By Grammatiki A. Karla, Grammatki A. Karla
This selection of essays deals a finished exam of texts that commonly were excluded from the most corpus of the traditional Greek novel and restrained to the margins of the style, akin to the "Life of Aesop", the "Life of Alexander the Great", and the "Acts of the Christian Martyrs". via comparability and distinction, intertextual research and shut exam, the limits of the dichotomy among the 'fringe' vs. the 'canonical' or 'erotic' novel are explored, and so the established id of the texts in every one staff is extra basically defined. The collective consequence brings the 'fringe' from the outer edge of scholarly study to the centre of serious realization, and offers methodological instruments for the exploration of different 'fringe' texts.
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Additional info for Fiction on the Fringe: Novelistic Writing in the Post-Classical Age
27–29 Vita Alexandri (pp. 38–40, ed. van Thiel). 18 Even the reference to the marriage of Alexander to Roxane, the daughter of Darius, is devoid of the erotic element, and is introduced, instead, in the context of the political negotiations between the Greeks and the Persians. Only near the end, when Alexander prepares to take his own life, and Roxane intervenes to save him at the last moment, can one perhaps detect some emotion; still, the text at this point is so mutilated that any assessment of its content is tenuous and outright hypothetical.
Focusing on the issue of content (language and structure have been discussed earlier in this paper), the Life of Alexander the Great—with its numerous tales of wondrous fantasy, its succession of adventures, the vivid descriptions of conquests, the anecdotes that ascribe all sorts of accomplishments to Alexander’s intelligence, the moral superiority of the hero over his barbarian opponents—makes clear that the narrative aspires to reach a specific public, “. . 5). Hägg (1994) 66–67. Bowie (1996).
6–8). 10 For the recapitulations in Chariton, Xenophon Ephesius and Achilles Tatius, see Hägg (1971) 245–287. In Heliodorus the narrative technique is more complex, see Winkler (1982) 93–158: especially 137–158; Fusillo (1988) 21–24, 26–29. 11 An interpretation of this recapitulation is oﬀered in Hägg (1971) 257–259. On the narrator’s voice in the ancient novel in general, see Fusillo (1996) 283–288. 12 See Reiser (1984) 146–147, 157. 14 Aesop is first transported from an unnamed place to be sold as a slave in Ephesus; he is then brought to Samos to be placed in the service of the philosopher Xanthos for a certain period of time; we later see him in the court of Croesus, and again back on Samos where he expresses the desire “to travel around the world” (ch.