Offtrack

Order now at [Link]

( 4.6/5.0 ★ | 172 downloads )
-- Click the link to download --

[Link]
539780008693930&type=15&murl=http%3A%2F%[Link]%2Fsearch%2
Fbooks%2Fisbn%2F9780008693930
Offtrack

ISBN: 9780008693930
Category: Media > Books
File Fomat: PDF, EPUB, DOC...
File Details: 12.1 MB
Language: English
Website: [Link]
Short description: Good Cover/Case has some rubbing and edgewear.
Access codes, CD's, slipcovers and other accessories may not be
included.

DOWNLOAD: [Link]
offerid=1494105.26539780008693930&type=15&murl=http%3A%2F%2F
[Link]%2Fsearch%2Fbooks%2Fisbn%2F9780008693930
 Offtrack

• Click the link: [Link]

0&type=15&murl=http%3A%2F%[Link]%2Fsearch%2Fbooks%2Fisbn%2F9780008693930 to do
latest version of Offtrack in multiple formats such as PDF, EPUB, and more.

• Don’t miss the chance to explore our extensive collection of high-quality resources, books, and guides on
our website. Visit us regularly to stay updated with new titles and gain access to even more valuable
materials.
.
 THE FIRST FRAGMENT her hands and bade her boldly
speak out whatever she wished to say. But when she could not
succeed, and the maiden was still held back by her sorrow, “ This,”
cried Thambe, “I like better than any words thou couldst utter.
Blame not my son at all: he has made no over-bold advance, and he
has not come back from his successes and his victories like a warrior
with any mad and insolent intention against thee: I trust that thou
hast not seen any such intention in his eyes. Is the law about the
time of marriage too tardy for such a happy pair? Truly my son is in
all haste to wed: nor needest thou weep for this that-any will try to
force thee at all’’: and at the same time with a smile she embraced
and kissed her. Yet not even then could the maiden venture to
speak, so great was her fear (or, her joy), but she rested her beating
heart against the other’s bosom, and kissing her more closely still
seemed almost ready to speak freely of her desires through her
former tears and her present joy. The two sisters therefore met
together, and Derceia spoke first. “As to the actual (marriage ?),”
said Sheen oar
 THE NINUS ROMANCE THE SECOND ERAGMENT! BI
veeeeees] OU yap atrereihOn 1. eee THA pyTpos ey To1... GAN KO
|NOVONCEV aKaTaoXETOS| Kal TrepLeppNyLéN b) a ¢€ \ vos Kal
ovd |apwas (epompeTns 5 4 ... &kratle daxpvov cal KoGigs a Fire
CTO SVU RATOS reece ess feepyOels ate pe> / \ > .....
Qvalrndjcacay bé aviS) , A \ L Thv €k KrL|vyNs Kal Bovropé- 10 a /
vnv......jat TadTa Tlécas a Ni ¢ / wee. TALS XJepotv o Nivos 1s > ,
édeye “Oates ei7r@v cot pe wee eee ees Oevav ota Kat na \ ee one
. Ths wntpos Kal 15 Bites asia ac sek .| ovTw@S ayopeee .. Klal Taya
Tov Kayo 1 Perhaps an interview between Ninus and the maiden. He
asks for a rapid accomplishment of his desires, and when she jumps
up from the couch on which she is sitting and would leave him, he
restrains her, pointing out that he has no designs to overcome her
virtue, but only desires an honourable marriage. The young couple
spend all their days together. 8 The scribe seems to have divided up
the words.... eipxOcioa revue. The attempts which have been made
to coin394 ee ee eS eS
 THE SECOND FRAGMENT Ae ene |s: od 52 BovrAopar GSS
Jov wadXov 7 mpoTepov ....-|veverOar- ovd’ av- 20 pakaty peaked
atte | cap[. .] drrovonLee are Joris Ext@: Tov pte ve ca ereslt ve ]
6pocbévta To Arr Rae wae |eouv wemiatev- : Beg ras oi | 5€
travnpe- 25 pot cuvijcav| adXnraLS Goa 7 imo Tov oTpaTLoT \LKaV
apetrKETO, OVO EXJALTIAS O Epws avep cOifwv ....] Kop@ pév TO
se ae ] &¢ aitjnocews ap 30 POTE pass Jedees Tas exe Mey geese
40 xlepat Stafev£eDS ensue ]uevos: ovT@ dé Tod pos ax |ualovTos
ed are Jyos ’Appent- 35 Sas He is a os. OOD (Two lines missing.)
plete this column by Piccolomini, and, to a less extent, by Levi and
Diels, seem to me too hazardous to be recorded. 1l sq. Perhaps
BovAouelyny amépxec@ja:, tava, meéoas [ras avrov xJepoly.... 23
The letters -ouo- might also be read -aa-. 25 The traces of letters
visible before 5é might well form part of of. 29 Possibly an ¢ before
xédpy. 31 Before -e5e:s perhaps a 7 or a 7. 395
The text on this page is estimated to be only 45.44%
accurate

THE NINUS ROMANCE BII avomouv! cuyKpoteiv tov

emiywpiwv. Soxody 6n Kal 76 TaTtpl TO ‘EXAnuKdy Kal Kapixov dav
auwTaypwa Kat pupiddas “Accupiwv émidéxrous émta melas Kal
Tpels (mmréwv avaraBov 6 Nivos ehépavtds Te TevTnKovTa mpos
Tos éxaTov nrauve Kai PoBos pév Hv Kpupav Kal yidvev Tepl Tas
dpelous UirepBords. Tapadoywtata Se Ojrus Kal mor Oeperdtepos
THs pas emimecaov votos Avaai Te eduv7jOn Tas xLdvals Kal [ois
odevjovow éereKxh? géeple talons édr]ridos Tov aépa Tapacyxeiv.
