By Ruth Robbins, Nicolas Sidjakov
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Additional info for Baboushka and the Three Kings
39, cf. Philopseud. 4, Isocr. ad Nicoclem 48, Dio Chrys. ); in his guide to the way in which young men should study poetry Plutarch also stresses at length the falsehoods with which poetry is filled (Mor. 16a-f). Longus thus hints clearly at the entirely fictitious nature of the narrative which is to follow 98 and this is particularly important in view of the fun which he is to have a few lines later in the prologue with the historiographical tradition (cf. below p. 48-50). Achilles Tatius performs the same task with characteristic wit when Cleitophon replies to the narrator's request for information with the remark oj1illloe; all€),€ipne; ...
TlULe:, and echoes of this are found throughout subsequent rhetorical and criticalliterature. 'TlULe: in the education of the children (cf. above pp. 19-20) - imitation teaches them everything except how to make love, an activity which requires the T€XV'Tl epwTLKr" and it is clear that the relationship between c/>Vate: and T€XV'Tl is a dominant theme of the novel, as indeed of nearly all bucolic and pastoral literature in which 'artists' seek to portray a 'natural' world. 'TlULe: into a literary theory (he is discussing hyperbaton), 7rapa TOLe: apiuTOLe: uV'Y'Ypac/>evuL 6td.
12-13 K) This passage shares with Longus both certain ideas about Eros (his connection with Dionysus, his paradoxical age) and a debt to Plato's Symposium,54 and it illustrates clearly the well-trodden path which the Longan Philetas follows. 4-7 is of such common currency does not necessarily rule out a real 'religious meaning' for it, nor even make this inherently improbable. We are, however, entitled to wonder whether all of Longus' readers would have seen in Philetas' speech the same religious force that some modern critics have found.
Baboushka and the Three Kings by Ruth Robbins, Nicolas Sidjakov