Jerome is best remembered as the author of the Vulgate translation of the Bible. But he was also an untiring letter-writer. Among the many letters which have survived are several written to friends who have suffered recent bereavement. In the most impressive of these, Letter 60, Jerome consoles Heliodorus, Bishop of Altinum in north-east Italy, on the early death of his young nephew Nepotianus. The letter is composed from a thoroughly Christian perspective; but it belongs to a tradition of (...) consolatory literature that reaches far back into the pagan world. In this commentary, Professor Scourfield places the letter in the context of this consolatory tradition, showing how in the late fourth century a highly literate Christian author could take over pagan ideas and put them to Christian use. The commentary also includes a full discussion of matters of language and style, theology and exegesis, as well as the historical background. There is a freshly revised text, as well as a completely new translation of the Letter. (shrink)

Mr. Reeve has shown beyond question that the vulgate is corrupt: ‘ marks exaggerations, is not an exaggeration , and there is therefore something wrong with the text.’.

Heliodorus has been edited twice in the last thirty years, by Colonna and by Rattenbury and Lumb . Colonna's text is erratic, but in another respect his work on Heliodorus has been productive: he has put it beyond doubt that Book 9 of Aethiopica was written after the third siege of Nisibis, which took place in A.D. 350 . There is no point in repeating Colonna's arguments here; they merit mention because no one has taken any notice of (...) them. (shrink)

Heliodorus has been edited twice in the last thirty years, by Colonna and by Rattenbury and Lumb.Colonna's text is erratic, but in another respect his work on Heliodorus has been productive: he has put it beyond doubt that Book 9 ofAethiopicawas written after the third siege of Nisibis, which took place in A.D. 350. There is no point in repeating Colonna's arguments here; they merit mention because no one has taken any notice of them.

Amongst all the works within the genre, the novel _Aethiopica_ stands out for its composition techniques. In fact, the author Heliodorus shows the ability of both innovate and astonish readers, by creating scenes and characters, as well as distinguished and completely original situations. Taking the verb μιαίνω as a red string, since it is recurrently used in Heliodorus’ work and also summarizes the idea of miscegenation, some pieces of the romance in which the idea of hybridity, opposition of (...) contraries or, still, the overlapping of elements are highlighted and used in the present study. The results show that miscegenation, besides being a sign of Helidorus’ style, is a technique that gives rise to questioning about social, geographical and cultural conventions of that time. (shrink)

A change in the form of narrative presentation divides Heliodorus’ Aethiopica in two halves, the first embracing Books 1–5, the second Books 6–10. The shift has been described in different terms: Keyes notes that, whereas the first part uses an in medias res opening, the second follows by and large chronological order. Morgan ascribes to the first half a ‘hermeneutic impulse’ that gives way to an ‘end-directed’ drive in the second half. Using Sternberg's concept of narrative time, one could (...) say that by and large the first five books are dominated by curiosity, the second five books by suspense: after trying to fathom the prehistory, the reader then directs her attention to the further development of the plot. The shift, however, concerns not only the orchestration of time, but also the stance of the narrator: while Hefti juxtaposes the net of embedded narratives in the first five books with the predominance of the primary narrator in the last five books, Futre Pinheiro considers the shift in terms of ‘showing’ and ‘telling’. The difference between the two halves of the Aethiopica thus hinges on the central narratological categories of time and voice. (shrink)

The view of the deity and the people in 2 Maccabees seems to be a dynamic rather than a stagnant relationship. On the one hand, the deity sometimes punishes his people through the enemy. However, in other instances, he defends them against the same enemy. In this sequence of events, the ‘Heliodorus scene’ in 2 Maccabees 3 is quite unique. A protagonist and his helpers (a man on a horse and two youths) as well as an antagonist and his (...) helpers (Heliodorus and his bodyguard) can be shown. Minor, seemingly insignificant players – the ‘widows and orphans’ – are also found. Doran states that mentioning them in this scene is possibly a rhetorical ploy and refers to LXX Psalms 67:6 (Ps 68:5) as possible background. However, Doran, unfortunately, does not investigate LXX Psalms 67 further. Upon closer inquiry, this text might show an interesting context for the Heliodorus scene and the making of the people. It demonstrates how ‘the people’ should conduct themselves, the role of the sanctuary, and if one can expect the deity to get involved. Contribution: This is a new contribution as the relationship between LXX Psalms 67 and 2 Maccabees 3 has never been looked at in this way. (shrink)