éuoyOnoav dy [ralis &saBdoeoww? TOV TOTALOY paddov 7) Tais bia
TOY aKpwpeLdv Tropetats* Kai Odyos ev TLS Urrobuyiwv fOdpos Kai
Ths Oeparreias éyéveto: aTrabys 8é + oTpaTia Kal an avtav ov
éxwdvvevoe Opacutépa Kata TOV TorELiov SiecéowarTo. veviKnKYIa
yap OSav atropias Kai peyé0n Trotapav wtrepBdddovta Bpaxovv
eivas trovov iTehauBave peunvoras édeiv "Appevious. eis S€ THY
ToTamiay éuBarov 6 Nivos kal delay €Aacdpevos Torry épupvov
meptBarreTar otpatomedov év tun Tredio: déKka Te nuEpas
avaraBav padrtata Tods édépavtas év Tais Topeiais amote-[B II1.]-
rpupévous as ex[eivous Opa] peta mroddOv ol puavtas pups|ddev
eEayayo|v thy Siva|uv mapatattee Katéotnoe] dé tHv pev trmoly éerl
trav] Kepdtwr, wetror[s 4 * There seems hardly room for a x at the
beginning of this word. 2 We should write éme:n}. es Gob over the
y, possibly to signify that it should be omitted. * pecAovs—we should
ordinarily write WiAots. cf. pidiaca supra, 396 a a ae Og ee POY ae
or Pe eT ay Pe, ae ey ee ‘fe ee ee
 THE SECOND FRAGMENT (Ninus has gone to the wars, and
is making his dispositions against the Armenian enemy.) jg Y Riga
According to the instructions of his father, Ninus took the whole body
of the Greek and Carian allies, seventy thousand chosen Assyrian
foot and thirty thousand horse, and a hundred and fifty elephants,
and advanced. What he most had to fear were the frosts and snows
over the mountain passes : but most unexpectedly a gentle south
wind, much more summer-like than the season would warrant,
sprang up, both melting the snow and making the air temperate to
the travellers beyond all that they could dare to hope. They had
more trouble over crossing the rivers than in traversing the high
passes: they did have some losses of animals and of their servants,
but the army regarded it not, and from its very dangers came
through all the more bold to contend against the enemy; having
overcome the impassability of roads and the enormous breadth of
rivers, it thought that it would be but a slight labour to capture a
host of mad Armenians. Ninus invaded the river-country, taking
much booty, and built a fortified camp on a piece of flat ground: and
there for ten days he halted his army, especially the elephants, who
were very tired (B III.) from the journey: then, seeing the enemy
advancing in great numbers against him, led out his troops and
disposed them thus. On the wings he put his cavalry, and the light-
armed troops Soe
The text on this page is estimated to be only 49.75%
accurate

THE NINUS ROMANCE 6€ Kai yuluvyntas TO Te ay[nua TO

Eevi|Kov Gray emt Taly Kepatwv || Tay imméwv: pélon & 4) weldv
palrayE wapérewer: [mpocBev dé] of édépavres ixalvov an’
adr|Andwov petaiyplcov Stactdy|res mupyndoov almdcpévor|
mpocBéBrnvto THAS fparayyos|, Kal’ éxactov S€ alitav Fv] ywopa
LEaTHKOT| OY TOV AG|Yav ws el TL TOU TalpaxOein] Onpiov éx[ols
duerOletv tHv] Katorw. obras [b€ texexd|ounto » Kat éxlelva
.....]pos? tev / 4 a ed fa) ie ¢ / Aoxov alate Tayéws]| émiptoal Te
oot] € BovdnDei |n* dvvacba Kal md[rLv Sex loThvar TO pev ets \ ¢
€ Ay a /, \ wt > , [tv vrolooynv tov Onpiolv, TO S€ els] KoAVToW
THs elodplouns tov] ToAeuior TodToly odv \ z e / \ ef: / / tov]
tpomov o Nivos tiv ornv Staltdéas 8ve / x >t 7 \ / vauiw immmélas
AaBov €lAavver: Kal Kade Vetere: ...)°av mpoteivar tas [xelpas], “To
/ ” yy “cc / , an > a Gepériov, én, “tla Te Kpilolwa tov ener / ie b] / ’
\ a n ¢e / x err towy tdbe élotiv: amo Thode THS [Huépas] }
apEopat tivos jell Covos], ) twemavcouar Kab rils vov apyns|. tav
yap ém Aiyumtiolus ......] Ta THS adANS ToAEu[...... 1 Piccolomini
would prefer mAevpar. ? This letter may be an i, not an 7. * The p
might perhaps be a ¢. Piccolomini proposes avtlrdev]pos (sc. wepls).
Diels evmopos (sc. 55ds). 4 Piccolomini daért[€ ypedv ef]n: Levi
dadz[e ceAevo Gel }n. ® Piccolomini’s ingenious suggestion for
filling this bracket is ofewv Ovaljay: Diels had informed him that the
next letter after kadarep was either an o or ag ora ¢. 398 a we a eS
es ee ee eee ae Pree 3 ee ee
 THE SECOND FRAGMENT and scouts outside them again; in
the centre the solid phalanx of infantry was deployed; in! front of
the phalanx, between the two opposing armies, were the elephants,
some considerable distance from one another and each armed with
a turret upon its back ; and behind each there was a space left
between the different companies of the phalanx, so that if the beast
were frightened, it would have sufficient room to retire between the
ranks. These intervals were so arranged that they could be quickly
filled up? if necessary, and again opened—the latter to receive the
retiring elephants, the former to stop a charge of the enemy. Thus
Ninus arranged his whole force, and began the advance at the head
of his cavalry: and stretching out his hands as if (offering sacrifice
?),“ This,” he cried, “is the foundation and crisis of my hopes : from
this day I shall begin some greater career, or I shall fall from the
power I now possess. For the wars against the Egyptians and the
others (through which I have passed were nothing in comparison to
this 2.2) 1 The text of the next few lines is not very certain, and the
translation only attempts to give the sense. 2 Presumably by other
troops from the rear. he)
APPENDIX ON THE GREEK NOVEL BY S. GASELEE
 APPENDIX ON THE GREEK NOVEL Tue works of fiction that
have come down to us in Greek are not in favour at the present day.
