Title: From the mountain to the castle : natural spaces and golden objects in Kallimachos and Chrysorrhoe
Source document: Graeco-Latina Brunensia. 2020, vol. 25, iss. 1, pp. 71-87
Extent
71-87
-
ISSN1803-7402 (print)2336-4424 (online)
Persistent identifier (DOI): https://doi.org/10.5817/GLB2020-1-6
Stable URL (handle): https://hdl.handle.net/11222.digilib/142623
Type: Article
Language
License: CC BY-SA 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
In this paper, I analyze the journey of three brothers told in the late Byzantine romance Kallimachos and Chrysorrhoe as well as the way in which, along their journey, natural elements and golden objects function as thresholds between human society and the supernatural world.
Note
A preliminary version of this paper was presented at Leeds International Medieval Congress 2019. This article was written as part of my postdoctoral research on Byzantine romance, funded by the FCT – Fundação para a Ciência e a Tecnologia (SFRH/BPD/99542/2014).
References
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[2] Agapitos, P. A. (1999). Dreams and the Spatial Aesthetics of Narrative Presentation in Livistros and Rhodamne. Dumbarton Oaks Papers, 53, 111–147. | DOI 10.2307/1291797
[3] Agapitos, P. A. (2004). Genre, Structure, and Poetics in the Byzantine Vernacular Romances of Love. Symbolae Osloenses, 79, 7–101.
[4] Agapitos, P. A. (Ed.). (2006). Ἀφήγησις Λιβίστρου καὶ Pοδάμνης. Kριτική έκδοση τῆς διασκευῆς "ἄλφα". Ἀθήνα: Μορφωτικὸ Ἵδρυμα Ἐθνικῆς Τραπέζης.
[5] Arrignon, J.-P., & Duneau, J.-F. (1992). Le Roman Byzantin: Permanence et Changements. In M.-F. Baslez, Ph. Hoffmann, & M. Trédé (Eds.), Le Monde du Roman Grec (pp. 283–290). Paris: Presses de l'École Normale Supérieure.
[6] Barber, Ch. (1992). Reading the Garden in Byzantium: Nature and Sexuality. Byzantine and Modern Greek Studies, 16, 1–19. | DOI 10.1017/S0307013100007515
[7] Beaton, R. (1996a). The Medieval Greek Romance (2nd ed.). London – New York: Routledge.
[8] Beaton, R. (1996b). The Byzantine Revival of the Ancient Novel. In G. Schmeling (Ed.), The Novel in the Ancient World (pp. 713–733). Leiden: Brill.
[9] Betts, G. (Transl.). (1995). Three Medieval Greek Romances: Velthandros and Chrysandza, Kallimachos and Chrysorroi, Livistros and Rodamni. New York – London: Garland Publishing.
[10] Bozóky, E. (1974). Roman médiéval et conte populaire: le château désert. Ethnologie française, 4, 349–365.
[11] Buxton, R. (1996). Imaginary Greece: The Contexts of Mythology. Cambridge: Cambridge University Press.
[12] Castillo Ramírez, E. (2000). El Calímaco y Crisórroe a la luz del análisis del cuento de V. Propp. Erytheia, 21, 73–118.
[13] Chevalier, J., & Gheerbrant, A. (1990). Dictionnaire des Symboles: Mythes, Rêves, Coutumes, Gestes, Formes, Figures, Couleurs, Nombres. Paris: Éditions Robert Laffont – Éditions Jupiter.
[14] Conca, F. (1986). Il romanzo nell'età dei Paleologi: temi e strutture. In C. Roccardo (Ed.), Il Romanzo tra Cultura Latina e Cultura Bizantina (pp. 33–45). Palermo: Enchiridion Società Cooperativa Editorial.
[15] Cooper, H. (2008). The English Romance in Time. Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare. Oxford: Oxford University Press.
[16] Cupane, C. (1978). Il motivo del castello nella narrativa tardo-byzantina. Jahrbuch der Österreichischen Byzantinistik, 27, 229–267.
[17] Cupane, C. (1986). Topica romanesca in oriente e in occidente: "avanture" e "amour". In C. Roccardo (Ed.), Il Romanzo tra Cultura Latina e Cultura Bizantina (pp. 47–72). Palermo: Enchiridion Società Cooperativa Editorial.
