DAPHNIS AND CHLOE: AND ANTHIA AND HABROCOMES - XENOPHON OF EPHESUS PDF, EPUB, EBOOK

Longus,Jeffrey Henderson | 464 pages | 31 May 2009 | HARVARD UNIVERSITY PRESS | 9780674996335 | English, Greek, Modern (1453- ) | Cambridge, Mass, United States Longus, Xenophon of Ephesus, Daphnis and Chloe. Anthia and Habrocomes | Loeb Classical Library All the central issues of current scholarship are addressed: sexuality, cultural identity, class, religion, politics, narrative, style, readership and much more. Four sections cover cultural context of the novels, their contents, literary form, and their reception in classical antiquity and beyond. Each chapter includes guidance on further reading. This collection will be essential for scholars and students, as well as for others who want an up-to- date, accessible introduction into this exhilarating material. This index offers a brief guide to the surviving Greek and Roman novelists, the major fragmentary Greek works, and certain other central texts that are crucial for the study of the novel. Many issues are uncertain: questions of dating are usually vexed, particularly with the Greek material; 1 titles are also uncertain in many cases; 2 and biographical testimony is largely untrustworthy. For fuller critical discussions see the Introduction to this volume, and also the various essays on individual works in Schmeling b. Lists of editions, commentaries and translations are not intended to be complete; they concentrate rather upon modern, accurate, accessible versions English- language, where possible. In the case of Greek and Latin texts, as a rule the most recent is the best. The narrative begins with an unnamed narrator telling how he met Clitophon in the temple of Astarte in Sidon. Thereafter, over eight books, the latter recounts his elopement from Phoenicia to Egypt with his girlfriend Leucippe, their subsequent separation and final reunion at Ephesus. Papyri of the late second century CE are likely to have been written soon after its composition. More credence has been given to the Suda 's claim corroborated by the manuscript traditions that Achilles was Alexandrian, partly on the grounds of his seemingly accurate description of Egyptian fauna; but it is possible that this springs from extrapolation on the basis of the encomiastic description of the city at the beginning of book 5. Winkler in Reardon —; Whitmarsh c. The text has an Egyptian-nationalist feel: Alexander is presented as the son of Nectanebo, the last pharaoh. It is composed of numerous strata, some probably dating back to the second century BCE; but the text as a whole probably achieved its current form in the third century CE. An up-to-date edition by Richard Stoneman is in preparation. Antonius Diogenes, Wonders beyond Thule. A Greek work in twenty-four books, preserved in fragments and summary form in Photius, The Library codex The focus is upon the marvellous features, and stories, encountered by one Dinias during his travels in the Arctic regions Thule being a mythical island north-west of Britain. It was clearly a narratological extravaganza, containing at least seven levels of embedded narration. The dating is uncertain, although the author's Roman first name suggests an imperial date. The latest possible date for the work is the middle of the third century CE, when the philosopher Porphyry cites it. Sandy in Reardon — Apollonius, King of Tyre A story composed in simple Latin, probably in the fifth or sixth century CE, but often thought to be a translation of an earlier Greek original probably of imperial date. The narrative is composed of two phases. In the first, Apollonius seeks the hand of the daughter of King Antiochus of Antioch; he discovers the solution to a riddle posed him by the king, namely that the latter has raped his daughter. Fleeing Antiochus' rage, he is shipwrecked. In phase two, he marries the daughter of the king of Cyrene. Believing her dead, he leaves his daughter in safe-keeping and travels abroad. Upon his return he rescues the latter from a brothel and discovers his wife was not dead. Apuleius, Metamorphoses A Latin novel in eleven books narrated by one Lucius, transformed into an ass thanks to his inquisitive prying into magic in Thessaly. In the eleventh book he returns to human form after eating roses in a procession in honour of Isis, and converts to the goddess' cult. A number of other stories are embedded in the narrative, most notably the central fable of Cupid and Psyche books 4—6. The title of the whole work is transmitted as Metamorphoses in the manuscript tradition, but St Augustine calls it The Golden Ass. Born to a wealthy family in second-century Madaurus, Apuleius became one of the prominent intellectuals of north Africa, with a reputation as a philosopher and orator works transmitted under his name included a version of the Aristotelian On the Cosmos , On Plato , On Interpretation, On Socrates' God , and the Florida , selections from his orations. Philosophical elements can arguably be glimpsed through the scurrility throughout the Metamorphoses , particularly in the Cupid and Psyche episode. Also Kenney a , on Cupid and Psyche. Callirhoe see Chariton , Callirhoe. Charicleia and Theagenes see Heliodorus , Charicleia and Theagenes. Having been attacked by her husband Chaereas in a jealous pique, presumed dead, and buried, she