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In all cases we have filmed the best available copy. International 300 N. ZEES RD„ ANN ARBOR, Ml 48106 8129430 H a d g o p o u l o s, M a r ia n t h e Y ia n n i "THE FAERIE QUEENE" AND THE GREEK ROMANCE The Univenity of Oklahoma Ph.D. 1981 University Microfilms [ ntern âtio nsi 300 N. Zeeb Road, Ann Arbor, Mi 48106 Copyright 1981 by Hadgopoulos, Marianthe Yianni All Rights Reserved THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE FAERIE QUEENE AND THE GREEK ROMANCE A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY MARIANTHE Y. HADGOPOULOS Norman, Oklahoma 1981 THE FAERIE QUEENE AND THE GREEK ROMANCE APPROVED E IOu U ji. DISSERTATION COMMITTEE ACKNOWLEDGEMENTS During the long months of working on this dissertation I sometimes thought of the friend who said that "the whole thing is just a test on endurance and self-discipline." For actually being able to see my project as a much more enjoyable experience than this I would like to thank the following persons. I am deeply grateful to Dr. James J. Yoch, Jr., my advisor, for his guidance and encouragement during all the phases of the dissertation. His challenging suggestions and valuable criticisms have helped me dis­ cover new connections between The Faerie Queene and the Greek romance. At the same time Dr. Yoch's enthusiasm for this project has been, just like his course on Spenser, my source of inspiration for its successful completion. I am thankful to my major professor for his inestimable con­ tribution, which is another expression of his unfailing interest through­ out the course of my graduate studies. My appreciation extends to the members of my committee. I thank Dr. Gwenn Davis for the insights that her knowledge of Spenser has offered me and for her useful suggestions about the structure of the dissertation. Dr. Paul G. Ruggiers has directed my attention to some of the important issues of romance. I am grateful for his constant support and for the iii enriching experiences I had in his courses on Dante, Chaucer, and Criticism. It has been a pleasure to have Dr. Jack L. Kendall and Dr. Alan R. Velie serve in my committee. I appreciate their help in reading my dissertation, and their much needed encouragement. I would also like to express my gratitude to Dr. Andrew J. Helssererwho supplied me with information about the Hellenistic period and graciously consented to par­ ticipate in my oral defense. Dr. Leslie F-. Smith, Professor Emeritus of History, kindly volunteered his time and talents for the editing of the dissertation. His corrections and suggestions have given this dissertation its final polish. I am indebted to the courteous personnel of the History of Science Collection for giving me the chance to use the rare editions of the Elizabethan translations of the Greek romances available in the OU library. Many thanks go to Patricia A. Zidek from Interlibrary Loans for her assis­ tance in locating materials and providing me with microfilms of sixteenth- century editions indispensable to my work. The friends, who in many ways offered me the gift of moral support, will always be remembered with affection. Above all, I thank my husband, Demetrios, and son, Pericles, for making my labor easier by being close to me. Marianthe Y. Hadgopoulos IV TABLE OF CONTENTS Page INTRODUCTION .............................................. 1 Part I. THE BACKGROUND................................... 10 1. THE ELIZABETHAN VIEW OF THE GREEK ROMANCE . 11 2. THE GREEK ROMANCE IN ELIZABETHAN FICTION AND DRAMA ...................... 30 II. TOWARDS ALLEGORY.................................. 43 1. CONCEPTUAL INFLUENCE: THE AETHIOPICA AND BOOK 1 ........................................ 44 2. INCIDENTIAL BORROWINGS....................... 72 The Cyropedia and the Amavia-Mordant Episode, . 72 The Slandered Bride Theme and Phedon's Story. 85 Egyptian Lore; Britomart at the Temple of Isis gg III. TOWARDS GREEK ROMANCE: BOOK I V ................ 113 1. THE GREEK ROMANCE SOURCES OF BOOK IV ........ 121 Survey of Criticism ............................ 121 Spenser and the Renaissance Translations. 127 2. THE ROLE OF FORTUNE IN BOOK IV . ................ 143 Fortune and Plot....................... 152 Fortune and Ethos ..................... 165 Fortune and Courtesie ................... I80 3. GREEK AND CHIVALRIC ROMANCE MODES: THE NATURE AND ART OF COURTESIE............................ 190 S t r u c t u r e ............................. 194 Tonality........................................201 Nature and Art. ................. 212 CONCLUSION .................................................. 219 BIBLIOGRAPHY .............................................. 224 V THE FAERIE QUEENE AND THE GREEK ROl^CE INTRODUCTION Among the variety of influences that shaped the character of Renaissance literature in England and the continent, Greek romance is often the most neglected in studies of the background of the period. This neglect stems partly from the fact that the scholarship of the Greek romance is still dealing with problems about the origins of the genre and the dating of the individual works: "Perhaps indeed the time has not come," writes Elizabeth Hazelton Haight "to write a new critical history of the Greek romance, for at any time added discoveries may demand still further revision of dates and consideration of types.In addition to this, only a minimum of research has been directed towards tracing the continuity of this tradition from the early hears of Christianity through the Middle Ages and into the Renaissance. Essays on the Greek Romances (New York: Longman's, Greene & Co., 1943), p. 6. For a substantial bibliography on the Greek romances (manu­ scripts, editions, tranlations, and criticism) see Haight, "Notes on Recent Publications about the Greek Novel," The Classical Weekly, 46 (1953), 233-37, and Gerald N. Sandy, "Recent Scholarship on the Prose Fiction of Classical Antiquity," Classical World, 67 (1974), 321-59. At the beginnings of the present century Erwin Rhode's view on the derivation of Greek romance from the rhetorical schools of the sophists in the second century after Christ, had to give way to a new evaluation resulting from the discovery of some fragments that proved romances were 2 actually written as early as the first century before Christ. These findings form the basis of Bruno Lavagnini's more recent theory, which attributes the development of the Greek romance to local historical leg­ ends, with additional influences from satire, the novella, and New 3 Comedy. Basically in agreement with Lavagnini, Ben Edwin Perry summar­ izes the various developments in the history of criticism of the Greek romance, and then gives his own account for its origins which, he be­ lieves, should be sought partly in the cultural conditions of the society that produced them and partly in the artistic purpose, or ideal of the A individual author. The titles and the now accepted dating of the Greek romances appear as follows in Arthur Heiserman's recent study: A few papyrus fragments of long prose fictions [the Ninus Romance and the Alexandrian Erotic Fragment1 survive from the first two centuries before Christ, but only four of these so called Greek romances are extant: Chaereas and Callirrhoe, written by a legal secretary named 2 Per Griechische Roman, 3rd ed. (Leipszig, 1914). For a summary of the circumstances and significance of the new findings see Haight, Essays, pp. 6-13, which is based on information from Aristides Calderini's Introduction to his translation Caritone di Afrodisia: Le Awenture di Cherea e Calliroe (Torino, 1919); Stephen Gaselle's "Appendix on the Greek Novel," in the Loeb edition of Daphnis and Chloe (New York, 1916); and R. M. Rattenbury's "Romance: The Greek Novel," in New Chapters in the History of Greek Literature (Oxford, 1933). 3 Le Origini del Romanzo Greco (Pisa, 1921). Chariton about 50 A.D.; Longus' Daphnis and Chloe and Achilles Tatius’ Leucippe and Clitophon, both probably composed in the 160s A.D.; and Heliodorus' Ethiopian Story, written in the 230s A.D. Two others come down in epitomes— an extensive summary of the Ephesian Story by Xenophon of Ephesus (made shortly before 150 A.D.) and a much shorter one of the Babyloniaca by lamblichus (written around 165 A.D.).