[18] Cupane, C. (1994). Lo straniero, l'estraneo, la vita da straniero nella letteratura (tardo) bizantina di fizione. In L. Mayali (Ed.), Identité et Droit de l'Autre (pp. 103–126). Berkeley: University of California at Berkeley.
[19] Cupane, C. (Ed. & Transl.). (1995). Romanzi cavallereschi bizantini: Callimaco e Crisorroe, Beltandro e Crisanza, Storia di Achille, Florio e Plaziaflore, Storia di Apollonio di Tiro, Favola consolatoria sulla Cattiva e la Buona Sorte. Torino: Unione Tipografico-Editrice Torinese.
[20] Cupane, C. (2009). Itinerari magici: il viaggio del cavallo volante. In M. Cassarino (Ed.), Sulle orme di Sharazàd: Le "Mille e una notte" fra Oriente e Occidente. Atti VI Colloquio Internazionale, Ragusa, 12–14 ottobre 2006 (Medioevo Romanzo e Orientale; pp. 61–79). Soveria Mannelli: Rubbettino Editore.
[21] Cupane, C. (2010). Ἄκουσε τί μὲ ἐφάνη. Sogni e visione nella narrativa grega medievale. In G. Lalomia, & A. Pioletti (Eds.), Temi e motivi epico-cavallereschi fra Oriente e Occidente. Atti VII Colloquio Internazionale, Ragusa, 8–10 maggio 2008 (Medioevo Romanzo e Orientale; pp. 91–114). Soveria Mannelli: Rubbettino Editore.
[22] Cupane, C. (2014). Other Worlds, Other Voices: Form and Function of the Marvelous in Late Byzantine Fiction. In P. Roilos (Ed.), Medieval Greek Storytelling: Fictionality and Narrative in Byzantium (pp. 183–202). Wiesbaden: Harrassowitz Verlag.
[23] Cupane, C. (2015). Die Wirklichkeit der Fiktion. Palastbeschreibungen in der byzantinischen Literatur. In Ch. Schmid, G. Schichta, Th. Kühtreiber, & K. Holzner-Tobisch (Eds.), Raumstrukturen und Raumausstattung auf Burgen in Mittelalter und frühen Neuzeit (pp. 93–118). Heidelberg: Universitätsverlag Winter.
[24] Cupane, C. (2016a). In the Realm of Eros: The Late Byzantine Vernacular Romance – Original Texts. In C. Cupane, & B. Krönung (Eds.), Fictional Storytelling in the Medieval Eastern Mediterranean and Beyond (Brill's Companions to the Byzantine World, 1; pp. 95–126). Leiden – Boston: Brill.
[25] Cupane, C. (2016b). "Let me tell you a wonderful tale": Audience and Reception of the Vernacular Romances. In C. Cupane, & B. Krönung (Eds.), Fictional Storytelling in the Medieval Eastern Mediterranean and Beyond (Brill's Companions to the Byzantine World, 1; pp. 479–494). Leiden – Boston: Brill.
[26] Cupane, C. (2017). Wilde und gezähmte Natur. Beobachtungen zur Wahrnehmung von Natur und Landschaft in der byzantinischen Literatur. In H. Baron, & F. Daim (Eds.), A Most Pleasant Scene and an Inexhaustible Resource. Steps Towards a Byzantine Environmental History (pp. 101–109). Mainz: Verlag des Römisch-Germanischen Zentralmuseums.
[27] Cupane, C. (2019). Intercultural Encounters in the Late Byzantine Vernacular Romance. In A. J. Goldwyn, & I. Nilsson (Eds.), Reading the Late Byzantine Romance: A Handbook (pp. 40–68). Cambridge: Cambridge University Press.
[28] Diller, I. (1977). Märchenmotive in Kallimachos und Chrysorrhoe. Folia Neohellenica, 2, 25–40.
[29] Fonseca, R. C. (2017). The Hero, the Rival, and the Dragon: The Tripartite Structure of Kallimachos and Chrysorrhoe. Parekbolai, 7, 135–149.
[30] Fonseca, R. C. (2019). Shining castles and humans of metal/floral appearance – metaphorical language in the Palaiologan romances Kallimachos and Velthandros. Studia Philologica Valentina, 21, 83–100.
