This article proposes a sustained politicized reading of the myth of Midas in Ovid's Metamorphoses. It argues that Midas stands, first, as the embodiment of failed, Hellenistic kingship, with its ostentatious display of wealth and heralding of a new Golden Age, and, second, as a warning against the infectious "love of gold", to which Roman politicians are far from immune. While the capture of Silenus and the golden touch episode link Midas with the tropes of Hellenistic kingship, his involvement in the competition between Pan and Apollo raises questions about the tropes of Roman imperial power itself.

Lamentations Rabbah Proem 24, a late ancient rabbinic midrash, is in many ways a unique text within the entire rabbinic corpus. It presents an extraordinary array of characters (including Abraham, Moses, the Torah, and even the alphabet) who are called upon to placate God, but fail. As their quest proves inconclusive, the biblical Rachel jumps into the fray to tell her story: how out of sisterly compassion she allowed Leah to take her own place in the conjugal bed on “her” wedding night. Disclosing to her sister the secretive “signs” she had shared with Jacob, Rachel crawled under the nuptial bed to respond to Jacob whenever he spoke. This scandalous autobiography transforms an apparent instance of illicit sex, the ideal material for theatrical stage mimes, into an act of martyrdom and sublime compassion. This article argues that the performance culture of the late ancient Mediterranean world provides the key for assessing this text’s originality. We begin with an analysis of the text, drawing attention to its theatrical qualities and its relationships with contemporary visual imagery (mosaics) and texts from outside the rabbinic milieu (Christian Apocrypha). We then examine the casting of midrashic Rachel as a response to both the mimic adulteress and the Christian martyr. Finally, we consider rabbinic familiarity with mime, particularly with its usefulness as a social mediator and agent of collective catharsis. It is precisely these aspects of mimic performance, we argue, that Rachel’s vignette appropriates in this fascinating rabbinic text.

This article examines three passages in Nonnus’ Paraphrase of the Gospel according to John (19.21-25; 19.118-132; 20.81-82), all of which mention pieces of clothing in the context of Christ’s passion and resurrection. It argues that Nonnus allows, and indeed encourages, both literal readings and metaphorical interpretations of the garments as stand-ins for Christ’s body. The readings which do not turn garments into symbols of the body would be more in agreement with the Orthodox theology of Nonnus’ time, while the metaphorical interpretations would be more amenable to a heterodox (Origenist or Nestorian) construal. The poem’s ambivalence in the employment of clothing metaphors indicates an attitude that is less strictly Alexandrian / Orthodox and more polyphonic than has so far been assumed.

The rapes of Nicaea and Aura, in Books 15-16 and 48 respectively of the Dionysiaca, are two of the most disturbing episodes in Nonnus' epic. The first figures a young huntress who does not hesitate to murder her persistent admirer; the second has another huntress—ex-protegée of Artemis—killing and eating her own offspring. As will become obvious in this section, these two stories have attracted a fair amount of attention from scholars of the Dionysiaca. Most interpretative approaches have, however, tended to look for exclusively ‘classical’ models and influences. While there is no doubt that the Dionysiaca is an immensely learned poem, borrowing from and playing with a great variety of ancient texts, its content cannot be explained with reference to classical intertexts only. My paper asks how these stories would relate to contemporaneous concerns and cultural trends. It will suggest that the rejection of marriage and childbearing, which is evident in these episodes, is informed by Christian ideas on sexuality, and has to be viewed as part of the extensive ‘repackaging’ of classical antiquity to suit new agendas, which is a feature of much contemporary literature.

No abstract