is abducted by tomb-robbers, then pursued by Chaereas ultimately to Babylon; they are finally reunited, and return together to Sicily. It is widely assumed to be the earliest of the extant Greek novels, primarily on the grounds that it avoids the Attic dialect current from the early to mid-second century CE. A reference in the Satires of the Neronian poet Persius to a literary work called Calliroe 1. Four papyri dated to the end of the second century CE mark the latest possible date. Cupid and Psyche A love story embedded in Apuleius, Metamorphoses , told by an old woman to console a young girl Charite who has been captured by robbers. Daphnis and Chloe see Longus. Dinner at Trimalchio's The largest surviving complete episode of Petronius, Satyrica. Trimalchio is a freedman i. As presented by the narrator Encolpius, Trimalchio is pretentious but ignorant, and the dinner party he throws ostentatious and vulgar. Greek Ass The Greek Ass -narrative is substantially the same as the central plot of Apuleius, Metamorphoses , without the Isiac conversion at the end. En route to Egypt, Habrocomes and Anthia pledge that if they ever became separated they would remain faithful. When their ship stops at Rhodes , it attracts the attention of a crew of Phoenician pirates, who plunder it, set it aflame, and take Habrocomes and Anthia captive. The pirates convey them to Tyre. Their captain, Corymbos, falls in love with Habrocomes, and his fellow pirate Euxinos falls in love with Anthia. Corymbos and Euxinos agree to each talk persuasively to the love object of the other, encouraging cooperation. Habrocomes and Anthia both say they need more time to think before deciding. Afterwards, in private, Habrocomes and Anthia decide that their only acceptable recourse is to commit suicide together. However, Apsyrtos, the chief of the pirate stronghold, is struck by the beauty of the young couple and concludes that they would bring an excellent price on the slave market. He takes them, along with their loyal slaves Leucon and Rhode, to his house in Tyre and puts them under the care of a trusted slave, then goes to Syria on other business. While Apsyrtos is in Syria, his daughter Manto falls in love with Habrocomes and writes him a note expressing her feelings. He spurns her advances. When Apsyrtos returns to Tyre, bringing with him a young man named Moeris as a husband for his daughter, Manto takes revenge on Habrocomes by telling her father that Habrocomes has raped her. Apsyrtos has Habrocomes whipped and tortured. He then marries Manto to Moeris and gives them a wedding present of three slaves: Anthia, Leucon, and Rhode. Moeris, Manto, and the slaves go to live in Antioch. Manto separates Leucon and Rhode from Anthia by having them sold to an old man living far away in Lycia , and completes her revenge by having Anthia married to another slave of hers, a rural goatherd named Lampo. Meanwhile, Apsyrtos discovers the love note his daughter had written to Habrocomes. He immediately frees Habrocomes and gives him employment as manager of the house. Lampo honors Anthia's wish to remain faithful to Habrocomes and doesn't attempt to consummate the relationship. But Moeris falls in love with Anthia and seeks Lampo's help in winning her heart. Instead, Lampo tells Manto of her husband's plan; Manto, seeing that Anthia is still her rival in love, becomes enraged and orders Lampo to take Anthia into the forest and kill her. Lampo promises to do so but takes pity on Anthia and, instead, sells her to Cilician merchants. These merchants set sail for their country but are shipwrecked en route. The survivors, including Anthia, reach shore only to be captured in the forest by a robber named Hippothoos and his band. During this time, Habrocomes learns that Lampo had sold Anthia to the Cilicians, so he secretly goes to Cilicia in search of her. When the robber band is about to sacrifice Anthia to the god Ares, a body of troops, led by Perilaos, the chief law enforcement official in Cilicia, suddenly appears. All the robbers are killed or captured save Hippothoos, who escapes; and Anthia is rescued. Perilaos takes Anthia and the captured robbers to Tarsus , falling in love with her on the way. Because he is so insistent in offering to marry Anthia, she finally relents, fearing a worse fate if she rejects him. But she makes him promise to wait thirty days before the wedding. Meanwhile, Habrocomes reaches Cilicia and encounters Hippothoos. The two immediately become firm friends and pledge to travel together. Hippothoos leads Habrocomes away from Cilicia to the city of Mazacos in Cappadocia. There, at an inn , Hippothoos narrates his life story, as follows:. He was born to a distinguished family in Perinthos , near Thrace. When he was a young man he became involved in a passionate love affair with another young man, Hyperanthes. But then a rich teacher, Aristomachos, visiting from Byzantium , also became smitten by Hyperanthes and convinced the boy's father to let his son be taken to Byzantium on the pretext of improving his education. They were shipwrecked off Lesbos, and Hyperanthes drowned. So Hippothoos buried his lover's body on the beach, then took up the life of a robber. Hippothoos then tells Habrocomes of his capture of Anthia in Cilicia and how she was taken in the fight that destroyed his robber band. Habrocomes