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Ephesiaca a Paraliterary Love-Story from the Ancient World ANCIENT NARRATIVE
Xenophon’s Ephesiaca A Paraliterary Love-Story from the Ancient World ANCIENT NARRATIVE Supplementum 22 Editorial Board Gareth Schmeling, University of Florida, Gainesville Stephen Harrison, Corpus Christi College, Oxford Heinz Hofmann, Universität Tübingen Massimo Fusillo, Università degli Studi dell’Aquila Ruurd Nauta, University of Groningen Stelios Panayotakis, University of Crete Costas Panayotakis (review editor), University of Glasgow Advisory Board Jean Alvares, Montclair State University Alain Billault, Université Paris Sorbonne – Paris IV Ewen Bowie, Corpus Christi College, Oxford Jan Bremmer, University of Groningen Koen De Temmerman, University of Ghent Stavros Frangoulidis, Aristotelian University of Thessaloniki Ronald Hock, University of Southern California, Los Angeles Irene de Jong, University of Amsterdam Silvia Montiglio, Johns Hopkins University John Morgan, University of Wales, Swansea Michael Paschalis, University of Crete Judith Perkins, Saint Joseph College, West Hartford Tim Whitmarsh, University of Cambridge Alfons Wouters, University of Leuven Maaike Zimmerman, University of Groningen Website www.ancientnarrative.com Subscriptions and ordering Barkhuis Kooiweg 38 9761 GL Eelde the Netherlands [email protected] www.barkhuis.nl Xenophon’s Ephesiaca A Paraliterary Love-Story from the Ancient World by Aldo Tagliabue BARKHUIS & GRONINGEN UNIVERSITY LIBRARY GRONINGEN 2017 Book design: Barkhuis Cover design: Nynke Tiekstra, Coltsfootmedia, Rotterdam Image on cover: “Incontro tra Anzia e Abrocome alle feste di Diana”, Jacopo Amigoni (attributed), ca. 1743 ISBN 9789492444127 Copyright © 2017 the author All rights reserved. No part of this publication or the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, elec- tronical, mechanical, by photocopying, recording or otherwise, without prior written per- mission from the author. -
Xetex Output 2007.09.06:0922
i ``variants5'' --- 2007/9/6 --- 9:22 --- page 129 --- #127 i i i The Copyist as Novelist Multiple Versions in the Ancient Greek Novel M. Sanz Morales No book is ever published without some variant in each copy. Scribes take a secret oath to omit, interpolate, vary. Jorge Luis Borges, The Babylon Lottery 1. Purpose The present essay has two objectives: on the one hand, to show the ex- istence of multiple versions in the textual transmission of several of the Greek novels that have come down to us; on the other, to investigate the causes for such multiplicity. This shall require that this case of multiple versions be placed in relationship with other similar cases of works which do not pertain to the genre of the novel, but yet are related to it, which in turn will lead to certain consequences in the field of literary studies.1 2. Greek novels and their multiple versions The genre of the Greek novel developed in the first centuries of our era, a period in which the Greek-speaking world was a part of the Roman Em- pire. The only five novels which have survived in their entirety all belong to this period, as well as the quite numerous papyrus fragments of other novels which have been lost. The peak of the genre seems to have been somewhere around the second or third century A. D., judging from the probable date of many of these novels.2 As for their literary form, the 1 This article is a part of a research project (HUM2005-03090) financed by the Ministerio de Educación y Ciencia of Spain and FEDER. -
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 -
Introduction
Cambridge University Press 978-0-521-82391-3 - Narrative and Identity in the Ancient Greek Novel: Returning Romance Tim Whitmarsh Excerpt More information Introduction true romance Habrocomes, my child, I am not a settler or a native Sicilian but an elite Spartan, from one of the powerful families there, and very pros- perous. When I was a young man and enrolled among the ephebes, I fell in love with a citizen girl by the name of Thelxinoe, and Thelxinoe returned my love. We met at a time when an all-night festival was being held in the city, with a god’s guidance, and enjoyed the pleasure that our meeting had promised. For a while we used to meet in secret, and swore repeatedly to each other that our relationship would last till death. But one of the gods must have been spiteful. While I was still classed among the ephebes, Thelxinoe’s parents agreed to her marriage to a young man called Androcles, who had by this time also fallen in love with her. At first, the girl had to invent all sorts of excuses to put off the wedding, but in the end she was able to arrange a meeting with me, and she agreed to elope from Sparta with me by night. We both dressed up as young men, and I even cut Thelxinoe’s hair, on the very night before her wedding. Escaping from the city we came to Argos, then Corinth, where we boarded a ship and sailed for Sicily. When the Spartans learned of our escape, they condemned us to death. -
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. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Hoag, Gary G Title: The teachings on Riches in 1 Timothy in light of Ephesiaca by Xenophon of Ephesus General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. The Teachings on Riches in I Timothy in light of Ephesiaca by Xenophon of Ephesus Gary G. Hoag A dissertation submitted to the University of Bristol and Trinity College in accordance with the requirements for award of degree of Doctor of Philosophy in the Faculty of Arts. -
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. -
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.