Heliodorus is known for his elaborate narrative technique. This effect is due to ekphrasis, a resource widely used by sophists and recommended in textbooks of rhetoric (Progymnasmata). In the first block of the work, Heliodorus uses this resource, but not randomly. There is an image, literally or metaphorically repeating itself: the labyrinth. Our intention is to demonstrate that the repetitions have a commonality, in addition to a strong hermeneutical appeal. Moreover, the labyrinths are introduced in the part where (...) the narrative is skillfully written in medias res. It is precisely in this passage that the reader, as in a labyrinth, is meanderingly led by several paths, until he reaches the understanding of the opening scene, at the mouth of the Nile. The analysis of the procedures used by Heliodorus leads to the conclusion that the succession of textual or imagethic labyrinths places the reader in a game, from which he can only emerge at the end of the fifth book. (shrink)

The debate over the authorship of the allegorical interpretation of Heliodorus’ novel extant in codex Marc. Gr. 410 bequeathed to subsequent scholarship the assumption that the text belongs to the Neoplatonic allegorical tradition of reading Homer. This essay aims to revisit this philosophical attribution and argue that the terms and philosophical categories alluded in this allegory are characteristic of a long tradition of Patristic analysis, and more specifically of Gregory of Nyssa and Maximus Confessor’s exegesis. Setting forth new textual (...) evidence, it argues that the exegetical practice displayed in the allegory reflects Maximus Confessor’s anagogical exegesis and Gregory of Nyssa’s pedagogy of desire and doctrine of spiritual progress as set forth in the Homilies on the Song of Songs and The Life of Moses. (shrink)

Time and narratice technique compared. Two novelists, Heliodorus, 3rd century author of the novel Aethiopica and Sigrid Combüchen, contemporary Swedish novelist using a dystopian Europe around 2050 as a scenic setting. In both stories girls and women are captured and killed by soldiers. Both narrators are external to the story being told, presented in the past tense. But Combüchen´s narrator adopts it as a confession, and a turning point in his career as a commanding general, characterized by"double-bind".

The quotes in the sacro-profane florilegia have so far been neglected as documents for the 9th-century readership of the Greek novels. This article uses the quotes as intertextual links to the originals and reconstructs the excerption: mapped back onto the novels, the quotes highlight the excerptors’ points of interest and the patterns that connect them. Excerption is thus fully understood as reading practice. The quotes were collected not only because they could provide wisdom when decontextualised, but also because they played (...) a relevant role in the excerptors’ analysis and interpretation of the novels. The florilegia are therefore unique texts in revealing the experience of reading the novels in the 9thcentury. (shrink)

Amongst all the works within the genre, the novel _Aethiopica_ stands out for its composition techniques. In fact, the author Heliodorus shows the ability of both innovate and astonish readers, by creating scenes and characters, as well as distinguished and completely original situations. Taking the verb μιαίνω as a red string, since it is recurrently used in Heliodorus’ work and also summarizes the idea of miscegenation, some pieces of the romance in which the idea of hybridity, opposition of (...) contraries or, still, the overlapping of elements are highlighted and used in the present study. The results show that miscegenation, besides being a sign of Helidorus’ style, is a technique that gives rise to questioning about social, geographical and cultural conventions of that time. (shrink)

