Chariton of Aphrodisias

Tilg, Stefan

doi:10.1093/acprof:oso/9780199576944.003.0002

Cited by 4 publications

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“… 8 On Chariton and Aphrodisias, see Tilg (2010) 24–82 and Jolowicz (2023); Rohde (1914) 520 n.2 suggests that Chariton’s name and city are pseudonymous. On the prominence of Aphrodite as it relates to the connection between Aphrodisias and Rome, see Edwards (1991), (1994), (1996) 54–61, (1998).…”

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Spartans in the ancient Greek novels

Jolowicz

2023

J. Hell. Stud.

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Characters in the Greek novels comprise a dizzying array of identities, but one group of people who have received barely any attention are Spartans. They appear only in Chariton of Aphrodisias and Xenophon of Ephesus, where analysis of their presence sheds crucial light on the novels’ literary and sociocultural agendas. After an introduction (section I), section II discusses Chaereas’ self-characterization as the Spartan Leonidas in book 7 of Chariton’s Chaereas and Callirhoe in the context of Imperial-period Sparta: its institutions (the Leonideia festival), prosopography (the Euryclid dynasty) and reputation for military greatness. I link these elements to the ‘kinsman of Brasidas’ in book 8, who can be directly connected to an Imperial-period descendant of Brasidas in Plutarch’s Sayings of Kings and Commanders, as well as to Thucydides’ Brasidas. Section III explores the Spartan identity of Aegialeus and Thelxinoe, the protagonists of an inset story told to Habrocomes in book 5 of Xenophon’s Ephesiaca. Details of their lives correspond closely to Spartan cultural phenomena familiar from Plutarch’s Life of Lycurgus, especially in connection with marriage customs. This has consequences for the evaluation of Xenophon as a witty and sophisticated novelist, and for his compositional date. Section IV draws out the significant parallels between the depiction of Spartans in Chariton and Xenophon, which form the basis of proposals regarding their literary and chronological relationships.

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Spartans in the ancient Greek novels

Jolowicz

2023

J. Hell. Stud.

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“…Jolowicz (forthcoming a) collects epigraphic evidence from nearby Iasus and Mylasa that supports the claim, though see Rohde (1914 [1876]) 520 n. 2 for the possibility that Chariton's name and city are pseudonymous. Tilg (2010) 24–82 is a useful overview of some possible connections between Chariton and Aphrodisias. It has been suggested that Chariton's Miletus is a displaced version of contemporary Aphrodisias: Ruiz-Montero (1989) 126, (1994) 1032–3; Jones (1992) 162–3; Alvares (2001–2) 126–7; Whitmarsh (2011a) 53.…”

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“…Quotation from Schwartz (2016) 16–17, suggesting that Chariton is the equivalent of a notarius . Tilg (2010) 49–59 canvasses the possible historical referents from Aphrodisian epigraphy that might lie behind Chariton's employer Athenagoras.…”

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“…47Metiochus is also depicted in military gear on a mosaic from a house at Daphne that potentially represents the fragmentary Metiochus and Parthenope novel; cf. Hägg and Utas (2003) 48–50, 249; Tilg (2010) 97. On the use of the word σχῆμα to describe the pose of a statue see Smith et al (2006) 35; statues of soldiery would be familiar in Aphrodisias, and it is possible that the powerful Aphrodisian C. Iulius Zoilus, freedman of Octavian, was depicted in soldier's gear on a frieze panel from his monument, on which see Smith (1993) 55–6 with Pl.…”

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THE ROMAN ARMY AND GREEK MILITARISM IN CHARITON'SCHAEREAS AND CALLIRHOE

Jolowicz

2018

Camb. class. j.

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This paper seeks to highlight and assess the presence of allusions to Roman military apparatus in Chariton'sChaereas and Callirhoe. In the introduction, I contextualise the argument within the history of scholarship on the novel, and discuss issues relating to the author's date, Aphrodisian provenance and readership. I then divide the argument into three parts. At the end of the novel, Chaereas returns to Syracuse and publicly displays the spoils won from the east in a manner that, I argue, is highly suggestive of the Roman triumph (Parti). He then extends a grant of citizenship to the Greek element of his army and issues them cash donatives, while Hermocrates gives farmland to the Egyptians. As I demonstrate, this is characteristic of what happens upon the demobilisation of Roman military manpower (especially theauxilia) (Partii). I then draw out the ramifications of an imperial-era author who represents Greek military exploits against the Persians, writing during a period in which Greeks were not interested in military endeavours (Partiii).

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“…102.The Roman and Latin influence on the Greek novel, especially the relationship of Aphrodite, Aphrodisias and Rome, is thoroughly explored in Tilg (2010), 283f.…”

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The Bed Canopy in Xenophon of Ephesus and the Iconography of Mars and Venus Under the Empire

Lefteratou

2018

Ramus

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This paper discusses how Roman visual culture might be useful for deciphering the ecphrastic passages of the ancient Greek novel. Whereas ecphrasis has been one of the blossoming topics in the field, the examination of novelistic ecphrasis alongside particular works of art is still a desideratum. As a test case I will use Xenophon of Ephesus’ ecphrasis of the bed canopy depicting Ares’ and Aphrodite's embrace, in the Ephesiaca, a novel that might have been written as early as AD 65. In what follows I will argue that the scene described on the canopy would have stimulated a variety of intertexts, both literary and visual, in the minds of the imperial audience: that is, Xenophon's reader would have been encouraged to recall not just Demodocus’ song of the love of Ares and Aphrodite but also the idealised Roman version of the myth, which was so frequently depicted on frescoes and mosaics in Roman villas in the first century. I then explore Xenophon's ‘interpretatio Romana’ through the adaptations of the Ares and Aphrodite myth found in Plutarch and Lucian.

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Chariton of Aphrodisias

Cited by 4 publications

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Spartans in the ancient Greek novels

Spartans in the ancient Greek novels

THE ROMAN ARMY AND GREEK MILITARISM IN CHARITON'SCHAEREAS AND CALLIRHOE

The Bed Canopy in Xenophon of Ephesus and the Iconography of Mars and Venus Under the Empire

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