A Companion to the Ancient Novel by Edmund P. Cueva, Shannon N. Byrne

By Edmund P. Cueva, Shannon N. Byrne

This spouse addresses a subject matter of constant modern relevance, either cultural and literary.

  • Offers either a wide-ranging exploration of the classical novel of antiquity and a wealth of shut literary analysis
  • Brings jointly the main up to date overseas scholarship at the historical novel, together with clean new educational voices
  • Includes targeted chapters on person classical authors, equivalent to Petronius, Xenophon and Apuleius, in addition to a wide-ranging thematic analysis
  • Addresses confusing questions referring to authorial expression and readership of the traditional novel form
  • Provides an finished advent to a style with a emerging profile

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And, characteristically for the curious crowd, the Syracusans more than once interrupt the narrative so that Chaereas will be able to leave nothing out. 18 Graham Anderson Humor Chariton’s handling is now acknowledged to show some lightness of touch, though there is a good deal of variation in the way scholars are prepared to formulate such an effect: the prejudices from Rohde to Perry, based first on wildly wrong dating and then on prejudgment of the audience, have now largely faded. What seemed to Reardon to be opera (1989, 20) seems to this author to be operetta (Anderson 1982, 21), given the consistency with which grand gestures are able to be undermined.

W. Knox. Cambridge: Cambridge University Press, pp. 683–699. L. 1994. ” In The Search for the Ancient Novel, edited by J. Tatum. Baltimore: Johns Hopkins Press, pp. 435–459. P. 2004. The Myths of Fiction: Studies in the Canonic Greek Novels. Ann Arbor: University of Michigan Press. Egger, B. 1994a. R. Morgan and Richard Stoneman. London: Routledge, pp. 31–48. T. 1986. Aphrodisias, City of Venus Aphrodite. London: Muller, Blond & White. Hägg, T. 1971. Narrative Technique in Ancient Greek Romances: Studies of Chariton, Xenophon Ephesius, and Achilles Tatius.

The relationship to the other ideal novels has something to tell us. Often, it is tempting to bracket Chariton with Xenophon of Ephesus as “presophistic,” but the two are really poles apart in technique and spirit, and although both begin with marriage and end (almost) with the lovers reunited in bed, the key difference is that Xenophon appears as naive as his characters and cannot smile at anything or anyone. Chariton can find something to smile about—albeit often quite affectionately in any situation.

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