Readers and Writers in the Ancient Novel

Total Page:16

File Type:pdf, Size:1020Kb

Readers and Writers in the Ancient Novel Indices Index locorum* Achilles Tatius 9.1.1-2, 178 5.1, 70 9.13.4, 169 5.1.2-3, 45 9.39, 185 5.1.4-5, 46 10.29, 180 5.1.5, 44 11.17, 186 5.1.6, 45 11.30.3-4, 199 5.3.4-7, 88 Soc. 11.145, 191 5.27.4, 61 15.150, 192 Alexander Romance Augustinus 1.32, 70 Conf . 1.20, 260 1.34, 72 2.6, 257 2.41, 72 3.7, 263 Antonius Diogenes 5.15, 256 109a8-10 Photius, 139 8.14, 264 109b3 Photius, 129 Chariton 110a14-16 Photius, 121 4.4, 79 110a16-17 Photius, 119 4.5.8-9, 80 110b16-19 Photius, 129 5.1.1-2, 40 111a20-23 Photius, 132 5.1.3, 42 111a30-40 Photius, 135 8.1, 47 111a32-40 Photius, 128 8.1.4, 58, 116 111a36-7 Photius, 117 Cicero 111a41-b30 Photius, 128 Ad fam. 5.12, 59 111b20-24 Photius, 134 Gellius P.Oxy 4761, 121 7.13.7-10, 13 Apuleius Heliodorus Met. 1.1.5, 205 1.14-17, 83 1.7.5-1.8.2, 227 1.28-29, 122 1.13.4, 177 2.11.1, 87 3.19.5-6, 227 4.8, 73 4.32, 185 Hist. Aug. 6.6.1-4, 170 Clod. Alb. 12.12, 200, 214 6.7-8, 173 Historia Apollonii regis Tyri 6.24, 174 2, 11 6.32.1, 177 6, 12 ————— * This index offers only a selection of the passages discussed. INDICES 281 Historia Apollonii regis Tyri (cont.) Philostratus VA (cont.) 2, 11 3.45, 246 6, 12 3.53, 243 10, 74 4.1, 245 32, 75 5.1.1, 43 47, 76 6.12.2, 248 Homerus Photius Il. 14.347-351, 61 Bibl. Cod. 166, 26, 165 Iamblichus Plato Babylonian Story 3, 71 Tht. 146A, 201 Longus Plinius 1.8.1, 123 Ep. 6.17, 4 1.28.1, 125 Plutarchus 1.30.6, 124 Alex. 1, 144 2.1.4, 124 de aud. poet. Mor. 14D-15F, 8 Lucianus 21A ff., 2 Hist. conscr. 6.10, 248 517E-F, 57 VH 1.2, 23 518A, 58 1.4, 21 520B, 59 1.17, 31 Seneca 1.40, 29 Apoc. 5.4.5-6, 111 2.24, 29 5-6, 102 2.40, 30 7.4.4-5.4, 106 Petronius Con. 1.2, 11 30.2-3, 66 Sidonius 36.7-8, 54 Ep. 9.13.3, 13 41.3-5, 54 Synesius 49.3-5, 55 Dio 18.1-5, 5 71.12, 64 Vita Aesopi 85-86, 93 55-56, 52 116-125, 112 56, 58 118.6, 109 62, 55 127.7, 61 Xenophon ‘Philip the Philosopher’ Ephes. 1.12, 67 p. 368.64-7 Colonna, 59 2.3.8, 133 Philostratus 3.2, 69 VA 1.1-3, 243 5.10.6, 68 1.17, 12, 245 5.11.6, 74 2.2.2, 43 General Index Acocella, A., 230, 235 Agatharchides Adamietz, J., 105 On the Red Sea, 14 Adrados, F.R., 145 Alexander Romance, 156 Aeschrion of Samos, 148 philosophical ideas in -, 146 Aesopic fable, 203 282 INDICES allegorical interpretation bilingualism of Apuleius’ Met., 218 and translation, 185 of Heliodorus, 7, 9 Billault, A., 243, 246, 248 of Homer, 8, 227 Bing, P., 67 allegorizing Birmelin, E., 249 astrological method, 8 Blair, A., 13 etymological method, 9 Blänsdorf, J., 200 allegory, 45, 98, 222, 225 Boccaccio, 219 as a function of reading, 226 Bodel, J., 106 Alpers, K., 227 Boiardo Amat, J., 108 Apulegio, 230 ἀναγράφω, 133 Bouquiaux-Simon, O., 29 ancient novels Bowersock, G.W., 125 book-divisions, 37, 176 Bowie, E.L., 123, 125, 165, 241, 242 ‘encyclopaedic’ genre, 149 