becomes excited. Appealing to the memory of Hyperanthes, he convinces Hippothoos to return with him to Cilicia to help find Anthia. When the thirty days are nearly passed and the wedding is near, Anthia falls into despair. Believing that Habrocomes must be dead, and finding marriage to another man intolerable, she conspires with Eudoxos, an Ephesian physician, to give her a poison. Eudoxos agrees to the plan but gives her a hypnotic drug instead of a lethal one, knowing he will be long gone by the time Anthia awakens. After her wedding, waiting in the bridal chamber, Anthia drinks the potion. Perilaos discovers her body and grieves for her, interring her with great ceremony in a funerary chamber. She awakens some time later, disappointed at the realization that she is alive. So she decides to remain in the tomb and starve herself to death. But a group of robbers have heard of her rich burial and, after waiting for nightfall, break into the vault, take all the silver and gold, and carry her off as prisoner. They set sail for Alexandria , planning to sell her into slavery. Meanwhile, Habrocomes, with a new band of thieves led by Hippothoos, arrives near Tarsus and hears how Anthia, after being rescued from robbers, had wed her rescuer, killed herself, and been entombed, only to have her body snatched by tomb raiders who escaped to Alexandria. So Habrocomes waits until Hippothoos and his band are drunk and asleep before making his way to a ship bound for Alexandria, hoping to recover Anthia's body. The robbers sell Anthia to merchants who sell her to Psammis, a prince of India. Anthia plays on the Indian's superstitions by pretending that she is consecrated to Isis until the proper time for her marriage, which is still a year off. Isis will punish any who force her to break her vows. So Psammis agrees to wait a year before bringing her to his bed. The ship bearing Habrocomes runs aground at Paralion near the mouth of the Nile. A nearby band of thieves called the Shepherds capture the crew, loot the ship, and take everyone across the desert to the Egyptian city of Pelusium. There the crew is sold into slavery. Habrocomes is sold to Araxos, a retired veteran soldier, whose annoying and ugly wife, named Cyno literally meaning "Bitch" [1] , becomes attracted to Habrocomes. Eventually, Cyno murders Araxos in his sleep so she can marry Habrocomes. This causes Habrocomes to flee in horror. So Cyno announces that it was he who murdered her husband. Crafting Characters: Heroes and Heroines in the Ancient Greek Novel – Bryn Mawr Classical Review

The former is a highly bawdy satirical work that draws upon Homeric epic esp. Like the writers of ancient romance, Petronius relates an elaborate and loosely connected tale dealing with the various adventures of young lovers who are compelled to confront a number of challenges and dangers, often erotic in nature. As in the traditional romances, his protagonists become involved with a number of other characters along the way, each of which introduces his or her own history, often in the form of a rather lengthy embedded tale. Samos: first stop on honeymoon cruise Rhodes: main stop on honeymoon cruise — offering to Helios Book 2 Tyre: base of the pirate Apsyrtus Xanthos: chief city of ancient Lycia to which Leukon and Rhode taken; sold to old man who treats them as his children Antioch: home of Moeris and Manto, to which they take A. Cilicia: home of pirates to whom the goatherd Lampon sells A. Book 3 Mazacon Cappadocia : H. Download pdf. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. In Men and Mice , however, Stacpoole made clear that Classics was not his primary emphasis at Malvern ; also noted by Hardin n. Stacpoole comments on his appreciation for Sappho and discusses his translation of her fragments in Men and Mice In both novels and in the film, these sacred spaces also serve as the locus where the love between the two young people blossoms. Hardin 15 concurs with Konstan. For additional perspectives on the equality of couples in the Greek novel in general, see Konstan and and Massimo Fusillo Il romanzo Greco: Polifona ed eros. Venie: Marsilio, , esp. The Blue Lagoon. Frank Launder. Jean Simmons and Donald Houston. Individual Pictures, Randal Kleiser. Brooke Shields and Christopher Atkins. Columbia Pictures, Connors, Catherine. Tim Whitmarsh. Cambridge: Cambridge UP, Fusillo, Massimo. Gavin, Adrienne E. By Henry de Vere Stacpoole. Adrienne E. Kansas City: Valancourt Books, Gill, Christopher. Berkeley: U of California P, Goldhill, Simon. Hardin, Richard F. Lincoln: U of Nebraska P, Kestner, Joseph. Konstan, David. Princeton: Princeton UP, McCail, Ronald. By Longus. Ronald McCail. Oxford: Oxford UP, Morales, Helen. Cambridge UP, Morgan, John and Stephen Harrison. Romm, James. Stacpoole, Henry de Vere. Men and Mice Gates of Morning. Manto separates Leucon and Rhode from Anthia by having them sold to an old man living far away in Lycia , and completes her revenge by having Anthia married to another slave of hers, a rural goatherd named Lampo. Meanwhile, Apsyrtos discovers the love note his daughter had written to Habrocomes. He immediately frees Habrocomes and gives him employment as manager of the house. Lampo honors Anthia's wish to remain faithful to Habrocomes and doesn't attempt to consummate the relationship. But Moeris falls in