[31] Fonseca, R. C. (forthcoming). The Ring, the Gown, and the Apple: The Role of Magical Objects in the Byzantine Vernacular Romance Kallimachos and Chrysorroi. Byzantine and Modern Greek Studies, 44.2.
[32] García Gual, C. (Transl.). (1982). Calímaco y Crisórroe. Madrid: Editora Nacional.
[33] Garland, L. (1990). 'Be Amorous, But Be Chaste…': Sexual morality in Byzantine learned and vernacular romance. Byzantine and Modern Greek Studies, 14, 62–120. | DOI 10.1179/byz.1990.14.1.62
[34] Goldwyn, A. J. (2015). Towards a Byzantine Ecocriticism: Witches and Nature Control in the Medieval Greek Romance. Byzantine and Modern Greek Studies, 39, 66–84. | DOI 10.1179/0307013114Z.00000000053
[35] Goldwyn, A. J. (2018). Byzantine Ecocriticism: Woman, Nature, and Power in the Medieval Greek Romance. Cham, Switzerland: Palgrave Macmillan.
[36] Greenfield, R. P. H. (1995). A Contribution to the Study of Palaeologan Magic. In H. Maguire (Ed.), Byzantine Magic (pp. 117–153). Washington: Dumbarton Oaks Research Library and Collection.
[37] Henrich, G. S. (2012). Ein neu(artig)es Argument für den Prinzen Andrónikos als Autor von Kallímachos und Chrysorrhóē. Parekbolai, 2, 77–84.
[38] Hunger, H. (1968). Un roman byzantin et son atmosphère: Callimaque et Chrysorrhoè. Travaux et Mémoires, 3, 405–422.
[39] Knös, B. (1962). Qui est l'auteur du roman de Callimaque et de Chrysorrhoé? Hellenika, 17, 274–295.
[40] Lampaki, E. (2014). Narrative as Instruction and the Role of the Narrator in Kallimachos and Chryssorroi. In E. Camatsos, T. A. Kaplanis, & J. Pye (Eds.), "His Words Were Nourishment and His Counsel Food": A Festschrift for David W. Holton (pp. 47–63). Newcastle upon Tyne: Cambridge Scholars Publishing.
[41] Martini, S. C. E. (1896). A proposito d'una poesia inedita di Manuel File. Rendiconti del Reale Istituto Lombardo di Scienze e Lettere, 29 (ser. 2, fasc. 8), 460–471.
[42] Moennig, U. (2014). Literary Genres and Mixtures of Generic Features in Late Byzantine Fictional Writing. In P. Roilos (Ed.), Medieval Greek Storytelling: Fictionality and Narrative in Byzantium (pp. 163–182). Wiesbaden: Harrassowitz Verlag.
[43] Nervo, F. R. (2010). Il motivo del viaggio e il cronòtopo del romanzo cavalleresco bizantino. In G. Lalomia, & A. Pioletti (Eds.), Temi e motivi epico-cavallereschi fra Oriente e Occidente. Atti VII Colloquio Internazionale, Ragusa, 8–10 maggio 2008 (Medioevo Romanzo e Orientale; pp. 261–273). Soveria Mannelli: Rubbettino Editore.
[44] Nørgaard, L. (1989). Byzantine Romance – Some Remarks on the Coherence of Motives. Classica et Mediaevalia, 40, 271–294.
[45] Pichard, M. (Ed. & Transl.). (1956). Le Roman de Callimaque et de Chrysorrhoé. Paris: Société d'Édition "Les Belles-Lettres".
[46] Priki, E. (2019). Dreams and Female Initiation in Livistros and Rhodamne and Hypnerotomachia Poliphili. In A. J. Goldwyn, & I. Nilsson (Eds.), Reading the Late Byzantine Romance: A Handbook (pp. 69–100). Cambridge: Cambridge University Press.
[47] Stewart, K. (2019). Literary Landscapes in the Palaiologan Romances: An Ecocritical Approach. In A. J. Goldwyn, & I. Nilsson (Eds.), Reading the Late Byzantine Romance: A Handbook (pp. 272–298). Cambridge: Cambridge University Press.