Bradley, K., 205 historical characters in -, 143 Branham, R.B., 104 texts within -, 36, 64, 79 Braun, M., 145 textuality, 37, 115 Brill New Jacoby, 155 ancient philosophers Brooks, P., 41 on fear of death, 146 Burton, R., 146 Anderson, G., 53, 241, 246 Cairns, F., 11 Antiphanes of Berge, 137 Callisthenes, 150 Antonius Diogenes, 26, 166 Cameron, A., 158 Apocryphal Acts, 149 carnivalesque literature, 20 Apuleius, 151 Cavalca, M.G., 107 address to reader, 204 Cavallo, G., 1, 6 as translator, 186 Cavarzere, A., 200, 203 De deo Socratis, 187, 191 Chariton, 6 prologue of the Met., 198 book division and geography, 42 self-representation, 200 quotation from Homer, 81 Athanasius of Alexandria Chatzis, A., 160 Vita Antonii, 264 choliambic passages author in Alexander Romance, 147 in the text, 19 Cizek, A., 143 Bakhtin, M., 18, 20, 79, 89, 104 Clarke, K., 185 Bannet, E.T., 188 Clitophon Barchiesi, A., 206 auctor and actor, 47 Barns, J.W.B., 149 Cohoon, J.W., 161 Barthes, R., 14 Coleman, K., 178 Bartsch, S., 93, 97 Collignon, A., 105 Beard, M., 66 Connors, C., 93, 96, 111, 204 Beaujeu, J., 229 Conte, G.B., 105, 110 Beck, R., 111 Coulter, J.A., 223 Benjamin, W., 188 Courtney, E., 104 Bernardi Perini, G., 200 Cox, P., 241 Bernsdorff, H., 121 Cribiore, R., 3 Beroaldo, 219 Cristesen, P., 105 INDICES 283 Currie, H.M., 105, 198 fiction (cont.) Cynic elements ‘historical novel’, 143 in Alexander Romance, 146 ‘truthful -’, 242 de Man, P., 188 utopian -, 149 declamations, 4 Finkelpearl, E., 185, 224 Dehon, P.-J., 110 Firenzuola Derrida, J., 87, 189 Asino d’oro, 230 Diktys Fletcher, R., 188 and Antonius Diogenes, 165 Flinterman, J.-J., 241, 245, 248 dating, 157 Focardi, G., 105 mythographic context, 158 Forster, E.M., 144 Dionysius of Halicarnassus, 1 Foucault, M., 19 Dionysius Thrax, 1 Fowler, D.P., 38 discourse Francis, J.A., 241 ‘authoritative’ vs. ‘internally Frangoulidis, S.A., 169 persuasive’ -, 20 Fronto, 205 ‘free indirect’ -, 86 Fulgentius, 219 philosophical -, 190 Fusillo, M., 25, 149 Donahue, J.F., 65 Gaisser, J.H., 218, 229 Döpp, S., 106 Garcia Gual, C., 145 Dostalova, R., 143 Gavrilov, A., 1 Dowden, K., 70, 156, 228 Gellius, 205 Dream of Nectanebo, 150 Genette, G., 37 Dzielska, M., 241 Graverini, L., 197, 201 Eco, U., 241 Greek novels Foucault’s Pendulum, 229 dating, 125 ecphrasis, 87, 93, 98, 180 Griffin, N., 156 Eden, P.T., 102 Griffiths, J.G., 194 Egelhaaf-Gaiser, U., 225 Grosso, F., 241 Egger, B., 242 Gruen, E., 143 Egyptian elements Hagendahl, H., 259 in Alexander Romance, 149 Hägg, T., 37, 44, 144, 156, 164, 244 Elsner, J., 112, 241, 248 Harrison, S.J., 170, 174, 178, 187, 191, enargeia, 250 224, 226 Encolpius Havelock, E., 2 and Claudius, 105 Heffernan, J., 87 curiosity of -, 54 Heldmann, K., 112 epic Heliodorus and ancient novel, 169, 177 Knemon’s tale, 83 historical -, 110 Heller, S., 229 oral performances, 4 Helm, R., 225 Eumolpus Henderson, J., 184 and Homeric bards, 91 