Epic Inversion in Apuleius' Tale of Tlepolemus/Haemus*

Mnemosyne, Vol. XLV, Fasc. 1 (1992)

EPIC INVERSION IN APULEIUS' TALE OF TLEPOLEMUS/HAEMUS*

S.A. FRANGOULIDIS

Scholars agree on the essentially epic flavor of the tale of Tlepolemus/Haemus at Met. 7.4-13/156.19-162.14, but differ widely about its correspondence with a specific episode from epic1). A. van Kemphen considers the tale of Tlepolemus an imitatio cum variatione of V ergil' s description of the capture of Troy by the Greeks2). E.D. Finkelpearl, in a slightly more expanded way, establishes a relationship with the Sinon episode in the Aeneid on the

• The text of the Metamorphoses is quoted from the Teubner edition of R. Helm, Apulei Platonici Madaurensis opera quae supersunt. Metamorphoseon libri XI (Leipzig 1968). The text of the Odyssey is from the OCT edition ofT.W. Allen, Homeri opera (Oxford 1974). References to the Aeneid are to the OCT edition of R.A.B. Mynors, P. Vergili Maronis opera (Oxford 1969). 1) The epic allusions in the tale of Tlepolemus/Haemus have been regularly noted by scholars and commentators. See, for instance, F. Gatscha, Quaestionum Apuleianarum capita tria. Dissertationes philologicae Vindobonenses VI (Vienna 1898), 147; B.L. Hijmansjr. et al., Apuleius Madaurensis Metamorphoses Books VI 25-32 and VII. Text, Introduction and Commentary (Groningen 1981), to whose commentary, also collectively identified as Groningen commentators, I am greatly indebted throughout. 2) A. van Kemphcn, Apuleius Madaurensis Metamorphoses Books VI 24-32 and VII. Text, Introduction and Commentary. Appendix II (Groningen 1981 ), 280. The entire discussion of van Kemphen runs as follows: "(1) The Greeks build a horse as high as a mountain: A.2, 15 instar montis equum ... aedificant. Tlepolemus tells the rob bers that his name is Haemus, a doubly significant name (not only meaning "bloody", but also the name of a well-known mountain: see Hijmans in AAGA [i.e. Aspects of Apuleius' Golden Ass. see note 10 below for an identification of this reference]1978, 115. (2) The Trojans, after bringing the horse within the walls, have started drinking: A. 2, 265 urbem somno vinoque sepultam. The robbers allow themselves to be made drunk after taking in Haemus. (3) The Trojans will die at the hands of the Greeks who come into the city later. A. 2.333 statferri acies mucrone corusco/stricta, parata neci. The robbers, parati morti, die at the hands of Tlepolemus and his helpers. It is not impossible, therefore, that Charite's recapture constitutes an imitatio cum variatione of Vergil's description of the capture of Troy." EPIC INVERSION IN APULEIUS 61 basis of situational parallels with Vergil's treatment3 ). What has not been properly assessed, however, is that the scenery of the cave, the emphasis on Tlepolemus' cleverness and trickery which sug gested a Vergilian comparison, and the strategy of the execution of the robbers' band may point to a comparison with Homer's des cription of Odysseus' punishment of the Cyclops and his safe exit from the cave. Further, the Homeric hero employed wine in his plan to blind Polyphemus and, thereby, achieve a safe escape for himself and his companions from the monster's cave. This pattern, to a great extent, is developed in the tale as Tlepolemus, disguised as Haemus, enters into a company of thieves. In order to punish the band, he drugs them with wine and, thereby, rescues his kid napped Charite from captivity in the bandits' cave. The apparent contradiction which is caused by the description of the young man-once in terms reminiscent of Homer's giant, Polyphemus and later of Odysseus-should hardly be surprising in view of his double identity as the famous Thracian brigand, Haemus, and as the bridegroom, Tlepolemus. But the invocation of epic material from Homer's Cyclopeia (Hom. Od. 9.9-566) in the lowly and unheroic setting of otherwise common criminals may shed some light on the playful intentions of Apuleius' epic adaptation4 ). It is my purpose, therefore, in this paper to examine more closely this sophisticated aspect of Apuleius' literary imitation in the tale of Tlepolemus' masquerade as the famous brigand, Haemus (Met.

3) E.D. Finkelpearl, The Metamorphosis of Language in Apuleius' Metamorphoses, Ph.D. Diss. (Cambridge, Mass. 1986), 127-130, relates (1) Apuleius Met. 7.5/158.12-15: patre Therone aeque latrone inclito prognatus, humano sanguine nutritus interque ipsos manipulos factionis educatus heres et aemulus virtutis paternae with V ergil A en. 2. 86-8 7: illi me com item et consanguinitate propinquum/pauper in arma pater prim is hue misit ab annis. (2) Apuleius Met. 7.61159.16: sibi quisque metuentes delitiscebant with Vergil Aen. 2.130-31: adsensere omnes et, quae sibi quisque timebat,lunius in miseri exitium conversa tulere. (3) Apuleius Met. 7.12/163.16-17: omnes vino sepulti iacebant with Vergil Aen. 2.265: invadunt urbem somno vinoque sepultam, thus considering the two episodes as verbally and situationally alike. 4) See also the prefatory remarks in Hijmans et at. (note 1 above), 111-112. An excellent theoretical survey of ancient and modern perspectives on the humor that arises from the literary imitation of the serious epic, and on the overall limitations of Homeric comedy is found in: R.B. Branham, Unruly Eloquence. Lucian and the Comedy of Traditions (Cambridge, Mass. 1989), 127-177.