[48] Turner, V. (1991). The Ritual Process: Structure and Anti-structure (7th print.). Ithaca – New York: Cornell University Press.
[49] Van Gennep, A. (1960). The Rites of Passage (Transl. M. B. Vizedom, & G. L. Caffee). London: University of Chicago Press.
[50] Van Steen, G. (1998). Destined to Be? Tyche in Chariton's Chaereas and Callirhoe and in the Byzantine Romance of Kallimachos and Chrysorrhoe. L'Antiquité Classique, 67, 203–211.
[2] Agapitos, P. A. (1999). Dreams and the Spatial Aesthetics of Narrative Presentation in Livistros and Rhodamne. Dumbarton Oaks Papers, 53, 111–147. | DOI 10.2307/1291797
[3] Agapitos, P. A. (2004). Genre, Structure, and Poetics in the Byzantine Vernacular Romances of Love. Symbolae Osloenses, 79, 7–101.
[4] Agapitos, P. A. (Ed.). (2006). Ἀφήγησις Λιβίστρου καὶ Pοδάμνης. Kριτική έκδοση τῆς διασκευῆς "ἄλφα". Ἀθήνα: Μορφωτικὸ Ἵδρυμα Ἐθνικῆς Τραπέζης.
[5] Arrignon, J.-P., & Duneau, J.-F. (1992). Le Roman Byzantin: Permanence et Changements. In M.-F. Baslez, Ph. Hoffmann, & M. Trédé (Eds.), Le Monde du Roman Grec (pp. 283–290). Paris: Presses de l'École Normale Supérieure.
[6] Barber, Ch. (1992). Reading the Garden in Byzantium: Nature and Sexuality. Byzantine and Modern Greek Studies, 16, 1–19. | DOI 10.1017/S0307013100007515
[7] Beaton, R. (1996a). The Medieval Greek Romance (2nd ed.). London – New York: Routledge.
[8] Beaton, R. (1996b). The Byzantine Revival of the Ancient Novel. In G. Schmeling (Ed.), The Novel in the Ancient World (pp. 713–733). Leiden: Brill.
[9] Betts, G. (Transl.). (1995). Three Medieval Greek Romances: Velthandros and Chrysandza, Kallimachos and Chrysorroi, Livistros and Rodamni. New York – London: Garland Publishing.
[10] Bozóky, E. (1974). Roman médiéval et conte populaire: le château désert. Ethnologie française, 4, 349–365.
[11] Buxton, R. (1996). Imaginary Greece: The Contexts of Mythology. Cambridge: Cambridge University Press.
[12] Castillo Ramírez, E. (2000). El Calímaco y Crisórroe a la luz del análisis del cuento de V. Propp. Erytheia, 21, 73–118.
[13] Chevalier, J., & Gheerbrant, A. (1990). Dictionnaire des Symboles: Mythes, Rêves, Coutumes, Gestes, Formes, Figures, Couleurs, Nombres. Paris: Éditions Robert Laffont – Éditions Jupiter.
[14] Conca, F. (1986). Il romanzo nell'età dei Paleologi: temi e strutture. In C. Roccardo (Ed.), Il Romanzo tra Cultura Latina e Cultura Bizantina (pp. 33–45). Palermo: Enchiridion Società Cooperativa Editorial.
[15] Cooper, H. (2008). The English Romance in Time. Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare. Oxford: Oxford University Press.
[16] Cupane, C. (1978). Il motivo del castello nella narrativa tardo-byzantina. Jahrbuch der Österreichischen Byzantinistik, 27, 229–267.
[17] Cupane, C. (1986). Topica romanesca in oriente e in occidente: "avanture" e "amour". In C. Roccardo (Ed.), Il Romanzo tra Cultura Latina e Cultura Bizantina (pp. 47–72). Palermo: Enchiridion Società Cooperativa Editorial.
[18] Cupane, C. (1994). Lo straniero, l'estraneo, la vita da straniero nella letteratura (tardo) bizantina di fizione. In L. Mayali (Ed.), Identité et Droit de l'Autre (pp. 103–126). Berkeley: University of California at Berkeley.