The scholar finds their language decadent, artificial, and imitative:
the reader of novels turns away from their tortuous plots, their false
sentiment, their exaggerated and sensational episodes. We are
inclined to be surprised at the esteem in which they were held when
they became widely known in the later Renaissance ; that at least
three of them were thought worthy of translation in Elizabethan
times, and that Shakespeare’s casual reference to “the Egyptian
thief” who “at point of death Killed what he loved”’ should indicate
that a knowledge of the Aethiopica was common property of the
ordinary wellread man among his hearers: rather should we
sympathize with Pantagruel on his voyage to the Oracle of the Holy
Bottle, who was found “ taking a nap, slumbering and nodding on
the quarter-deck, with an Heliodorus in his hand.” But novels were
few in the sixteenth century, and literary appetites unjaded ; the
Greek romances were widely read, and left their mark upon the
literature of the time; and they would therefore deserve our
attention as sources, even if they were intrinsically worthless. But
they surely have a further interest for us, in a light which they throw
upon a somewhat obscure side ac4O3 Dp 2
 APPENDIX ON THE GREEK NOVEL of Greek culture.
Although Greek civilisation pro- — foundly affected the intellectual
history of the world, — it was itself hardly affected by the world. It
was, generally speaking, self-contained and self-sufficient : the
educated Greek very seldom knew any language but his own, and
cared little for the institutions, manners, or learning of any foreign
country. Political changes might bring him for a time into contact
with Persia or under the empire of Rome: but he would never
confess that he had anything to learn from East or West, and
persisted in that wonderful process of self-cultivation with its results
that still move the © intellectual world of to-day. In this little corner
of iieterts Greek literature now under consideration we find one — of
the very few instances of the Greek mind under — an external
influence—it might almost be said, — Oriental ideas expressing
themselves in Greek language and terms of thought. The most
significant feature of the Greek novels — is their un-Greek character.
We can always point to Oriental elements in their substance, and
almost — always to Oriental blood in their writers. Sometimes — it
would almost seem that the accident that they — were written in
Greek has preserved them to us in — their present form, rather than
in some some such shape as that of the Thousand and one Nights ,
but it would be a narrow Hellenism that would count them for that
reason deserving the less attention or commanding a fainter
interest. The student of the — intellectual history of humanity will
rather investigate more closely the evidence which exists of one of
these rare points of contact between Hellenic and other thought.
Fortunately no general enquiry into the origin of 404 FN. wh
 BEGINNINGS OF FICTION fiction is necessary for the
consideration of these works. In the early history of every race,
Eastern and Western, stories of a kind are to be found: “Tell me a
story,” the child’s constant cry, was the expression of a need, and a
need satisfied in various ways, of the childhood of the world. But as
the world grew up, it put away its childish things and forgot its
stories: and it was only, generally speaking, when a more adult
culture, one capable of preserving a permanent form, was
superimposed upon a less advanced civilisation (ordinarily a story-
telling civilisation) that a result was produced which could give a
lasting expression to what was a naturally ephemeral - condition, a
result that could endure the wear and tear of ages. Of this nature
was the stereotyping “ of Oriental matter by Greek form in the Greek
novel. . Poetic fiction may be left almost entirely out of account. It is
perhaps easier to feel than to define the difference between epic or
tragic poetry and a romance, but the two can never really be
confused. Some of the Byzantine imitators of the Greek novels east
their tales into more or less accentual iambics, but romances they
remain in spite of their versified form: on the other hand the
Odyssey, though it contains material for thirty ancient novels, or
three hundred modern ones, is eminently, and almost only, a poem.
We may indeed be content to accept the definition of the learned
Bishop of Avranches, the first modern scholar to turn his attention to
the origins of this branch of classical literature, when he described
the objects of his study as des fictions + d’aventures écrites en
prose avec art et imagination pour le plaisir et Pinstruciion du
lecteur. 405
 APPENDIX ON THE GREEK NOVEL The first appearance in
Greek of relations that can be called prose fiction is in Herodotus,
and we at once notice the nationality and origin of the stories that
he tells. Nothing could be more Oriental than the description of the
means by which Gyges rose to power, the foolish pride of Candaules
in the charms of his wife; and indeed the whole Croesus legend
seems little more than a romance. Among the Egyptian Adyo. the
story of the treasure-house of Rhampsinitus immediately meets our
definition: and of this Maspero justly remarks that “if it was not
invented in Egypt, it had been Egyptianised long before Herodotus
wrote it down.” Again of an Eastern complexion is the story of the
too fortunate Polycrates ; only of all of these it might be said that
the atmosphere of romantic love, so necessary for the later novels,
was lacking ; and this may be found better developed in a single
episode in a writer but little later—that of Abradatas and Panthea in
Xenophon. It forms part of the Cyropaedia, itself a work, as Cicero
remarked, composed with less regard to historical truth than to
Xenophon’s ideal of what a king and his kingdom should be. The
opening of the story is really not unlike the beginning of one of the
long novels of later times. On the capture by Cyrus éf: the Assyrian
camp, the beautiful Panthea is given into the custody of Cyrus’
bosom friend Araspes, her husband being absent on a mission to the
king of Bactria. We find Araspes holding a long conversation with
Cyrus, in which he begins by mentioning her beauty and goes on to
the subject of love in general, while he boasts that he has self-
control enough not to allow himself to be affected by his charming
captive. But he has over406
 ABRADATAS AND PANTHEA estimated his strength of will:
and Cyrus, seeing his imminent danger, packs him off as a spy
among the enemy. Panthea is greatly delighted, and sends a
message to her husband telling him what has happened ; and he, as
a recompense for the delicacy with which she has been treated,
joins Cyrus with all his troops, and fights on his side for the future.
