Anaxarete


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Anaxarete

princess turned to stone for scorning commoner’s love. [Gk. Myth.: Zimmerman, 21]
Allusions—Cultural, Literary, Biblical, and Historical: A Thematic Dictionary. Copyright 2008 The Gale Group, Inc. All rights reserved.
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Fuerunt aliae fere innumerae ut Pasiphae, Berenice, Hermione, Penelope, Deidamia, Ersilia, uxor Romuli, Ero, Virginia, Anaxarete, Antigone, Arachne, Arethus, Arsinoe, Polixena, Pelagia, Lycaste, Iocasta, Hecuba, Cassandra, Hesperia, Cleopatra, Caelia, Ilia, heroinae et aliae prope infinitae, quarum aliae sola corporis pulchritudine, aliae vero non sola corporis forma sed etiam morum concinnitate ab historicis sunt decantatae.
(Ex foeminis Pasiphae, Ariadne, Berenice, Hermione, Briseis, Penelobe, Deidamira, Ersilia uxor Rouli, Ero, Virginia, Anaxarete, Antigone, Arachne, Arethusa, Arsinoe, Polyxena, Pelagia, Lycaste, Iocasta, Hecuba, Cassandra, Hesperie, Cleopatra, Coelia, Ilia, Sybillae, Vestales.
Massinger seems aware of this paradox and explores it within the second inset play, Iphis and Anaxarete, while again insisting that performances do not affect the audience.
The object and purpose of Iphis and Anaxarete are less clear.
Her desire for Paris suggests that she wants to stage Iphis and Anaxarete so that she can cast him in a more easily sexualized role, "a lover's part" The performance then is pornographic: the object of the performance is Domitia and the purpose is to inflame her desire.
In the recounting of the story of Anaxarete and her swain Iphis, Ovid self-consciously plays with elegiac conventions and reduces them to the level of absurdity.
Vertumnus, finally assuming the shape of an old woman, tells Pomona the story of Iphis and Anaxarete. Anaxarete spurns Iphis's romantic suit.
Cecilia joins Pomona and Anaxarete as yet another woman who does not want to marry.