love with Anthia and seeks Lampo's help in winning her heart. Instead, Lampo tells Manto of her husband's plan; Manto, seeing that Anthia is still her rival in love, becomes enraged and orders Lampo to take Anthia into the forest and kill her. Lampo promises to do so but takes pity on Anthia and, instead, sells her to Cilician merchants. These merchants set sail for their country but are shipwrecked en route. The survivors, including Anthia, reach shore only to be captured in the forest by a robber named Hippothoos and his band. During this time, Habrocomes learns that Lampo had sold Anthia to the Cilicians, so he secretly goes to Cilicia in search of her. When the robber band is about to sacrifice Anthia to the god Ares, a body of troops, led by Perilaos, the chief law enforcement official in Cilicia, suddenly appears. All the robbers are killed or captured save Hippothoos, who escapes; and Anthia is rescued. Perilaos takes Anthia and the captured robbers to Tarsus , falling in love with her on the way. Because he is so insistent in offering to marry Anthia, she finally relents, fearing a worse fate if she rejects him. But she makes him promise to wait thirty days before the wedding. Meanwhile, Habrocomes reaches Cilicia and encounters Hippothoos. The two immediately become firm friends and pledge to travel together. Hippothoos leads Habrocomes away from Cilicia to the city of Mazacos in Cappadocia. There, at an inn , Hippothoos narrates his life story, as follows:. He was born to a distinguished family in Perinthos , near Thrace. When he was a young man he became involved in a passionate love affair with another young man, Hyperanthes. But then a rich teacher, Aristomachos, visiting from Byzantium , also became smitten by Hyperanthes and convinced the boy's father to let his son be taken to Byzantium on the pretext of improving his education. They were shipwrecked off Lesbos, and Hyperanthes drowned. So Hippothoos buried his lover's body on the beach, then took up the life of a robber. Hippothoos then tells Habrocomes of his capture of Anthia in Cilicia and how she was taken in the fight that destroyed his robber band. Habrocomes becomes excited. Appealing to the memory of Hyperanthes, he convinces Hippothoos to return with him to Cilicia to help find Anthia. When the thirty days are nearly passed and the wedding is near, Anthia falls into despair. Believing that Habrocomes must be dead, and finding marriage to another man intolerable, she conspires with Eudoxos, an Ephesian physician, to give her a poison. Eudoxos agrees to the plan but gives her a hypnotic drug instead of a lethal one, knowing he will be long gone by the time Anthia awakens. After her wedding, waiting in the bridal chamber, Anthia drinks the potion. Perilaos discovers her body and grieves for her, interring her with great ceremony in a funerary chamber. She awakens some time later, disappointed at the realization that she is alive. So she decides to remain in the tomb and starve herself to death. But a group of robbers have heard of her rich burial and, after waiting for nightfall, break into the vault, take all the silver and gold, and carry her off as prisoner. They set sail for Alexandria , planning to sell her into slavery. Meanwhile, Habrocomes, with a new band of thieves led by Hippothoos, arrives near Tarsus and hears how Anthia, after being rescued from robbers, had wed her rescuer, killed herself, and been entombed, only to have her body snatched by tomb raiders who escaped to Alexandria. So Habrocomes waits until Hippothoos and his band are drunk and asleep before making his way to a ship bound for Alexandria, hoping to recover Anthia's body. The robbers sell Anthia to merchants who sell her to Psammis, a prince of India. Anthia plays on the Indian's superstitions by pretending that she is consecrated to Isis until the proper time for her marriage, which is still a year off. Isis will punish any who force her to break her vows. So Psammis agrees to wait a year before bringing her to his bed. Ephesian Tale - Wikipedia

Characterization is a complex theme. Human character—the product of both nature and culture and a phenomenon that may be viewed from the perspectives of intellect, morality, and psychology—is itself complex. The study of literary characterization is even more complicated, in that it also involves questions that concern the nature of literary representation. An ancient literary genre adds a final layer of complexity, because, as De Temmerman notes, modern concepts of character do not easily map on to the way character was conceived by ancient authors. De Temmerman notes appropriate comparisons with characterization in ancient epic, drama, and biography, but this is not a book that compares characterization across genres at length. De Temmerman describes characterization in the novels as both a mimetic and a semantic process. The protagonists are fictional analogues of human beings. At the same time, they are not real people, but rather exist in the context of the text, depending on and interacting with other literary elements. Thus De Temmerman emphasizes that characterization in the novels is a rhetorical product, both value-laden and ambiguous. A detailed introduction considers ancient and modern notions of character, the nature of the literary representation of character, particularly