Soon there comes a touching farewell scene between wife and
husband when he is leaving for battle: she melts down her jewellery
and makes golden armour for him, saying that nevertheless in him
she has “kept her greatest ornament.” She goes on to praise the
moderation and justice of Cyrus: and Abradatas lifts his eyes to
heaven and prays: “O supreme Jove, grant me to prove myself a
husband worthy of Panthea and a friend worthy of Cyrus, who has
done us so much honour,” and then leaves her in an affecting and
emotional scene. The end of the story is obvious enough: Abradatas,
in turning the fortunes of the battle, meets a hero’s death ; Cyrus
does his best to console the widow, and offers to do any service for
her; she asks for a few moments alone with the dead, and stabs
herself over the corpse ; and a splendid funeral pyre consumes both
bodies together. So like is the whole to the later romantic novels that
it would hardly be rash to conjecture that it was a current story in
Persia and was told to Xenophon there, and that similar tales v from
the unchanging East formed the foundation for many of the late
romances. We need not stay much longer over classical Greek. The
philosophers employed a kind of fiction for illustrative purposes, but
it is rather of the nature of the myth than of the novel: and for the
407
 APPENDIX ON THE GREEK NOVEL romantic element of
which we are in search, we must look to the cycle that began to
grow up later around Alexander ; the story of Timoclea related by
Aristobulus, again the fate of a captive woman in the conqueror’s
army, will remind us vividly of the older romance of which Cyrus was
the hero. We note occasionally that the historians whom Parthenius
quotes as his authorities when describing the early, semi-mythical
history of a country or city, did not hesitate to relate fabulous and
romantic stories of the adventures of the founders. But popular taste
seems to have turned, at any rate for a time, to another species of
fiction—to the short story or anecdote rather than to the continuous
novel. The great cities along the coast of Asia Minor seem to ‘have
had collections of such stories—originally floating, no doubt, and
handed down by word of mouth—which were finally reduced to
literary form by some local antiquarian or man of leisure. The most
important in their effect on the history of literature were those
composed at Miletus and written down by ~Aristides under the
name _ of MiAynowaxa. Very little trace of the original stories
remains to us: but we know of what kind they were by several
references, and their influence was greater upon the Latin novel
than upon the specimens of the Greek novel that we now possess,
The Milesian Tales appear to have been short stories, little longer
than ancedotes, dealing ordinarily with love affairs, and descending
often to ribaldry. But they were used to good effect by Petronius and
. Apuleius: the latter indeed describes his long novel as “many
stories strung together into the form of a Milesian tale: some we
meet again—and_ so they 408
 THE NINUS ROMANCE have not failed to exercise an effect
on the literature of the modern world—in the Decameron of
Boccaccio. But we fortunately have one piece of evidence to shew
that the taste for the long novel had not entirely been driven out by
the short story—the fragments of the Ninus romance discovered in ~
Egypt a quarter of a century ago, which we must date at about the
beginning of our era. Its incompleteness is more a source of regret
to the classical scholar than to the reader of novels; for, judging by
what we have, little praise can be given to the work. It appears to
have been crowded with tasteless rhetoric and wildly sensational
adventures: the nobility and restraint of classical Greek seem to have
disappeared, and it prepares us well for the coming of the long
novels we shall meet three centuries later: its value to us is that of a
link—a link long missing—between the earlier works to which
allusion has been made and those which have come down to us
comprised in the general category of “ the Greek novels.” Nearly of
the same date—perhaps half a century earlier—is the collection of
Parthenius’ Love Romances. These are not in the same line of
developement as the story of Ninus: rather do they represent a
parallel line of descent in the history of fiction, and the two were
afterwards to combine to produce the Greek novel that we know.
Mythology had become in Alexandrine and Hellenistic times the
vehicle for the expression of art: it was almost a conventional literary
form. The mythological tales which Parthenius has given us in his
collection have little interest in the way of folk-lore or religion ; 409
 APPENDIX ON THE GREEK NOVEL ~ the mythology is
above all made the groundwork for the development of emotion.
