begins by discussing the concept of the Milesian tale
, which he takes to be the most plausible narrative model for Apuleius.
Chapter 4, "Sex, Food, and Money: Low Themes versus High Scenarios," first examines Petrionius's famed Milesian tale
, the story of the widow of Ephesus.
Characteristically, a Milesian tale
is an erotic or picaresque story of romantic adventure.
s contributions, namely that Apuleius is constantly demonstrating his learning and displaying the cultural capital he can draw upon for his narrative, and that he has unabashedly used the lowstatus Milesian tale
structure for his template.
Attempts to attribute the spurcum additamentum to a Milesian Tale
by Sisenna, (39) which would have been inserted accidentally into Apuleius' text later, would at least provide us with the suggestion that the original of the 'Pasiphae'-scene could be attributed to Sisenna's forerunner Aristeides.
Starting with the premise that Apuleius pays particular attention to those traditions to which he specially wishes to articulate his connection, he elucidates the "interplay of different generic traditions" in these tales, ranging from the mime to Milesian tale
to elegy, epic and tragedy.
In the tale of the Pergamene boy, another Milesian tale
, Anderson explores the folktale feel of the story.
period where it developed from the Milesian Tales
and from various other
According to him, the "using of previous texts has always been an aspect of the novel, and the reader is invited to regard De Sater as an imaginary reconstruction of what might have been the absolute beginning of the novel as such: the Milesian tales
beat Crassus, they found in the baggage of Roman officers some very juicy items called Milesian Tales
, by a certain Aristides of Miletus; and I have a friend who, in A.
We are then presented with a discussion of the literary texture of the Metamorphoses: some of the Milesian stories, such as the tale of Charite, Garbugino argues, have a tragic ending, thus subverting the 'traditional' and expected comic character of the Petronian Milesian tales
Although any attempt to work out the generic characteristics of mimes, as well as of Milesian Tales
, is extremely problematic, since no complete exemplars of either have survived and much that is said about the latter is conjectural, it is odd that Milesian Tales
do not get a mention at all in the context, for instance, of Thelyphron's tale, where Kirichenko uses the titles of mime-plays attributed to Laberius (Necyomantia) and to Catullus (Phasma) to point to mime, despite the fact that we know nothing about their content (cf.