Grammatically, this reading is undoubtedly correct: both classical authors and Heliodorus
use [phrase omitted] in present tense to refer to knowledge which the subject already possesses.
COMPARATIVE ANALYSES OF HELIODORUS
and Miguel de Cervantes ate often framed in terms of how the Greek author s adventure novel, the Ethiopica, influenced Cervantes's creative process in writing Persiles y Sigismunda, his final and posthumously published novel.
18) Similar architectural features can be found in Raphael's frescoes in the rooms (stanze) of the papal apartment in the Vatican Palace, especially in the Expulsion of Heliodorus
from the Temple and the Coronation of Charlemagne.
The long section in the middle--Part 2 ("The Development of the Greek Tradition")--discusses Greek texts and genres that, with the exception of Heliodorus
, were written between the beginning and the end of Greek literature.
695) that `it is in the story itself, and the manner in which Heliodorus
unfolds its complexities, that his superiority (sc.
31) We know now, of course, that of the five extant romances, two (Chariton and Xenophon of Ephesus) predate the other far more rhetorically inflected three exemplars (Longus, and Achilles Tatius, II CE; Heliodorus
, mid III-mid IV CE), so that while the initial emphasis on the Second Sophistic as the single context for the genre may be misplaced, it is utterly significant for the underlying ideology of Rohde's approach.
Bartsch, Decoding the Ancient Novel: The reader and the role of description in Heliodorus
and Achilles Tatius (Princeton, 1989) E.
uses magic to make a philosophical and religious
Dudley reads the slippage between Guinea and Ethiopia as a deliberate gesture which "reinforces the literary link to Heliodorus
and endows Dorotea/Micomicona with the aura of a Byzantine heroine" (256-257).
5), a woman, seen from behind, assumes a pose strikingly similar to that of the female figure in the Transfiguration: with her left knee forward and right knee back, she twists her right shoulder forward and left back and looks across her shoulder to observe the punishment of Heliodorus
by the celestial messengers for attempting to steal, on behalf of one of the Selucid monarchs, the treasure of the temple in Jerusalem.
31) In Winkler's account, Heliodorus
is chiefly concerned with the way in which "the interplay" of romantic melodrama and providential explanation allows him to display an ironic self-consciousness about literary convention and genre.
It engages such issues as chronology and origins; sex, gender, and erotics; the influence of other cultures (Egypt and the Near East), along with concepts of Hellenismos and paideia, to focus finally on the case of Heliodorus
before considering the future of prose fiction as situated between canonicity and marginality.