This dissertation investigates how art, truth, and politics are tightly integrated in Raphael's historical narratives in the Stanza d'Eliodoro. ;The first chapter argues for the importance of paying careful attention to pictorial structure--that close analysis of painting can make a strong contribution to the social history of art. The second chapter begins this interpretive path. It first describes the room's decorative ensemble as a whole and how the histories are located within its complex figurative scheme. Then, drawing upon Martin Heidegger's (...) analysis of postmedieval processes of Vorstellung, it defines the pictorial narratives themselves as representations and concludes that as pictorial representations these narratives appear unable to ground the truth of sacred history. ;Chapter 3 focuses on the Expulsion of Heliodorus, a mural replete with self-referential models of both its own mode of authorship and mode of reception. These self-referential cues help define what it means for the Heliodorus to be not only a pictorial representation but more extensively a work of art. It is Raphael's art of representation that shows forth and validates the metaphysical truth of papal history. ;The latter part of Chapter 3 and all of Chapter 4 offer readings of the Heliodorus as well as the three other histories--the Liberation of St. Peter, Mass at Bolsena, and Repulse of Attila--construing them as theologico-political narratives of the divinity of papal power. All four histories express at the level of narrative form the dilemma of the papacy's contemporary political trajectory only for this predicament to find imaginative "resolution" through the movement of the narrative action. This chapter expounds upon the configurations of historical time in the decorative scheme and how this projects the political unconscious of papal desire. Yet the fifth and final chapter concludes that the Eliodoro narratives are not simply collective wishfulfillments but more properly public symbols that rhetorically address a beholder so to persuade him to accept as true the papacy's desired self-image of its own historical mission. Raphael's art of representation was essential towards this end. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 376-379 [Access article in PDF] Book Review Cervantes, the Novel, and the New World Cervantes, the Novel, and the New World, by Diana de Armas Wilson; 254 pp. Oxford: Oxford University Press, 2001, $74.00. In Cervantes, the Novel, and the New World, Diana de Armas Wilson describes and analyzes the link between the birth of the New World in European consciousness and the expression (...) of that consciousness in the novels of Cervantes. Those of us whose teaching includes works from both Peninsular and Spanish American literature have long felt the need for a study that goes beyond a cataloging of Cervantes's references to the world beyond Europe, and those Cervantine scholars among us have variously hinted at and side-stepped the fullness of this issue. As it was with those exemplary figures of the age of exploration she examines, it is to Professor de Armas Wilson's great credit that she has risen to the challenge. Her analysis is well-organized, reasoned, thoughtful, and readable.De Armas Wilson's knowledge of previous and current research in Cervantine studies as well as genre, colonial and postcolonial, and gender studies is impressive. She also admits to participating "in the kinds of critique currently associated with cultural studies, although not without reservations regarding the alleged presentism of that discipline or its tendency to turn primary texts into commodities." I would respond that de Armas Wilson's concerns and techniques in this study are precisely the tools we need to help us define "cultural studies" to our students and to ourselves as scholars of various literatures and cultures.To begin her study, de Armas Wilson mentions many of Cervantes's literary and personal references to geographies, customs, and other contacts with the [End Page 376] world outside Spain. The first chapter, "The Americanist Cervantes," focuses on that material and includes a brief review of recent research--the latest "grande escrutinario" (Don Quijote, Part I, Chapter VI)--regarding what works might have been in Cervantes's library and/or the texts potentially available to him. Professor de Armas Wilson looks at Cervantes's references and the texts available to him through three lenses: imitation, influence, and intertextuality. She sees these methodologies as interdependent and argues that: "the intertextual practices in this book--based on a revised concept of intertextuality that includes the notion of agency and participates in a historical project--are as American as its central topic." (Finding myself in the process of completing this review on the morning of Sept. 11, 2001, I can only wonder what texts will not be influenced by the "historical project" of this day.)In the second chapter, "The Novel about the Novel," de Armas Wilson surveys Cervantes's status in Continental and Anglo-American criticism, reminding her readers of the polemic between scholars of the ancient novel and those who, bent on refusing to accept the Greco-Roman works as novels, designate them "romances." De Armas Wilson's contention that the Persiles is a "long exemplary novel," is convincingly depicted. Her arguments are based on the fact of the fictional time of the Persiles being within fifty years of the time when Cervantes wrote it, "its self-conscious theorizing, its rationalizing of 'miracles,' and its avowed imitation of Heliodorus' Aethiopica." She is not alone in arguing that Heliodorus' novel is the antithesis of a romance of chivalry. On these bases de Armas Wilson speaks not only to those who may not have recognized the importance of the Persiles because it has been called a romance (an often "despised or despicable" genre), but also to those of us who view consideration of the Persiles essential to an understanding of Don Quijote, if not a key to comprehending the major goals of all of Cervantes's works and his expression of the consciousness of his day.De Armas Wilson continues by arguing for "coevolutionary histories of the novel as alternatives to evolutionary ones." She bases her argument on echoes of widely disseminated accounts of happenings in the New World, (most significantly those of... (shrink)

The real extension of Philagathus Cerameus' classical culture has been variously discussed. The homilies of this 12th century preacher from Southern Italy show a thorough knowledge of Heliodorus' Aethiopics . In hom. 24 Rossi Taibbi, on the other side, Philagathus appears to be drawing on Procopius of Gaza's Monody on Antioch, as is suggested by some fragments preserved in the lexicon περ συντάξεωζ. This confirms that he was especially acquainted with those ancient authors who were proposed as models in (...) the rhetorical schools of the Comnenian age. (shrink)

In this article, I demonstrate that, of the two horoscopes transmitted by the Anonymous Commentary on Ptolemy’s ‘Tetrabiblos’, edited by Hieronymous Wolf, Basel, 1559, pp. 98 and 112, the first (H1) corresponds to an actual birth that took place in Lower Egypt on 25 June 448 AD, while the second (H2) is the same horoscope, slightly modified to fit the specific example for which it provides the illustration. The new date proposed here for H1 is important for establishing a more (...) precise chronology of the Anonymous Commentary, since it not only provides a terminus post quem for its composition (from the middle of the fifth century onwards) but also a particular geographical environment in the proximity of Alexandria. Given the large amount of formal and structural similarities which can be readily observed between the Anonymous Commentary and commentaries on Plato and Aristotle composed by Ammonius and his disciples in Alexandria, it becomes impossible not to link the work of the anonymous commentator to the Neoplatonic school of Alexandria of the fifth and sixth centuries, led by the philosopher Ammonius and his brother Heliodorus. (shrink)