Cornelius Gallus, or any writer with an artistic sense who determined
to found his work on the summaries given him in these skeleton
Love Romances, would find that the characteristics lending
themselves best to elaboration would not be their religious or
historical elements, but rather those of emotion; jealousy, hatred,
ambition, and above all unhappy and passionate love. Take away the
strictly mythological element (substitute, that is, the names of
unknown persons for the semi-historical characters of whom the
stories are related), and almost all might serve as the plots for
novels, or rather parts of novels, of the kind under consideration: Of
the actual genesis of the long novels remaining to us there are
several theories, but little certainty. Rohde would have us believe
that they were begotten of a union of accounts of fabulous travels
on the one side with love stories on the other, or at any rate that a
love interest was added to tales of travel and war. But such
speculations are still in the region of hypothesis, and we shall do
better to examine the works as they are than to hazard rash
conjectures as to their origin. One of the Byzantine imitators of the
Greek novels prefixed to his romance a little preface or argument :-
— “ Here read Drusilla’s fate and Charicles’-— Flight, wandering,
captures, rescues, roaring seas, Robbers and prisons, pirates,
hunger’s grip ; Dungeons so deep that never sun could dip 410
 CHARACTERISTICS His rays at noon-day to their dark
recess, Chained hands and feet; and, greater heaviness, Pitiful
partings. Last the story tells Marriage, though late, and ends with
weddingbells.”’ Nicetas Eugenianus’ very moderate verses might
really have served as the description of almost any one of the series,
changing the names alone of the hero and heroine. A romantic love
story is the thread on which is hung a succession of sentimental and
sensational episodes; the two main characters either fall in love with
one another soon after the opening of the story, or in some cases
are actually married and immediately separated; they are sundered
time and again by the most improbable misfortunes, they face death
in every form; subsidiary couples are sometimes introduced, the
course of whose true love runs very little smoother ; both the hero
and heroine inspire a wicked and hopeless love in the breasts of
others, who become hostile influences, seeming at times likely to
accomplish their final separation, but never with complete success ;
occasionlly the narrative stops for the description of a place, a
scene, or some natural object, usually redolent of the common-place
book, only to be resumed at once with the painful adventures of the
loving couple ; and on the last page all is cleared up, the
complicated threads of the story fall apart with detailed and lengthy
explanations, and the happy pair is united for ever with the prospect
of a long and prosperous life before them. z No attempt can here be
made to give the plots of the novels individually: the English reader
may 411
 APPENDIX ON THE GREEK NOVEL perhaps best judge of
their length and complication in Dunlop’s History of Fiction. The work
of more recent scholars has however rather changed the
chronological sequence from that in which they were formerly
believed to occur: and the following list gives a rough idea of current
opinion on the subject. The papyrus finds in Egypt of the last thirty
years have unsettled earlier theories, and our conclusions may well
be disturbed again by further discoveries. Chariton of Aphrodisias (in
Caria). Xenophon of Ephesus. (Author unknown.) Tamblichus (a
Syrian). Antonius Diogenes. Heliodorus of Emesa. Longus. Achilles
Tatius of Alexandria, Eustathius.4 Nicetas Kugenianus. Theodorus
Prodromus: Constantine Manasses. only in a Latin translation,
Chaereas and Callirrhoe. Ephesiaca, Habrocomes and Anthea.
Apollonius of Tyre.t Babyloniaca,? Rhodanes and Sinonis. The
wonderful things beyond Thule.® Acthiopica, Chariclea. Pastorals,
Daphnis and Chloe. Clitophon and Leucippe. Theagenes and
Hysmine and Hysminias. Charicles and Drusilla. Dosicles and
Rhodanthe. Aristander and Callithea. 1 The Greek original is lost,
and the novel is known to us 2 Now existent only in an abstract in
the Bibliotheca of Photius. This is a combination of % Also known
through Photius. a love-story with a travel-book of marvellous
adventures, of the kind satirized in Lucian’s Vera Historia. It is thus
the starting-point. of Rohde’s theory of the origin of the Greek *
novel mentioned above. 4 His name was also formerly written
Kumathius, but Kustathius is now believed to be correct. 412
 THE NOVELISTS The series from Chariton to Achilles Tatius
may be considered to cover from the early second century * a.D. to
the late third: the last four names are those of Byzantine imitators of
a far later time, dating probably from the twelfth century. The
imitation of Eustathius is comparatively close: he follows the
footsteps of Heliodorus and even tries to reproduce his style. Nicetas
Eugenianus and Theodorus Prodromus wrote in semi-accentual
iambics ; Constantine Manasses, of whom we have but fragments, in
the accentual “ political” verse which is characteristic of modern
Greek poetry. “It is chiefly in the fictions of an age,” says Duniop,
though he is wise enough to introduce his sentiment by the saving
clause, it has been remarked, “that we can discover the modes of
living, dress, and manners of the period.” But it is to be feared that
little could be predicated of the manners or thoughts of the authors
of the works under consideration, or of their contemporaries, from
internal evidence alone. The contents of a page of a note-book are
sometimes ~introduced, not always very appropriately; but in
general the action seems to be taking place in a curious timeless
world—the Graecised East, where’ civilisation changed very little for
a thousand years. ' Egypt, Persia, Babylonia, wherever the action is
laid, are but names: the surroundings and people are the same
whatever the country is called. Of psycho-~ logy there is scarcely a
trace, except perhaps in the scenes of love’s awakening in the
Daphnis and Chloe: any attempt indeed at character-drawing is faint
and rough. Then what, it may be asked, is the resultant value to us
of this class of literature? And the answer must be that it is much
less in these works 413
 APPENDIX ON THE GREEK NOVEL themselves than in their
successors and the descendants they have had in modern days. Our
forefathers of the later Renaissance read Heliodorus with pleasure,
as we know, where we soon tire: but our feeling is only one of
satiety—brought up on good novels, we are bored with their rude
predecessors of antiquity. The value of these surely lies not only in
the fact that they are a product, however imperfect, of Greek
thought and taste, but that they _are the result of the working of
Oriental ideas on European minds—a happy conjunction of body and
spirit which begat that whole class of literature which is, while not
our serious study, at least one of the greatest sources of our
pleasure. Fiction is one of the very few of the inventions of man that
have improved in the course of the ages: and the keensighted may
amuse themselves by espying the germ of “Treasure Island” in the
Aethiopica, and the Daphnis and Chloe may fairly be considered the
spiritual forbear of “ The Forest Lovers.”’ It has been necessary to
consider a very large subject in a very few pages: and it will be
found that the following books will repay study for those who wish
to go into the subject in any detail. The texts of the works
themselves will soon be available, it is to be hoped, in the Lorn
Series: they may at present be found in the Teubner classical texts,
edited by Hercher (Leipzig, 1858, out of print), and in the Firmin-
Didot classics (Paris, 1856, ete., still obtainable), edited by Hirschig.
Apart from separate editions of the various novelists, this latter is
perhaps the most convenient form in which they may be read: they
are contained in a single volume, with a Latin translation side by side
with the text. For the 414 ~
 BIBLIOGRAPHY general consideration of the subject, the
following books are recommended :— Huet, P. D. Traité de Vorigine
des Romans. 1671, etc. The first investigation of a modern scholar.
