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A. D. Morrison

The letter collections of Greco-Roman antiquity dwarf in total size all of ancient drama or epic combined, but they have received far less attention than (say) the plays of Euripides or the epics of Homer or Virgil. Although classicists have long realised the crucial importance of the order and arrangement of poems into ‘poetry books’ for the reading and reception both of individual poems and the collection as a whole, the importance of order and arrangement in collections of letters and the consequences for their interpretation have long been neglected. This piece explores some of the most important Greek letter collections, such as the Letters attributed to Plato, and examines some of the key problems in studying and editing collections of such ancient letters.

Bulletin of the John Rylands Library
Victor Skretkowicz

sustained prose fiction representing a degree of reality. 11 Romance, whether in prose, verse or drama, is associated with improbable erotic plots. 12 Aphthonius, Philostratus, ecphrasis and artistic style In their erotic romances, Longus, Achilles Tatius and Heliodorus adhere to the earlier ‘basic structure’ and

in European erotic romance
Ekphrasis and historical materiality in Shakespeare’s The Rape of Lucrece
Rachel Eisendrath

, some low, the painter was so nice. The scalps of many, almost hid behind, To jump up higher seemed to mock the mind. Here one man’s hand leaned on another’s head, His nose being shadowed by his neighbour’s ear… …for Achilles’ image stood his spear, Gripped in an armèd hand, himself behind Was left unseen, save to the eye of mind: A hand, a foot, a face, a leg, a head Stood for the whole to be imaginèd. (1408; 1412–16; 1424–8) Drawing on the late-antique Greek rhetorician Philostratus’ Imagines, which was available in Latin and French translations,22 Shakespeare

in Ekphrastic encounters
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Victor Skretkowicz

begins with a brief chapter on the nature of ancient and Renaissance Greco-Roman romance. It contains introductory notes on the rhetorical exercises of Aphthonius; on Philostratus, ecphrasis and artistic style; on Theophrastan and Plutarchan characterisation; and on the implicit links between philhellenism and allegorical politicisation. It then devotes one chapter each to the Continental editions, and

in European erotic romance
Penelope and Arachne in early modern drama
Nathalie Rivère de Carles

different type of mean (Penelopean patience and Arachnean indignation). 43 Excess thus proves a virtuous instrument to implement a political mean. Lyly already associates Arachne and Pygmalion in Alexander and Campaspe (V.iv.15–17). 44 Yet the actual association of the three myths is first found in Pliny’s and Philostratus’s references to a painting by Zeuxis as noted by Franciscus Junius in

in Interweaving myths in Shakespeare and his contemporaries
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Human symbols, doubled identities
Paul Carter

Letters of Alciphron, Aelian and Philostratus , trans. A.R. Benner and F.H. Fobes, London: William Heinemann, 1949. The Online Etymological Dictionary advises: ‘ anecdote , “secret or private stories” … from Greek anekdota “things unpublished”’ ( ). 7 Nikos Papastergiadis, The Turbulence of Migration, Globalisation, Deterritorialization and Hybridity , Cambridge: Polity Press, 2016, 209

in Translations, an autoethnography
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Stephen Orgel

Zeuxis described by Pliny, or Philostratus’s gallery of Icones . Jonson’s sense of modern masterworks similarly derives from descriptions and catalogues – it is unlikely that he read Vasari, though he certainly knew people who did; but his account of ancient and modern painting comes quite directly from Antonio Possevino’s Bibliotheca Selecta , published in 1593, a

in Spectacular Performances
Victor Skretkowicz

the empire provided a kind of alter-ego. In his Lives of the Sophists , Flavius Philostratus records how the Roman emperor Trajan took the Greek orator Dion of Prusa into his golden triumphal chariot, ‘and often he would turn to Dio and say: “I do not understand what you are saying, but I love you as I love myself”’. 21 The anecdote illustrates the extent to which

in European erotic romance
Campbell Price

more restricted intended audience, see below. Compare the reaction of the third-century AD Philostratus, in his Heroikos, to the lifelike appearance of a healing statue of Hektor in Greece: ‘The statue of Hektor in Ilion resembles a semi-divine human being and reveals many delineations of his character to one inspecting it with the right perspective. In fact, he appears high-spirited, fierce, radiant, and with the splendour of full health and strength, and he is beautiful despite his short hair. The statue is something so alive that the viewer is drawn to touch it

in Mummies, magic and medicine in ancient Egypt
Ekphrasis and Laocoön digressions in the novel
Catriona MacLeod

draws attention to the shift in meaning occasioned by the nineteenth-century German reception of Philostratus and his gallery of paintings. See ‘Ekphrasis Ancient and Modern: The Invention of a Genre’, Word & Image, 15:1 (1999), 7–18. 10 Genette, Narrative Discourse, p. 102. 11 Tamar Yacobi, ‘Pictorial Models and Narrative Ekphrasis’, Poetics Today, 16 (1995), 599–649. Lessing holds too, of course, that the classic Homeric ekphrasis proceeds temporally, and is a description of a process, not an object: ‘We do not see the shield, but the divine master as he is making

in Ekphrastic encounters