The reception of the work of Thucydides in late antique authors constitutes a huge chapter of allusions and reworkings, on methodological, structural, lexical levels and more. A fortiori, certain particularly famous passages by the historian are well suited for a study of their reception, above all where key terms or rare expressions are concentrated. The case of the adjective ἀλγεινός, a poeticism declined twice in the epitaphios of Pericles (2.39 and 2.43) offers interesting material of this kind in the work (...) of Dexippus, the Athenian historian of the third century A.D., and in the romance author Heliodorus. Alongside a secure reference to 2.39 in Dexippus (F28 Martin = F34 Mecella), already identified by Stein, it is possible to identify a further reuse in another fragment, probably extracted from a demegoria (F26b Martin = F32b Mecella). In the light of these examples, it becomes more likely that we can see a reminiscence of Thucydides also in a passage of Heliodorus of Emesa (5.29), already proposed by van Krevelen but omitted from the repertory of citations present in the Aethiopica prepared by Feuillâtre. (shrink)

The authors of this volume elucidate the remarkable role played by religion in the shaping and reshaping of narrative forms in antiquity and late antiquity in a variety of ways. This is particularly evident in ancient Jewish and Christian narrative, which is in the focus of most of the contributions, but also in some “pagan” novels such as that of Heliodorus, which is dealt with as well in the third part of the volume, both in an illuminating comparison with (...) Christian novels and in an inspiring rethinking of Heliodorus's relation to Neoplatonism. All of these essays, from different perspectives, illuminate the interplay between narrative and religion, and show how religious concerns and agendas shaped narrative forms in Judaism and early Christianity. A series of compelling and innovative articles, all based on fresh and often groundbreaking research by eminent specialists, is divided into three large sections: part one deals with ancient Jewish narrative, and part two with ancient Christian narrative, in particular gospels, acts, biographies, and martyrdoms, while part three offers a comparison with “pagan” narrative, and especially the religious novel of Heliodorus, both in terms of social perspectives and in terms of philosophical and religious agendas. Like the essays collected by Marília Futre Pinheiro, Judith Perkins, and Richard Pervo in 2013, which investigate the core role played by narratives in Christian and Jewish self-fashioning in the Roman Empire, the present volume fruitfully bridges the disciplinary gap between classical studies and ancient Jewish and Christian studies, offers new insights, and hopefully opens up new paths of inquiry. Contributions by (in alphabetical order): Cathryn Chew, Mark J. Edwards, Erich Gruen, Vincent Hunink, David Konstan, Karen King, Dennis MacDonald, Laura S. Nasrallah, Judith Perkins, Richard Pervo, Ilaria Ramelli, Lautaro Roig Lanzillotta, Svetla Slaveva-Griffin, and Lawrence Wills. (shrink)

There seem to be five manuscripts of the Aethiopica of Heliodorus which are of value for establishing the text: To these may be added with some doubt three others.

The present volume comprises thirteen of the papers delivered at RICAN 5, which was held in Rethymnon, Crete, on May 25-26,2009. The theme of the volume, ' The Construction of the Real and the Ideal in the Ancient Novel, ' allows the contributors the freedom to use their skills to examine the real and the ideal either individually or in conjunction or in interaction. The papers offer a wide and rich range of perspectives: a political reading of prose fiction in (...) Late Period Egypt ; the presence of robbers and murderers in ideal fiction ; the interaction between illusion and reality in novelistic ekphrasis ; divine loves as real precedents for human loves ; comical elements in Heliodorus' Aethiopika ;myths as paradigms for the inexperienced lovers in the Greek novels ; moral ideas in the Odyssey and the Greek novels in relation to moralizing interpretations of Homer ; the reality of the basic plot of Callirhoe in the light of historical events and Aristotle's Poetics ; the interaction between fictionality and reality in Daphnis and Chloe ; entrapment and insu fficient understanding of reality in the Satyrica ; fantasy, physical and ideal landscapes in Apuleius' Metamorphoses ; bridging the gap between Photis and Isis in Apuleius ; the gendered aesthetics of the Greek novels viewed through the lens of the mimetic theory of Dionysius of Halicarnassus. (shrink)