Heraclitus Feeney, D.C., 242 Homeric Problems, 9 fiction, 23, 136 Hercher, R., 159 ancient readers of -, 136, 138, 197 Hermogenes, 140 and history, 110, 143 Herrmann, K., 200 as history, 163 Herzog, R., 106 284 INDICES Hijmans, B.L., 179, 185, 187, 191 Malalas, 163 Historia Apollonii regis Tyri, 11, 73, 38, Mann, W.E., 254 75 Martindale, C., 218 history May, R., 187 and legend, 143 Menippean satire, 104 Holzberg, N., 12, 164, 255, 257 Merkelbach, R., 156, 223 Homeric scholia Merkle, S., 53, 156, 160, 164 on reader’s role, 60 Meyer, E., 241 Hunink, V., 255 mime, 100 Hunter, R., 7, 11 Mittelstadt, M.C., 122 Huzar, H., 107 Moatti, C., 185 Iambulus, 27 Mommsen, T., 65 intertextuality, 21, 25, 104, 106, 182, 256 Montiglio, S., 227 irony Morales, H., 47, 87, 242 Socratic -, 214 Morelli, C., 223 Jacob, C., 3 Morgan, J.R., 83, 128, 136, 184, 242 James, P., 185 Mortley, R., 144 Jensson, G., 96 Müller, C., 193 Johnson, W, 2 μῦθος, 123, 131 Jouanno, C., 53, 148 narrative judicial language authentication, 161, 166 in Apocolocyntosis, 111 closure, 176 used by Eumolpus, 111 embedded -, 129, 131, 176 Kaster, R., 208 recapitulation, 41 Kedrenos, 164 narrator Kenney, E.J., 170, 228 homodiegetic, 24 Kerényi, K., 143 Nero, 97 Keulen, W.H., 60, 177, 204 ‘New Mythography’, 155 Kindstrand, J.F., 169 Nieddu, G.F., 2 Kirichenko, A., 224 Nimis, S., 41, 44, 47, 87 Konstan, D., 13 Nünlist, R., 3 Kortekaas, G.A.A., 74 Nussbaum, M., 147 Krautter, K., 219, 223 O’Donnell, J.J., 254 Labate, M., 110 O’Gorman, E., 103 Laird, A., 12 Oberg, E., 198 Lamberti, G., 200 orality and textuality Leach, E.W., 103 Antonius Diogenes, 117, 130 ‘letteratura di consumo’, 6 Chariton, 116 Life of Aesop, 52, 146, 149, 151 Longus, 122 Lollianus, 6 Panayotakis, S., 76 Lucian Papadoyannakis, Y., 3 and Thucydides, 30 paratextuality, 37 Lucian’s VH parody, 20, 100, 112, 124, 177 and Iambulus, 27 and pastiche, 25 and The Wonders Beyond Thule, 26, Parsons, P., 120 137 Paschalis, M., 104 Lukacs, G., 144 Penwill, J.L., 224 Lund, A.A., 102 peritextuality, 37, 47 INDICES 285 Perry, B.E., 59, 142, 225 readers Perutelli, A., 105 in the text, 242 Pervo, R., 149 reading Petronius Ambrose, 264 Bellum Civile, 111 pleasure of -, 59 cena Trimalchionis, 53 silent - Satyrica and Odyssey, 101 silent - in antiquity, 1 Phaedrus ‘reality effects’, 64 address to reader, 200 Reitzenstein, R., 248 fables, 198 Relihan, J.C., 104 ‘Philip the Philosopher’, 7, 9 Reynolds, D., 4 Philippides, M., 122 riddles, 12, 71 Philostratus Riikonen, H.K., 104 book division in VA, 43 Rimell, V., 93, 104 Photius, 127 ring composition, 71 reader of Ant. Diogenes, 138 Rives, J.B., 206 Plaza, M., 201 Robiano, P., 244, 248 Plutarch Rode, A., 221 definition of bios, 144 Roman satire, 201 How a Youth should Listen to Poems, 2 Romm, J.S., 137, 247 περὶ πολυπραγμοσύνης, 52, 54 Roncali, R., 102 Popescu, V., 25, 27 Rosenmeyer, P., 73, 79, 84 Porphyry Rousseau, P., 244 reader of Ant.