Chiefly of historical interest, but containing many acute remarks on
sources, which are of permanent value. Dunlop, J. The History of
Fiction. Edinburgh, 1816. Still in print in the Bohn Libraries. The best
general work on the subject—a credit to English literary scholarship.
Chassang, A. Histoire du roman... dans lantiquité grecque et latine.
Paris, 1862. A very wide survey of the whole of ancient fiction: it
contains much that cannot be found elsewhere. Rohde, E. Der
griechische Roman. Leipzig, 1876, -1900, 1914 Profound, if
speculative. The latest edition contains a resumé of the most
modern discoveries and theories by W. Schmid. Schmid, W. Der
griechische Roman, in Neue Jahrbiicher fiir des Klassische Altertum,
p. 465. Leipzig, 1904. A review of the position taken up by modern
scholarship on the Greek novel. * Wolff, S. L. The Greek Romances
in Elizabethan Prose Fiction. New York, Columbia University Press,
1912, Careful analyses of Heliodorus, Longus, and Achilles Tatius :
and their influence on English sixteenth and seventeenth century
literature. ‘ Phillimore, J.S. The Greek Romances, in English
Literature and the Classics, p. 87. Oxford, 1912. An essay, at once
original and conveniently summarising ascertained results, which is
perhaps the best approach to the subject for the general reader.
Schiissel von Fleschenberg, 0. Entwickelungsgeschichte des
griechischen Romanes in Altertum. Halle, 1913. Speculative, but not
unsound. The author carries on Rohde’s tradition, but looks at the
Greek novel almost entirely from the point of view of literary form.
415
 APPENDIX ON THE GREEK NOVEL Calderini, A. Le
avventure di Cherea e Calliroe. Turin, 1913. A translation of
Chariton’s work with a very full introduction on the Greek novel at
large. The book, which is too little known to English scholars,
contains perhaps the widest investigation of the novels left to us: the
author is steeped in his subject, and is particularly successful in
shewing the interdependence of the novelists and in pointing out
their borrowings from each other,
 INDEX TO DAPHNIS AND CHLOE a ciaryTiia: Il. 4 8
Anchises: Iv. 17; a princely cowherd of Mt. Ida in the Troad; he was
the father by Aphrodite of Aeneas Aphrodite (Venus) : 1. 34; Iv. 17
Apollo: Iv. 14 Ariadne : Iv. 3; daughter of Minos king of Crete;
having saved Theseus from the Minotaur, she left Crete with him,
only to be abandoned by him in the island of Naxos when asleep.
Dionysus gat her there and made her wife Astylus: Iv. 10-13, 16, 18,
19, 22-24, 29 > Baccha : 1. 2; a female Bacchanal, priestess or
votary of Bacchus Bacchus : see Dionysus Bosphorus (boapiens) « I.
30; the name of several straits, most commonly applied to the
Channel of Constantinople Branchus : Iv. 17; a youth beloved by
Apollo; his ’ descendants, the Branchidae, were the ministers of the
temple and oracle of Apollo Didymeus near Miletus Bryaxis : 1. 28
Caria : 28; a district of S.W. Asia ior” Ceres ever aeeeds Iv. 13 Chloé
: I. 6, etc. Chromis : 1. 15; IV Clearista : rv. 13, is, 3, 30, 31, 33
Cupid : see Love Daphnis : I. 3, etc. Demeter : gee Ceres
Dionysophanes : Iv. 18, 20-22, 25 26, 29-31, 33-36, 38 pope
(Bacchus): I. 16; 36 . 911; Wee eas 1 25, 36° Dorco : 1. 15-21, 28,
30-32; Iv. 38 Dryads: 0. 39; I. 23; treenymphs Dryas: I. 4 "7 19, 28;
H. 14, ‘hs pa 5,7 , 9, 10, 25, 27, BOS: 7, 25, 28, 31-33, 37, 38 Earth
: m1. 23 Echo : 1. 7; M1. 23 Epimelian Nymphs : 11. 39; nymphs
who presided over the flocks Eudromus: Iv. 5, 6, 9, 18 Fates : Iv. 21
Fortune: W1. 34; Iv. 24 Ganymédes (Ganymed) : by oe beautiful
youth cand: ‘off by ao to be the cupbearer of Gnatho : Iv. 10-12, 16,
18-20, 29 Heléan Nymphs: I. 23; nymphs Hermes : see Mercury
Hippasus : m1. 1, 2 fenIndians : Iv. 3; one of the stories of Dionysus
*was that he made an expedition against the Indians and triumphed
over them JOVEN K. 1631. ToT... 17,215.25 ae | Raat? ay 12; w. 14,
23, ae , 33, ms 9, 11, 26, 30, eo i, 4, 3, 10, 13, 14, 17-20: 22, 24,
30 > 3 33, 3 Lampis : Iv. 7, 28, 29, 3s Laomedon : Iv. 14; ‘king of
Troy and father of Priam; havin pleased Zeus, Poseidon an 47
 INDEX TO DAPHNIS AND CHLOE Apollo were made 60
serve Laomedon for wages; Poseidon built the walls of Troy, and
Apollo tended the king’s flocks Lesbos ¢7Proem (L3oi:. Us. 12a large
island of the E. Aegean Love (Cupid): Proem 2; 1. 11, 32 Il. 6-8, 23,
27; Iv. 18, 34, . 39 Lycaenium : II. 15, 17-20; Iv. 38 40 Lycurgus: Iv.