in narration, and techniques of ethopoeia , the means by which character was constructed in ancient rhetorical theory. This order reflects the present consensus for the chronology of the novels. A helpful summary concludes the book. In his readings De Temmerman emphasizes how characterization emerges from the process of narration itself. As we read the text we assemble the associations and attributes of a given character into an integrated whole. These indirect methods lie at the heart of the rhetorical character of characterization. In addition, indirect characterization destabilizes the certainties of direct characterization. Through his Ethiopian heroine Chariclea, Heliodorus calls into question the quality of eugeneia , normatively conceived as a variety of Greek nobility. Longus questions the ways in which paideia makes a difference, or does not, in the character of Daphnis. When all is said and done, character remains elusive and indeterminate. De Temmerman articulates his readings with reference to three principal axes: character as type or individual; character as idealized or realistic; finally, character as static or dynamic, whether a protagonist remains the same or evolves over the course of the novel. Photius tells us that he was a Babylonian, but an ancient marginal note 8 apparently working from Iamblichus' own account in the text reports that he was a Syrian, who learned Babylonian and later Greek. TEXT: Habrich Sandy at Reardon — Leucippe and Clitophon see Achilles Tatius. Lollianus, Phoenician Affairs A Greek novel surviving in papyrus fragments where, exceptionally, the title and author are identified. It appears to have been at the salacious end of the scale, beyond even Achilles Tatius: one of the surviving episodes details a gory human sacrifice, and there seems also to be graphic sexual content perhaps including pederasty. The plot is built around their naive attempts to recognise and satisfy their feelings for each other; they are finally reunited with their parents, and married to each other. The text is composed in stylised and sophisticated Greek, and usually dated to the second or third centuries CE. There are no certain allusions to the text in antiquity. Gill in Reardon —; McCail ; Morgan This work is only known from the summary in Photius, The Library codex Photius takes it as straight-faced and credulous. Metiochus and Parthenope A Greek novel of great popularity in antiquity, but surviving now only in fragments. The date is uncertain, but stylistic analysis suggests the first century CE. Ninus The romance between Ninus the mythical founder of Nineveh and Semiramis a historical Syrian queen was, apparently, first introduced to the Greek tradition from Persia by the bilingual historian Ctesias, writing at the turn of the fifth and fourth centuries; the story subsequently became widely disseminated, with versions transmitted by e. Sandy at Reardon —8. Petronius, Satyrica A Latin comic story narrated by one Encolpius, telling of his sexual and other adventures alongside his accomplice Ascyltus and their boyfriend Giton. It survives in disconnected fragments, the longest of which is Dinner at Trimalchio's. The author is usually assumed to be Petronius Arbiter, the courtier of Nero who killed himself in 66 CE. Philostratus , Apollonius of Tyana An account in eight books of Greek of the life, travels and teachings of the first-century CE Cappadocian sage and miracle-worker. Flavius Philostratus, the author, is the well-attested polymath of the early to mid-third century CE. According to his own account, Philostratus was commissioned by Julia Domna the wife of the emperor Septimius Severus to polish up an original account written by Damis, Apollonius' companion. Phoenician Affairs , see Lollianus , Phoenician Affairs. Photius, The Library Photius, the ninth-century bishop of Constantinople, was, as well as an important theologian, an avid consumer of Greek literature, pagan as well as Christian. His record of his voracious reading, the Library , contains summaries of Achilles Tatius and Heliodorus , as well as of the novels now largely lost of Antonius Diogenes and Iamblichus. TEXT: Henry — Satyrica see Petronius , Satyrica. Suda A massive, alphabetical, Greek encyclopaedia compiled in the tenth century CE. It contains entries on Achilles Tatius , Iamblichus and Xenophon of Ephesus — much of it historically unreliable, vague or inaccurate, but nevertheless interesting evidence for the traditions clustering around the novelists. The five-book novel is written in strikingly simple Greek; arguments have been advanced that it is epitomised, partly at least, 15 or an originally oral text. Xenophon was probably writing in the late first or early second century CE, although it is impossible to be absolutely confident. Konstan in Reardon — Whitmarsh ed. In this work, after Daphnis and Chloe are separated as babies, each is found and raised, Daphnis by a goatherd named Lamon, and Chloe by a shepherd named Dryas. They soon fall in love but do not understand the emotional turmoil that has gripped them or how to satisfy their passion. Eventually, a city-woman named Lycaenion teaches Daphnis the secrets of lovemaking, but he refrains from sharing his newfound knowledge with Chloe, having been warned that since Chloe is a virgin, she will scream and bleed. After