Ancient Narrative: Supplementum 1 Space in the Ancient Novel by Michael Paschalis; Stavros Frangoulidis (ed.)

By Michael Paschalis; Stavros Frangoulidis (ed.)

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CHARITON ’ S SYRACUSE AND ITS HISTORIES OF EMPIRE 21 erected public buildings just in front of this wall (Diod. Sic. 14,7,1), and built strategic fortification walls to Epipolai (Diod. Sic. 22 Augustus’ restoration of Syracuse effaces the traces of its decline after the death of Dionysius. But recent history –the defeat of Sextus Pompey and the rise of Augustus – is clearly legible too. Even though there is little topographic detail in Chariton’s renderings of Syracuse, in offering readers a view of classical Syracuse and pointing forward to its Dionysian future Chariton engages in a project that is parallel to Augustus’ own.

Here are some similarities to her classical predecessor: Manon is a goatherd; she dances and plays the harmonica, a modern equivalent to the rustic instruments played by Longus’ country folk; she innocently bathes naked in a spring by a grotto. The evil character who watches her doing so and immediately falls in love with her but is eventually rejected partly redeems himself in death (overtones of Longus’ Dorcon). When she marries, Manon in her bridal gown combines the purity of her natural beauty with the cultural refinement of society, a point which Longus emphasizes about Chloe (and to which I will turn below).

While it was not necessary to complete the full circuit, he thought it was necessary to improve only the settled part, which was near the island of Ortygia and which had a perimeter sufficient for a significant city. For Ortygia, which lies near the mainland, is joined to it by a bridge and has the spring Arethusa which sends out its stream straight into the sea. (Strabo 6,2,4) Like the closure of the gates of the temple of Janus at Rome in 29, at Syracuse the newly refurbished walls and buildings themselves mark a point of closure for civil strife.

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