[19] Cupane, C. (Ed. & Transl.). (1995). Romanzi cavallereschi bizantini: Callimaco e Crisorroe, Beltandro e Crisanza, Storia di Achille, Florio e Plaziaflore, Storia di Apollonio di Tiro, Favola consolatoria sulla Cattiva e la Buona Sorte. Torino: Unione Tipografico-Editrice Torinese.
[20] Cupane, C. (2009). Itinerari magici: il viaggio del cavallo volante. In M. Cassarino (Ed.), Sulle orme di Sharazàd: Le "Mille e una notte" fra Oriente e Occidente. Atti VI Colloquio Internazionale, Ragusa, 12–14 ottobre 2006 (Medioevo Romanzo e Orientale; pp. 61–79). Soveria Mannelli: Rubbettino Editore.
[21] Cupane, C. (2010). Ἄκουσε τί μὲ ἐφάνη. Sogni e visione nella narrativa grega medievale. In G. Lalomia, & A. Pioletti (Eds.), Temi e motivi epico-cavallereschi fra Oriente e Occidente. Atti VII Colloquio Internazionale, Ragusa, 8–10 maggio 2008 (Medioevo Romanzo e Orientale; pp. 91–114). Soveria Mannelli: Rubbettino Editore.
[22] Cupane, C. (2014). Other Worlds, Other Voices: Form and Function of the Marvelous in Late Byzantine Fiction. In P. Roilos (Ed.), Medieval Greek Storytelling: Fictionality and Narrative in Byzantium (pp. 183–202). Wiesbaden: Harrassowitz Verlag.
[23] Cupane, C. (2015). Die Wirklichkeit der Fiktion. Palastbeschreibungen in der byzantinischen Literatur. In Ch. Schmid, G. Schichta, Th. Kühtreiber, & K. Holzner-Tobisch (Eds.), Raumstrukturen und Raumausstattung auf Burgen in Mittelalter und frühen Neuzeit (pp. 93–118). Heidelberg: Universitätsverlag Winter.
[24] Cupane, C. (2016a). In the Realm of Eros: The Late Byzantine Vernacular Romance – Original Texts. In C. Cupane, & B. Krönung (Eds.), Fictional Storytelling in the Medieval Eastern Mediterranean and Beyond (Brill's Companions to the Byzantine World, 1; pp. 95–126). Leiden – Boston: Brill.
[25] Cupane, C. (2016b). "Let me tell you a wonderful tale": Audience and Reception of the Vernacular Romances. In C. Cupane, & B. Krönung (Eds.), Fictional Storytelling in the Medieval Eastern Mediterranean and Beyond (Brill's Companions to the Byzantine World, 1; pp. 479–494). Leiden – Boston: Brill.
[26] Cupane, C. (2017). Wilde und gezähmte Natur. Beobachtungen zur Wahrnehmung von Natur und Landschaft in der byzantinischen Literatur. In H. Baron, & F. Daim (Eds.), A Most Pleasant Scene and an Inexhaustible Resource. Steps Towards a Byzantine Environmental History (pp. 101–109). Mainz: Verlag des Römisch-Germanischen Zentralmuseums.
[27] Cupane, C. (2019). Intercultural Encounters in the Late Byzantine Vernacular Romance. In A. J. Goldwyn, & I. Nilsson (Eds.), Reading the Late Byzantine Romance: A Handbook (pp. 40–68). Cambridge: Cambridge University Press.
[28] Diller, I. (1977). Märchenmotive in Kallimachos und Chrysorrhoe. Folia Neohellenica, 2, 25–40.
[29] Fonseca, R. C. (2017). The Hero, the Rival, and the Dragon: The Tripartite Structure of Kallimachos and Chrysorrhoe. Parekbolai, 7, 135–149.
[30] Fonseca, R. C. (2019). Shining castles and humans of metal/floral appearance – metaphorical language in the Palaiologan romances Kallimachos and Velthandros. Studia Philologica Valentina, 21, 83–100.
[31] Fonseca, R. C. (forthcoming). The Ring, the Gown, and the Apple: The Role of Magical Objects in the Byzantine Vernacular Romance Kallimachos and Chrysorroi. Byzantine and Modern Greek Studies, 44.2.
[32] García Gual, C. (Transl.). (1982). Calímaco y Crisórroe. Madrid: Editora Nacional.
