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

By Edmund P. Cueva, Shannon N. Byrne

This spouse addresses an issue of continuous 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 foreign scholarship at the old novel, together with clean new educational voices
  • Includes concentrated chapters on person classical authors, reminiscent of Petronius, Xenophon and Apuleius, in addition to a wide-ranging thematic analysis
  • Addresses difficult questions touching on authorial expression and readership of the traditional novel form
  • Provides an comprehensive advent to a style with a emerging profile

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Leiden: Brill, pp. 309–335. Two different projections of Chariton as central to the nature of the Greek novel. Rohde, E. 1914. Der griechische Roman und seine Vorläufer. Leipzig: Breitkopf and Härtel. Ruiz-Montero, C. 1994. 2: 1006–1054. Detailed bibliographical survey. L. 1974. Chariton. New York: Twayne Publishers. , ed. 1996. The Novel in the Ancient World. Leiden: Brill. A. 1994. ” In The Search for the Ancient Novel, edited by J. Tatum. Baltimore: Johns Hopkins University Press, pp. 405–418.

Haynes, K. 2003. Fashioning the Feminine in the Greek Novel. London: Routledge. Hunter, R. 1994. 2: 1055–1086. Meticulous treatment of the ambiguous relationship with historiography. Konstan, D. 1994. Sexual Symmetry. Princeton: Princeton University Press. Perspectives on the basic mechanism of hero and heroine in the novel. E. 1967. The Ancient Romances: A Literary–Historical Account of their Origins. Berkeley: University of California Press. Influential but condescending view of the nature of the Greek novel.

When Daphnis and Chloe finally fall in love, they eventually become acquainted with Eros. As Daphnis matures and male aggression becomes problematic, Pan emerges as a major character whom Daphnis recalls in various details. 32 Jean Alvares The novel presents multiple erotes: Philetas’ speech and various passages intentionally recall the cosmogonic Eros of Orphic/Dionysian mysteries and Plato. There appears the winged rascal of Philetas’ garden, the arrogant boy who orders the adoptive parents of Daphnis and Chloe to send them out into the world, with whom later the Nymphs plead to allow the marriage, and, finally, the Eros constructing Chloe’s muthos.

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