3; Dionysus, expelled from the territory of the Edones of Thrace by
their king Lycurgus, visited him with madness and made the vines of
the country barren ; in obedience to an oracle the Edones bound
him and entombed him in a rock Marsyas: 1V. 8; a Phrygian, who
with his flute challenged Apollo with his lyre to a musical contest;
Apollo, having won the day, bound him to a tree and flayed him alive
Megacles : IV. 35-37 Melian Nymphs: 11. 23; Nymphs of the ash-
tree Mercury (Hermes): Iv. 34 Methymna: the second city of Lesbos
: 11. 12-20, 23, 25, 27, 29; TW, 22d, EV Muses : III. 23 Myrtalé: 1.3,
12; 11. 28; m1. 9, 11, 265/275) SOs LVerty LO,.20; LO, 9 24, 32, 38
Mytilené : the chief city of Lesbos; I oe 22,10) ;205 Tir, 1-33 Lv. 1,
Napé: 1. 6; m1. 10, 11, 25, 29, 30; Iv. 28, 32, 37, 38 Nymphs:
Proem I, 2; I. 4, 6-9, 24, $2; 1. 2, 8, 17, 18, 20-24, 27, 30, 31, 34,
38, 89; Im. 4, 12, 16, U7. 238"27. 285-91, 827 1V.0a; 18; 19, 22,
26-28, 30, 34-37, 39 Pans: Proeme 23.3216 20s Went, 8) 17, 28, 24,
26, 27, 39, 30, 32, 84; 418 35, 37-39; OI. 4, 12, 16, 23, 31, HAD 3,
4, 13, 18, 19, 26-28, Pentheus : Iv. 3; son of Agavé and grandson of
Cadmus, mythical king of Thebes; he was killed by his mother in a
Bacchic frenzy for resisting the introduction of the worship of
Dionysus Philetas : 0. 3, 7, 8, 15, 17, 82, 88; 35, 37; I. 14; Iv. 38
Philopoemen : Iv. 39 Pitys: I. 27; 1. 7, 39; a maiden beloved both by
Pan and by Boreas ; when she preferred Pan, Boreas struck her to
the ground, enereanen she became a pineree Rhode : Iv. 36, 37
Saturn (Cronus): I. 5; father of the Olympian Gods Satyrs : I. 16; 11.
2; Iv. 3; the halfbestial attendants of Dionysus Scythia : m1. 5; the
S. part of what is now Russia Seasons ; Il. 34 Semele: Iv. 3;
daughter of Cadmus king of Thebes, and mother by Zeus of
Dionysus Shepherd, Love the : Iv. 89 Sicily : 11. 33 Soldier, Pan the :
Iv. 39 Sophrone: Ivy. 21 Soter (the Saviour) ; Iv. 25 Syrinx : I. 34,
37, 39 Tityrus : Il. 32, 33, 35 Tyrians : 1. 28 Tyrrhenians : Iv. 3; in
order to sail to Naxos Dionysus once chartered a ship which
belonged to some Tyrrhenian (or Etruscan) pirates; upon their
steering for Asia instead, in the hope of selling him as a slave, he
avenged himself by turning the crew into dolphins Zeus : see Jove
 INDEX TO PARTHENIUS, THE ALEXANDRIAN EROTIC
FRAGMENT, THE NINUS ROMANCE, GREEK NOVEL Abradatas, 406
Acamantis, 351 Acamas, 309 Achaeans, 321 Achaeus, 324 Achilles,
319, 329, 363, 367 Achilles’ Tatius, 412, 413 Acrotatus, 323 Adonis,
361, 367 Aeacus, 321 Aegialus, 259 Aeneus, 333 rege nt Aéro, 3 re
ee 369 Aethiopica, 403, 412, 414 Aethra, 311 Agassamenus, 317
Agave, 339 Alastor, 299 Alcinoe, 331 Alcmaeon, 327 Alexander, or
Paris, 267, 341 Alexander ’ Aetolus, poet, 303, 369 Alexander the
Great, 4 Alexandria, 412 Amphiaraus, 327 Amphilochus, 331
Amyclas, father of Daphne, 305 Andriscus, philosopher, 285, 317
Anthea, 412 Antheus, 301 Anthippe, 337, 355 Antileon, 277 Antonius
Diogenes, 412 Aous, river and mountain, 361 AND APPENDIX ON
THE Aphrodisias Aphrodite, 560. 2591, 351, 387 Aplieus, river, 361
Apollo, 307, 353, 367 Apollonius Rhodius, poet, 259, 293, 319, 333,
363 Apollonius ‘ot Tyre, 412 Apriate, 329 Apterus, 343 Apuleius, 408
Arabian Nights, 404 ‘Archelais, 351 Arete, wife of Parthenius, 252,
351 Arganthone, 345 Argives, 321 Argo, The, 333 Argos, 259, 299
Aristander, 412 Aristides, 408 Aristobulus, 408 Aristocritus, historian,
293, 329 AEE eodemus of Nysa, grammarian, é Ariston, 327
Aristotle, 301 Armenians, 397 Artemidorus, writer on dreams, 252
Artemis, 235, 291, 307 Asclepiades of Myrlea, grammarian, Assaon,
341 Assesus, 303 Assyrians, 397, 406 Athena, 327, 331 Aulus
Gellius, see Gellius Auxithemis, 355 419
 INDEX TO PARTHENIUS, ETC. Babyloniaca, 412
Bacchantes, 339 Bacchiadae. 303 Bactria, 406 Basilus, 263
Beledonii, 353 Bellerophon, 269 Bias, 351 Boccaccio, 409 Boeotia,
339 Bretannus, 335 Briareus, 365 Bubasus, see Bybastus Bybastus i
in Caria, 261 Byblis, 2 Bysantine novelists, 405, 413 Cadmus, 339