[33] Garland, L. (1990). 'Be Amorous, But Be Chaste…': Sexual morality in Byzantine learned and vernacular romance. Byzantine and Modern Greek Studies, 14, 62–120. | DOI 10.1179/byz.1990.14.1.62
[34] Goldwyn, A. J. (2015). Towards a Byzantine Ecocriticism: Witches and Nature Control in the Medieval Greek Romance. Byzantine and Modern Greek Studies, 39, 66–84. | DOI 10.1179/0307013114Z.00000000053
[35] Goldwyn, A. J. (2018). Byzantine Ecocriticism: Woman, Nature, and Power in the Medieval Greek Romance. Cham, Switzerland: Palgrave Macmillan.
[36] Greenfield, R. P. H. (1995). A Contribution to the Study of Palaeologan Magic. In H. Maguire (Ed.), Byzantine Magic (pp. 117–153). Washington: Dumbarton Oaks Research Library and Collection.
[37] Henrich, G. S. (2012). Ein neu(artig)es Argument für den Prinzen Andrónikos als Autor von Kallímachos und Chrysorrhóē. Parekbolai, 2, 77–84.
[38] Hunger, H. (1968). Un roman byzantin et son atmosphère: Callimaque et Chrysorrhoè. Travaux et Mémoires, 3, 405–422.
[39] Knös, B. (1962). Qui est l'auteur du roman de Callimaque et de Chrysorrhoé? Hellenika, 17, 274–295.
[40] Lampaki, E. (2014). Narrative as Instruction and the Role of the Narrator in Kallimachos and Chryssorroi. In E. Camatsos, T. A. Kaplanis, & J. Pye (Eds.), "His Words Were Nourishment and His Counsel Food": A Festschrift for David W. Holton (pp. 47–63). Newcastle upon Tyne: Cambridge Scholars Publishing.
[41] Martini, S. C. E. (1896). A proposito d'una poesia inedita di Manuel File. Rendiconti del Reale Istituto Lombardo di Scienze e Lettere, 29 (ser. 2, fasc. 8), 460–471.
[42] Moennig, U. (2014). Literary Genres and Mixtures of Generic Features in Late Byzantine Fictional Writing. In P. Roilos (Ed.), Medieval Greek Storytelling: Fictionality and Narrative in Byzantium (pp. 163–182). Wiesbaden: Harrassowitz Verlag.
[43] Nervo, F. R. (2010). Il motivo del viaggio e il cronòtopo del romanzo cavalleresco bizantino. In G. Lalomia, & A. Pioletti (Eds.), Temi e motivi epico-cavallereschi fra Oriente e Occidente. Atti VII Colloquio Internazionale, Ragusa, 8–10 maggio 2008 (Medioevo Romanzo e Orientale; pp. 261–273). Soveria Mannelli: Rubbettino Editore.
[44] Nørgaard, L. (1989). Byzantine Romance – Some Remarks on the Coherence of Motives. Classica et Mediaevalia, 40, 271–294.
[45] Pichard, M. (Ed. & Transl.). (1956). Le Roman de Callimaque et de Chrysorrhoé. Paris: Société d'Édition "Les Belles-Lettres".
[46] Priki, E. (2019). Dreams and Female Initiation in Livistros and Rhodamne and Hypnerotomachia Poliphili. In A. J. Goldwyn, & I. Nilsson (Eds.), Reading the Late Byzantine Romance: A Handbook (pp. 69–100). Cambridge: Cambridge University Press.
[47] Stewart, K. (2019). Literary Landscapes in the Palaiologan Romances: An Ecocritical Approach. In A. J. Goldwyn, & I. Nilsson (Eds.), Reading the Late Byzantine Romance: A Handbook (pp. 272–298). Cambridge: Cambridge University Press.
[48] Turner, V. (1991). The Ritual Process: Structure and Anti-structure (7th print.). Ithaca – New York: Cornell University Press.
[49] Van Gennep, A. (1960). The Rites of Passage (Transl. M. B. Vizedom, & G. L. Caffee). London: University of Chicago Press.
[50] Van Steen, G. (1998). Destined to Be? Tyche in Chariton's Chaereas and Callirhoe and in the Byzantine Romance of Kallimachos and Chrysorrhoe. L'Antiquité Classique, 67, 203–211.