This chapter looks at Lucian’s intervention on the genre of comic dialogue through a discussion of one of the Dialogues of the Gods. In the dialogue between Aphrodite and Selene, Lucian imagines a sexy conversation between Aphrodite and Selene. The story of Selene and Endymion is well known, but in antiquity is almost always told in the barest of forms. Lucian tries to fill in the gaps by having Selene tell Aphrodite about her affair, but leads the reader towards the moment of revelation of what Selene does with Endymion only to pull shut the curtain at the last moment. Through this narrative, Lucian plays with the tradition of myth, with the reader’s sense of knowledge and knowingness, and with the erotics of the visual – in a way that amusingly makes the reader complicit with the author’s satiric fun.

This chapter analyzes a very different sense in which “demythologization” is sometimes used: referring not to the wholesale abandonment of mythological narratives but to their fragmentation and deformation as individual characters are ripped out of their narrative context in order to function as stand-alone symbols. Prior scholarship has consistently conflated the two phenomena. For critical leverage here I analyze the development of particular genres of sarcophagi, such as those showing frisky sea creatures, while also stepping outside the funerary domain to consider questions of narrative and allegory raised by sculpture in the round and ensembles of domestic wall paintings.

The Introduction first sets the stage by inviting the reader to consider a few Roman sarcophagi in depth. Serving as an introduction to these compelling objects, this also reveals just how odd it was that deities and mythic heroes came to be expelled from their surface decoration in the third century. It then contextualizes that oddity through an overview of main developments within Roman sarcophagus production from the second through the fourth centuries. The book’s scope and terms are then addressed, and its structure laid out.