Calchus, 297 Callimachus, poet, 258, 363, 369 Callithea, 412
Candaules, 406 Canopus, 367 Capros, 293 Caria, 261, 293, 412
Carians, 3 397 Caunus, 259, 293 Cavaras, 279 Cebren, father of
Oenone, 267 Celaeneus, 293 Celtine, 335 Celts, 281, 335 Celtus 335
Cephalon of Gergitha, 267, 341 Chaonians, 337 Chariclea, 412
Charicles, 410, 412 Chariton, novelist, 412, 418, 416 Chilonis, "323
Chios, 317 Chloe, 412, 413 Cichyrus, 337 Cilicia, 359 Cc ‘inna, 251
Circe, 297 Cius, 345 Cleoboea, 301 Cleonymus, 323 Clite, 333
Clitophon, 412 Clitus, 275 Clymenus, 297 Comaetho, 359
Constantine Manasses, novelist, 412 Corinth, 303, 311, 331, 358,
367 420 Cornelius reac a Gallus z Corycian hills, 6 Corycus, 359
Corythus, 341 Cotta, 251 Cranides, 355 Cratea, $11 Crete, 271, 343
Cretinaeum, 278 Crinagoras, 353 Croesus, 323, 406 Cyanippus, 339
Cyclic poets, 362 Cydnus, river, 359 Cydon, 343 Cyprus, 293, 361 >
Cyrus, 321, 406 7 Cyzicus, 333 3 Daphne, 305 Daphnis, 333 Daphnis
and ia 412, 413 Dardanus, 309 Daunians, 297 Dectadas, 297 Delian
goddess, 285 Delos, 353 Delphi, 327 i Derceia, 387 Dia, 293 3
Didyma, 259 2 Dimoetes, 337 Diognetus, 285 Diodorus of Elaea, 305
Diogenes, see Antonius Diomede, 309, 347 Dionysus, 261, 339
Diores, son of "Aeolus, 263 Dochmiac, metrical foot, 375 Drusilla,
410, 412 Dryas, suitor for Pallene, 275 Dryas, father of Amphilochus,
831 Ste ee Pie. Echenais, nymph, 335 Echeneis, spring, 295 Echion,
339 Egypt, "369 Egyptian fiction, 406 Egyptians, 399 Elep rantine,
369 Elis, 3 Trier 412 Ephesiaca, 412 Ephesus, 273, 412 Epicasta,
207°
 —— ny INDEX TO PARTHENIUS, ETC. Epidamnus, 369 ,
265, 323 Epirus, daughter of Echion, 339 » 285 Etna, mountain, 335
Eudora, mother of Parthenius, 251 ' Eugenianus, see Nicetas
Eugenianus Euma thius, see Eustathius Euphorion, poet, 253, 297,
329, 333 Euryalus, 265 Eustathius, novelist, 412 Euthymia, 279
Evippe, 265 Evopis, 337 Porethought, Goddess of, 327 Gades, 367
Gallesium, 355 —. Cornelius, 252, 253, 257, 297, Gaul, 371 Gauls
invade Ionia, 279 yon allies of Assyrians. 397 Greek culture and the
external baderios ee 414 Gryni, 3 Gyges, 406 [
 INDEX TO PARTHENIUS, ETC. Leucadiae, 355 Leucippe,
412 Leucippus, son of Oenomaus, 307 Leucippus, son of Xanthius,
269 Leucone, 291 Leucophrye, 273 Licymnius of Chios, poet, 321
Longus, 412. 413 Lucian, 252 Lycastus, 348 Lycians, 269 Lyrcus, 259
Macrobius, grammarian, 252, 365 Magnesia, 369 Manasses, see
Constantine Manasses Mandrolytus, 273 Marseilles, 281 Megara, 357
Melicertes, 365 Meligunis, island, 263 Melissus, 303 Metamorphoses,
357 Methymna, 319 Milesian tales, 408 ; ae 279, 285, 293, 301,
315, 329, 0 Minos, 357 Mithridatic war, 251 Moero, poetess, 331
Munitus, 311 Myrcinus, 369 Myrlea, 251, 345 Mytilene, 369 Myton,
369 Nanis, 323 Naxians, 285, 315 Naxos, 315, 317 Neaera, 315
Neanthes, 341 Neleus, 299, 301 Nemausus, 371 Nereus, 365 Nicaea,
251 Nicaenetus, poet, 259, 293 Nicander, poet, 267, 343 Nicandra,
331 Nicetas Mugenianus, novelist, 411, 412, 413 Ninus, 385, 409
Niobe, 341 Nisus, 359 Nysa, 279 422 Odomanti, 273 Oecusa, 293
Oenomaus, 307 Oenone, 267, 341 Oenone, island, 357 Oenopion,
317 Oetaeans, 327 Olynthus, 311 Oriental elements in Greek 404,
405, 414 Orion, 317 Pallene, 273 Pancrato, 317 Pantagruel, 403
Panthea, 406 Paris, see Alexander Parthenius, 251, 408, 409
Pastoralia, 412 Peleus, 321 Peloponnese, 307, 317, 323 Penelope,
265 Pentheus, 339 Periander of Corinth, 311 Perseus, husband of
Philot’ Persian fiction, 407 Persians, 323 Petronius, 408 Phaedra, 371
Phanias of Eresus, philosop Pharax, 289 Phayllus, 327 Pherae, 273
Philaechme, 301 Philetas of Cos, poet, 263 Philobia, 309 Philoctetes,
269 Philomel, 295 Philottus, 341 Phobius, 301 Phocis, 326
Phoroneus, father of Lyre Photius, grammarian, 412 Phrygius, 301
Phthia, 321 Phylarchus, 305, 327, 337 Piasus, 333 Pirene, spring,
303 Pisidice, 319 Plutarch, 284, 289, 303, 324 Pollianus, poet, 363
Polybus, 331 Polycles, brother of Polycrite, 2 Polycrite, 285 Polymela,
263