In April 1741 there appeared a slim volume entitled An Apology for the Life of Mrs Shamela Andrews by a certain Mr Conny Keyber, whose name is generally supposed to conceal that of the novelist Henry Fielding. Shamela, to give the book its more familiar title, was a parody of Samuel Richardson's epistolary novel Pamela: or Virtue Rewarded, which had been published to great acclaim the previous year. In a series of letters purportedly sent to each other by the main (...) characters, the story unfolds of the honest servant-girl Pamela, her efforts to avoid seduction by her master Mr B., and her eventual marriage to him. Fielding's chief target was the morality of the book , but in passing he drew cruel attention to some of the pitfalls of the epistolary form as a vehicle for narrative. One passage in particular deserves quotation, from Letter VI, which Shamela writes to her mother at twelve o'clock on Thursday night: Mrs Jervis and I are just in Bed, and the Door unlocked; if my Master should come – Odsbods! I hear him just coming in at the Door. You see I write in the present Tense, as Parson Williams says. Well, he is in Bed between us, we both shamming a Sleep, he steals his Hand into my Bosom, which I, as if in my Sleep, press close to me with mine…. (shrink)

In April 1741 there appeared a slim volume entitled An Apology for the Life of Mrs Shamela Andrews by a certain Mr Conny Keyber, whose name is generally supposed to conceal that of the novelist Henry Fielding. Shamela, to give the book its more familiar title, was a parody of Samuel Richardson's epistolary novel Pamela: or Virtue Rewarded, which had been published to great acclaim the previous year. In a series of letters purportedly sent to each other by the main (...) characters, the story unfolds of the honest servant-girl Pamela, her efforts to avoid seduction by her master Mr B., and her eventual marriage to him. Fielding's chief target was the morality of the book, but in passing he drew cruel attention to some of the pitfalls of the epistolary form as a vehicle for narrative. One passage in particular deserves quotation, from Letter VI, which Shamela writes to her mother at twelve o'clock on Thursday night: Mrs Jervis and I are just in Bed, and the Door unlocked; if my Master should come – Odsbods! I hear him just coming in at the Door. You see I write in the present Tense, as Parson Williams says. Well, he is in Bed between us, we both shamming a Sleep, he steals his Hand into my Bosom, which I, as if in my Sleep, press close to me with mine…. (shrink)

All editions and translations of Homer'sIliadpresent the epic as a series of twenty-four segments always marked off in the same places. In this respect theIliadconforms to, and seems even to originate, a practice in which narratives of any considerable length are almost always presented in marked segments, usually calledchapters.Similarly, dramas, except very short ones, usually run as a series ofactswhose dimensions are determined in the composition. Acts may be marked by curtains, intermissions or briefer pauses, or other variations in the (...) performance: in ancient Greek drama the segmentation is unmistakeably marked by the placement of choral lyrics. It is not exactly clear why the chapter and the act should be so indispensable, but authors and audiences alike know intuitively that they are. Yet many scholars since antiquity have believed that theIliadand theOdysseyoriginally lacked marked segmentation, and that the now-familiar presentation was imposed upon them later by someone other than their composer. Even today, when few scholars see profit in analyzing theIliadandOdysseyinto earlier and later strata, the so-called 'book divisions’ continue to offer a tempting target for analytic criticism. (shrink)

In Essay Six of his Commentary on Plato's Republic, the Platonist Proclus offers a defence of the poetry of Homer and attempts to harmonize the Homeric epics, as inspired texts, with the philosophy of Plato as he interprets it. The tendency of late antique Platonists to turn to allegorical reading is well known, but in this instance Proclus interprets Achilles by other means. In particular, he is careful to place Achilles’ actions relative to what he sees as the correct position (...) in the scale of virtues (at the level of the political virtues). In some further remarkable passages Proclus sees Achilles’ ritual activities as a kind of prefiguration of the theurgic practices embraced by the Platonic school of Proclus’ era. (shrink)