numerous misadventures, Daphnis and Chloe are each, in the end, recognized by their aristocratic birthparents and restored to their noble positions. They get married and have children of their own but retain ties to the idyllic pastoral setting where they came of age. John J. What will happen when two adolescents are set apart from the enculturating influences not only of urban society in Mytilene but of the ambitious foster-parents who want to rear them to a higher station in life than that of rural peasantry? Their education in letters cut short, what will they learn in the open fields? But while the motivation behind such experiments seems innocent enough, in the end these experiments produce serious commentaries not only on the relative value of civilization when compared to a more rustic existence, but also on the nature of gender and its relationship to power and violence. It was certainly available, at least, to English readers through Rev. Longus, for instance, plays on a Sapphic poem in a scene where Daphnis fetches for Chloe an apple ripening at the top of a tree 3. But while Gavin argues that the offer of such an escape is an implicit attack on the values of civilization xii , after a closer examination of these works, I would argue that although the choice of a pastoral setting certainly calls the values of civilization into question, it also serves, as we shall see, as a means of affirming them. In both works, their backgrounds are not incidental to their development but rather position the children as genetically predisposed towards betterment, a predilection outwardly manifested in their physical beauty. In both narratives, therefore, both nature and nurture give the hero and heroine a leg up on their development. Once in this rustic remove, Longus emphasizes the fertility of spring and the joy and carefree nature of youth:. It was the beginning of spring, and all the flowers were blooming, those in the woods, those in the meadows, and all those in the mountains. Now there was the humming of bees, the sound of melodious birds, and the leaping of newborn sheep. Lambs were gamboling on the mountains, bees were buzzing in the meadows, and birds took hold of the thickets. In The Blue Lagoon novel, similarly, once we reach the island setting, Stacpoole takes pains to emphasize lushness, beauty, and youth:. On either side of the broad beach before them the cocoa-nut trees came down like two regiments, and bending gazed at their own reflections in the lagoon. Beyond lay waving chapparel, where cocoa-palms and breadfruit trees intermixed with the mammee apple and the tendrils of the wild vine… But the soul of it all, the indescribable thing about this picture of mirrored palm trees, blue lagoon, coral reef and sky, was the light…Here it made the air a crystal, through which the gazer saw the loveliness of the land and reef, the green of palm, the white of coral, the wheeling gulls, the blue lagoon, all sharply outlined— burning, coloured, arrogant, yet tender— heart-breakingly beautiful, for the spirit of eternal morning was here, eternal happiness, eternal youth. The imagery used to suggest humans in harmony with nature in these works is also consonant: in the ancient novel and The Blue Lagoon film, Daphnis and the youth there called Richard make and play panpipes, while the praying mantis of the young Emmeline in the film is reminiscent of the crickets and grasshoppers for which Chloe plaits cages 1. In all three works under consideration here, the children make garlands of flowers Longus 1. All three works additionally draw on the image of a tutelary deity that oversees this natural landscape. Threats to the children, in contrast, generally come from society: an attack by pirates 1. Yet these works do not, in the end, evaluate the merits of existing at a remove from civilization equally. Stacpoole, for instance, elevates nature over civilization explicitly by drawing on the authority of the omniscient narrator:. To forget the passage of time you must live in the open air, in a warm climate, with as few clothes as possible upon you. You must collect and cook your own food. Then, after a while, if you have no special ties to bind you to civilisation, Nature will begin to do for you what she does for the savage. You will recognise that it is possible to be happy without books or newspapers, letters or bills. You will recognise the part sleep plays in Nature. Living that free life…Waking up under the stars…going to sleep as the sun sets, feeling the air fresh, like this which blows upon us, all around them. Suppose they were like that, would it not be a cruelty to bring them to what we call civilisation? Thus The Blue Lagoon novel and film idealize a pastoral existence removed from the modern world and imply a reluctant, even if necessary, reintegration into human society. The resulting implication is that although much of their value lies in their urban heritage — their wealth, their status, and even their beauty 1. Her own personality had suddenly and strangely become merged in his. This one looked different. And like Daphnis, Richard achieves sexual gratification first, at least as far as is possible on an island with a population of two. Here, Stacpoole has embued her with inborn shortcomings and a natural attitude of deference, so that she does not need such schooling.