Recommended publications
  • 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
    [Show full text]
  • The Greek Alexander Romance Free Ebook
    FREETHE GREEK ALEXANDER ROMANCE EBOOK Richard Stoneman | 208 pages | 05 Nov 1991 | Penguin Books Ltd | 9780140445602 | English | London, United Kingdom Alexander Romance - Wikipedia Alexander romanceany of a body of legends about the career of Alexander the Greattold and retold with varying emphasis and purpose by succeeding ages and civilizations. The chief source of all Alexander romance literature was a folk epic written in Greek by a Hellenized Egyptian in Alexandria during the 2nd century ad. Surviving translations and copies make its reconstruction possible. It portrayed Alexander as a national messianic herothe natural son of an Egyptian wizard-king by the wife of Philip II of Macedon. In later romances, however, marvels and exotic anecdotes predominated and gradually eclipsed the historical personality. This work inspired the Alexanderlied by the German poet Lamprecht der Pfaffe. An The Greek Alexander Romance poet, Thomas of Kent, wrote the Roman de toute chevalerie toward the end of the 12th century, and about this was remodeled to become the Middle English romance of King Alisaunder. Italian Alexander romances began to appear during the 14th century, closely followed by versions in Swedish, Danish, Scots, and dating from a little earlier in the Slavic languages. The Arabs, expanding Syrian versions of the legend, passed them on to the many peoples with whom they came in contact. Alexander romance literature declined in the late 12th century, and, with the revival of classical scholarship during the Renaissance, historical accounts displaced the Alexander romances. Alexander romance Article Additional Info. Print Cite. Facebook Twitter. Give Feedback The Greek Alexander Romance Websites. Let us know if you have suggestions to improve this article requires login.
    [Show full text]
  • 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:
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Introduction
    Introduction KONSTANTIN DOULAMIS University College Cork This collection of articles originated in the colloquium ‘The Ancient Novel and its Reception of Earlier Literature’, which was held at University Col- lege Cork in August 2007, with funding from UCC’s Faculty of Arts and the Classics Department. As the conference theme indicates, the purpose of that two-day event was to explore the reception of antecedent literature in Greek and Roman narratives, to consider ways in which earlier texts are assimilated in prose fiction, and to reflect on the implications that this assimilation may have for our understanding of the works discussed. The colloquium, which comprised papers on a variety of texts, from the ‘canonical’ Greek romances and the Roman novels to Alexander’s Letter about India and the Alexander Romance, gave birth to stimulating discussions, both in and out of confe- rence sessions, in a relaxed yet productive ambience of fruitful academic exchange, constructive criticism and collegiality, and yielded some interest- ing conclusions. The following are some of the main questions that were raised and de- bated during the colloquium: Is the ancient novel distinctive in its reception of earlier literary production? To what extent can we talk of a ‘sociology of reception’? Can intertextuality in the Greek and Roman narratives be used in order to define a specific type of reader or social model? What role does the author of a text play in all this? Should emphasis be placed on authorial in- tent or on textual relations? The revised version of the nine conference pa- pers collected here explore these and other similar broad questions, focusing on various types of literary echoes in ancient narratives.
