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Summary

This chapter traces the different uses of the term φοῖνιξ / Φοῖνιξ, the cognate adjectives φοινικός and φοινικοβαφής, and verb φοινίττω, running from this last’s allusive use to describe Theagenes’ bloodstained cheek at the beginning of Book 1 to the revelation at the novel’s close that its writer is a Φοῖνιξ, ‘Phoenician’. Ι noted how these uses span the word’s range of meanings – crimson, date, palm, Phoenician – and how Phoenicia’s importance is augmented by the mysteriously unnamed Tyrian’s victory at Delphi and by the description of the ship on which the trio escape as Φοινίκιον … φιλοτέχνημα, ‘a Phoenician masterpiece’ (5.18), a mis-en-abyme of the literary masterpiece which transports the couple from Delphi to Meroe.

Summary

A large part of the history of the reception and interpretation of Homer takes the form of allegorical interpretation. In the West, the role of allegory is greatest in the Middle Ages and Renaissance, but various techniques of allegorical interpretation can be traced to the earliest commentary on Homer in the Archaic period.

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24 - Phoenician Games in Heliodorus’ Aethiopica (1998)

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Allegory and Allegorical Interpretation

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24 - Phoenician Games in Heliodorus’ Aethiopica (1998)

Summary

Allegory and Allegorical Interpretation

Summary