The Cambridge Companion to the Greek and Roman Novel, T. Whitmarsh (ed.)

They are proper readings in their own right. However, no one reader is likely to agree with the author on every point. The explanation applies to many protagonists, but not all. Other readers may disagree with the author on how far to press a given intertextual reference. For example, De Temmerman notes pp. The association may be tenuous. A contribution of particular importance involves the association that De Temmerman draws out between characterization and the character of the narrative. Ancient rhetorical theory regarding apheleia indicated a style of discourse in which the speaker would seldom render direct judgment but was, rather, neutral and distant. In Leucippe and Clitophon , except for a brief framing episode at the start of the novel, Clitophon himself relates the story in first-person or homodiegetic narration. De Temmerman notes how these maxims, elaborated according to rhetorical practice, depict the protagonist as a pepaideumenos. Clitophon uses the maxims as heuristic devices, a form of bookish knowledge, to explain events he does not really understand, events involving, in particular, women, slaves and barbarians. For all that he loves her, for much of the novel the hero has relatively little to say about the heroine apart from commenting on her physical beauty. This changes when the lovers are finally reunited at Ephesus, at which point Clitophon increasingly depicts Leucippe as a typical novel heroine. The point is well taken. Characterization in Leucippe and Clitophon is deeply embedded in the hermeneutics of fictionalization, narratorial authority, and narratorial un reliability. The novel starts with an enigmatic in medias res ecphrasis of the protagonists on the beach near an outlet of the Nile. A Chinese box of embedded flashbacks narrates what came before. These flashbacks elaborate, revise, and often deconstruct what the reader thinks he or she knows about Chariclea and Theagenes. Heliodorus cultivates this ambiguity in finer detail through complex intra- and intertextualities and the rhetorical techniques that De Temmerman has described in the other novels: metaphor, metonymy, speech, and strategic focalization. Her essential nature is molded and altered by Calasiris, the Egyptian priest who finds Chariclea in Delphi and starts her on her journey home. Frank Launder. Jean Simmons and Donald Houston. Individual Pictures, Randal Kleiser. Brooke Shields and Christopher Atkins. Columbia Pictures, Connors, Catherine. Tim Whitmarsh. Cambridge: Cambridge UP, Fusillo, Massimo. Gavin, Adrienne E. By Henry de Vere Stacpoole. Adrienne E. Kansas City: Valancourt Books, Gill, Christopher. Berkeley: U of California P, Goldhill, Simon. Hardin, Richard F. Lincoln: U of Nebraska P, Kestner, Joseph. Konstan, David. Princeton: Princeton UP, McCail, Ronald. By Longus. Ronald McCail. Oxford: Oxford UP, Morales, Helen. Cambridge UP, Morgan, John and Stephen Harrison. Romm, James. Stacpoole, Henry de Vere. Men and Mice Gates of Morning. Swept Away. Guy Ritchie. Madonna, Adriano Giannini, and Bruce Greenwood. Screen Gems, Giancarlo Giannini and Mariangela Melato. Medusa Produzione, Turner, Paul. Instead, Lampo tells Manto of her husband's plan; Manto, seeing that Anthia is still her rival in love, becomes enraged and orders Lampo to take Anthia into the forest and kill her. Lampo promises to do so but takes pity on Anthia and, instead, sells her to Cilician merchants. These merchants set sail for their country but are shipwrecked en route. The survivors, including Anthia, reach shore only to be captured in the forest by a robber named Hippothoos and his band. During this time, Habrocomes learns that Lampo had sold Anthia to the Cilicians, so he secretly goes to Cilicia in search of her. When the robber band is about to sacrifice Anthia to the god Ares, a body of troops, led by Perilaos, the chief law enforcement official in Cilicia, suddenly appears. All the robbers are killed or captured save Hippothoos, who escapes; and Anthia is