    [Show full text]
  • 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.
    [Show full text]
  • The Apprentice's Sorcerer: Pancrates and His Pow Ers
    ACTA CLASSICA XLVII (2004) 101-126 ISSN 0065-1141 THE APPRENTICE’S SORCERER: PANCRATES AND HIS POW ERS IN CONTEXT (LUCIAN, PHILOPSEUDES 33-36)∗ Daniel Ogden University of Exeter ABSTRACT The figure of the sorcerer Pancrates in Lucian’s tale of The Sorcerer’s Apprentice at Philopseudes 33-36 alludes to the traditions relating to Hadrian’s poet Pancrates Epicus and to those relating to his supposed magicial guru Pachrates. These traditions are argued to have had a common origin, and new arguments are advanced for this position. Lucian further exploits the significance of Pancrates’ name (‘All-powerful’) in relation to that of a well-established character-type within his stock-in-trade, Eucrates (‘Well- powerful’), who is accordingly cast in the role of his apprentice. Pancrates’ focal spell, the animation of the pestle for domestic service, reflects the themes and concerns of contempary magical practice as documented in the papyri. Admonitory Cynic imagery, of a sort found elsewhere in the Philopseudes, may be latent both in the figure of Pancates and in his pestle. The famous tale of The Sorcerer’s Apprentice, now known principally from the works of Goethe and Disney,1 originates among the ‘lying’ stories related in Lucian’s dialogue Philopseudes or Lover of Lies.2 Here Tychiades gives his friend ∗ I acknowledge with gratitude the significant contributions made to the development of this paper by: the staff of the department of Classics, Near and Far Eastern and Religious Studies at UNISA; the staff of the Classics Department in the University of Natal at Pietermaritzburg, where an incunabular version was delivered in 2001; and the anonymous AClass referees.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • THE ETHIOPIC ALEXANDER ROMANCE Peter Christos Kotar Introduction the Ethiopic Alexander Romance Is Written in the Old Ethiopic L
    CHAPTER SEVEN THE ETHIOPIC ALEXANDER ROMANCE Peter Christos Kotar Introduction The Ethiopic Alexander romance is written in the old Ethiopic language Ge’ez, a Semitic language, belonging to the south-Semitic branch.1 Ge’ez has been used in literature from the 4th century on in the north- ern part of Ethiopia (Eritrea). Center of the Ethiopic culture after 100 A.D. was the city of Aksum. Shortly after 340, the kingdom of Aksum was Christianized.2 In the 13th century, beginning with the so-called “Salomonian dynasty” (1270–1285), founded by Jekuno Amlak, a new orientation of Ethiopic literature took place with a strong dependence on the Christian-Arabic literature of the Coptic church of Egypt.3 In this golden era of Ethiopic literature, at the end of the 14th century, falls the Zēnā Eskender [history of Alexander the Great], a genuine creation of Ethiopic literature, not to be confused with the Alexan- der romance of Pseudo-Callisthenes (PC).4 Later, both the 16th and 17th centuries were further high points of Ethiopic literature. Dur- ing this period, the monastery of Dabra Libanos was the most impor- tant center of Arabo-Ethiopic translation.5 It can be assumed that the 1 J. Tropper, Altäthiopisch. Grammatik des Ge’ez mit Übungstext und Glossar. pp. 1–3; F. Prätorius, Äthiopische Grammatik mit Paradigmen, Litteratur, Chrestoma- thie und Glossar. pp. 3–4; T.O. Lambdin, Introduction to Classical Ethiopic (Ge’ez); S. Procházka, Altäthiopische Studiengrammatik. Orbis Biblicus et Orientalis. Subsidia linguistica 2; O. Raineri, Introduzione alla lingua Ge’ez. 2 Ge’ez as language of the clergy is still used in the Ethiopic church as language of the scripts and liturgy.
    [Show full text]