ARCHIMEDES, the mathematician 250 ARCHYTAS c. 400 1 But the current Fables are not his; on the History of Greek Fable, see Rutherford, Babrius, Introd. ch. ii. 2 Only a few fragments of the odes ascribed to him are genuine. ARETAEUS 80? ARISTAENETUS 450? ARISTEAS3 270 ARISTIDES, P. AELIUS 160 ARISTOPHANES *444, †380 ARISTOPHANES, the grammarian 200 ARISTOTLE *384, †322 ARRIAN (pupil and friend of Epictetus) *c. 100 ARTEMIDORUS DALDIANUS (oneirocritica) 160 ATHANASIUS †373 ATHENAEUS, the grammarian 228 ATHENAGORUS of Athens 177? AUGUSTINE, Bp. of Hippo †430 AUSONIUS, DECIMUS MAGNUS †c. 390 BABRIUS (see Rutherford, Babrius, Intr. ch. i.) (some say 50?) c. 225 BARNABAS, Epistle written c. 100? Baruch, Apocryphal Book of c. 75? Basilica, the4 c. 900 BASIL THE GREAT, Bp. of Caesarea †379 BASIL of Seleucia 450 Bel and the Dragon 2nd cent.? BION 200 CAESAR, GAIUS JULIUS †March 15, 44 CALLIMACHUS 260 Canons and Constitutions, Apostolic 3rd and 4th cent. -
Euanthes and the World of Rhetoric in Achilles Tatius' Leucippe And
Euanthes and the World of Rhetoric in Achilles Tatius’ Leucippe and Cleitophon KATHERINE A. MCHUGH The University of Edinburgh In Book Three of Achilles Tatius’ Leucippe and Cleitophon there is an ekphrasis of a painting, one of three within the entirety of the novel. The description takes place after the protagonists’ arrival at Pelusium, as they happen upon the Temple of Zeus and come across “double images” (εἰκόνα διπλῆν, 3,6,3) which have been signed by the artist Euanthes (3,6,3).1 The main aim of this article is to consider the name of this artist, as opposed to the painting itself; it seeks to prove that Euanthes was not a real figure, but a name created by Achilles which is imbued with rhetorical references in keeping with the intellectual climate of 2nd Century AD Greek literature. The name Euanthes and its possible rhetorical connotations will be explored in conjunction with a detailed consideration of Achilles’ use of ekphrasis throughout Leucippe and Cleitophon and his interest in rhetorical edu- cation in order to assert that some of the author’s playful in-jokes have been un- derstudied, and that they can provide us with a clearer picture of how the author strives to appeal to his reader; that is, a reader who is steeped in a rhetorical edu- cation himself. The article also considers the other two ekphraseis of paintings in Leucippe and Cleitophon (which occur in Books One and Five) in order to aid with an understanding of Achilles’ use of the rhetorical technique and how sig- nificant rhetoric is to his novel as a whole. -
Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES
Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES NUMBER 7 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrolog- ical and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) was supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Meta- physics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 Number 6: Donald J. Mastronarde, Preliminary Studies on the Scholia to Euripides, 2017 Early Greek Alchemy, Patronage and Innovation in Late Antiquity Olivier Dufault CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2019 by Olivier Dufault.