rescued. Perilaos takes Anthia and the captured robbers to Tarsus , falling in love with her on the way. Because he is so insistent in offering to marry Anthia, she finally relents, fearing a worse fate if she rejects him. But she makes him promise to wait thirty days before the wedding. Meanwhile, Habrocomes reaches Cilicia and encounters Hippothoos. The two immediately become firm friends and pledge to travel together. Hippothoos leads Habrocomes away from Cilicia to the city of Mazacos in Cappadocia. There, at an inn , Hippothoos narrates his life story, as follows:. He was born to a distinguished family in Perinthos , near Thrace. When he was a young man he became involved in a passionate love affair with another young man, Hyperanthes. But then a rich teacher, Aristomachos, visiting from Byzantium , also became smitten by Hyperanthes and convinced the boy's father to let his son be taken to Byzantium on the pretext of improving his education. They were shipwrecked off Lesbos, and Hyperanthes drowned. So Hippothoos buried his lover's body on the beach, then took up the life of a robber. Hippothoos then tells Habrocomes of his capture of Anthia in Cilicia and how she was taken in the fight that destroyed his robber band. Habrocomes becomes excited. Appealing to the memory of Hyperanthes, he convinces Hippothoos to return with him to Cilicia to help find Anthia. When the thirty days are nearly passed and the wedding is near, Anthia falls into despair. Believing that Habrocomes must be dead, and finding marriage to another man intolerable, she conspires with Eudoxos, an Ephesian physician, to give her a poison. Eudoxos agrees to the plan but gives her a hypnotic drug instead of a lethal one, knowing he will be long gone by the time Anthia awakens. After her wedding, waiting in the bridal chamber, Anthia drinks the potion. Perilaos discovers her body and grieves for her, interring her with great ceremony in a funerary chamber. She awakens some time later, disappointed at the realization that she is alive. So she decides to remain in the tomb and starve herself to death. But a group of robbers have heard of her rich burial and, after waiting for nightfall, break into the vault, take all the silver and gold, and carry her off as prisoner. They set sail for Alexandria , planning to sell her into slavery. Meanwhile, Habrocomes, with a new band of thieves led by Hippothoos, arrives near Tarsus and hears how Anthia, after being rescued from robbers, had wed her rescuer, killed herself, and been entombed, only to have her body snatched by tomb raiders who escaped to Alexandria. So Habrocomes waits until Hippothoos and his band are drunk and asleep before making his way to a ship bound for Alexandria, hoping to recover Anthia's body. The robbers sell Anthia to merchants who sell her to Psammis, a prince of India. Anthia plays on the Indian's superstitions by pretending that she is consecrated to Isis until the proper time for her marriage, which is still a year off. Isis will punish any who force her to break her vows. So Psammis agrees to wait a year before bringing her to his bed. The ship bearing Habrocomes runs aground at Paralion near the mouth of the Nile. A nearby band of thieves called the Shepherds capture the crew, loot the ship, and take everyone across the desert to the Egyptian city of Pelusium. There the crew is sold into slavery. Habrocomes is sold to Araxos, a retired veteran soldier, whose annoying and ugly wife, named Cyno literally meaning "Bitch" [1] , becomes attracted to Habrocomes. Eventually, Cyno murders Araxos in his sleep so she can marry Habrocomes.

https://files8.webydo.com/9588055/UploadedFiles/2B5CA500-9AE6-D9BA-1DD1-0995D06B5D51.pdf https://files8.webydo.com/9585666/UploadedFiles/32A37DC2-A249-5FD9-168D-1458132B346F.pdf https://files8.webydo.com/9586035/UploadedFiles/BDE19DF1-2305-7987-81D1-E951AF9DBEB3.pdf https://uploads.strikinglycdn.com/files/b9fe6758-dfad-47a9-ad7e-dd58fb9f48af/anglizismen-im-deutschen-angloamerikanische-einflusse-auf-den- deutschen-wortschatz-und-die-deutsch-962.pdf