Auctor and Actor. A Narratological Reading of Apuleius's the Golden Ass

Auctor & Actor

- - -

_ _ _ AUCTOR

&ACTOR A Narratological Reading of Apuleius's Golden Ass by John J. Winkler

UNIVERSITY OF CALIFORNIA PRESS Berkeley · Los Angdcs · London

University of California Press lkrkdcy and Los Angeles. California University of California Press, Ltd. London, England

© 1985 by The Regents of the University of California Printed in the United States of America 1 2 3 4 5 6 7 8 9

Ljbrary ofCongreu Cataloging in Publlcation Data

Winkler. John J. Author and actor. Bibliography: p. Includes index. 1. Apulcius. Metamorphoses. 2. Apuleius-T~hnique. 3. Narration (Rhetoric) 4. First person narrative. 5. Isis (Egyptian deity) in literature. 6. Detective and mystery stories-History and criticism. I. Title. PA6217. W5 1985 873' .01 84-00182 ISBN 0..520-05240-4

Fnmlispitu: Lef[, figure of Egyptian priest, Hellenistic bronze, counesy of The Walters An Gallery, Baltimore; right. bald comic tc:rracoua. Myr 324, photographed by Chuzcvillc, courtesy of tbc Louvre, Paris.

Contents

Pre faa•

VII

List ofAbbrcviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . xm 1.

The Question of Reading . . . . . . . . . . . . . . . . . . . . The Question of Genre . . . . . . . . . . . . . . . . . . . Mithras's Interpretation of Tlte Golden A H Ht•rnu-ncutk Entcrtajo nwnt

Historical Context Overview

1 2

8 11 14 19

Pan One: Til UTH 2. The Interpretation ofTa1es

3.

Introduction

?5

Aristomcncs' TaJc ofSocratcs (1.2-20) . . . . . . Lucius's Account of Lucius (1.26) . . . . . . . . . . . Milo's TaJc ofDiophancs (2.11-15) . . . . . . . . . . The Ass Reporter . . . . . . . . . . . . . . . . . . . . . . . .

27 37 39 44

Two Womcnts Stories

50

The Scrupulous Reader.. . . . . . . . . . . . . . . . . . . . . 57 Detection Sc•nsationl

60 93

4,

The Contract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

5.

Playing Fair ............................. 100 Malice Aforethought ..................... 104 ImpJication ............................. 110 The Marketplace of Desire ................ 119 Interlude: Socrates in Mot1ev ................. 123 v

VI

CONTENTS

Part Two: CONSEQUENCES 6. The Duplicities of Auctor IActor ...•.•......... 135 The Narrator (Auctor) as Character (Actor) and the Character of the Narrator . . . . . . . . . . . 135 Suppression of the Auctor-Narrator ......... 140 From Auctor-Narrator to Auctor-Novelist. and Back Again ....................... 153 7. The Prologue as Conundrum ................. 180 The Origin of the Book ................... 183 Egyptian Sharpness ...................... 186 Mutual Nexus . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 The Rude Speaker's Identity ............... 194 A Model for the Speaker's Identity .......... 200 8. The Text Questions, the Reader Answers ....... 204 Three Difficulties

204

The lsiac Interpretation ofLucius·s Life ...... 209 Surprises at Rome: Money and More Initiations ............. 215 The Final I mage ......................... 223 How Else Could This Book Be Read? , , . , . , . 227 Part Three: CONJECTURES 9. Parody Lost and Regained .........•......... 251 Three Tales ofthc Ass . . . • . . . . . . • . 252 The Restless Quest for Wisdom ............ 257 Apulcius's Adaptation of the Parody ......... 273 10. Isis and Aesop ............................. 276 Why Isis? ............................... 276 The Lift of Aesop ........•................ 279 The Grotesque Perspective ................ 286 11. The Gilding of the Ass ...................... 292 The External Case for Asinm Auwus .. , , , .. , 293 The Meaning of the Title .................. 298 Select Bibliography .............................. 323 Index LocoruJn . . . . . . . . . . . . . . . . . . ...... 327 Index

Preface

This book is written for three quite different audiences-those whose inrerests are, respectively) in modem literature, in GrecoRoman culture, and in religious history. To set the scene for the performance of this book. you must imagine yourself in an audience composed of people with diverse interests and backgrounds, hoping to ]cant something not only new but multidisciplinary.

My first aim is that readers whose focus of interest is modern fiction and its theory will find that self-consciousness in narrative (a mode that often seems distinctively modern), so far from beginning with Cervantes, is an ancient achievement. The Esc her-like interplay of fiction and reality. the joking awareness ofwhat a subtle and foolish game it is for any "I" to write anything-these arc the specialties of The Golden Ass. Borges and Nabokov have nothing on Apuleius. CJassicists. it is my second and fonder hope, will find that narratology, though the word and the theories it names are recent, is a good language for giving voice to the interpretive problems of Apuleius's novel. The method is untraditional, but then The Golden Ass is and always was a d&lasse dassic. The risk of anachronism seems to me worth taking for the reward of bridge building between ancient and modern literature, not to mention of solving an as yet unsolved literary puzz1e. As I invite modernists to inspect a novel that ought to interest them, so I invite classicists to sample a method that has much to offer them. For the traditionalist in us alii would recall Frank Kcr-

modc's words: "what we arc leaming about narrative may be, in a sense, new, but narrative was always potentially what we have now learned to think it, in so far as our thinking is right." 1 1.

Not'P.·I and NanuliJ't', W. P. Kcr Mcntoria] Lecture 24 (GJa..,gow, 1971): 6. vn

Vlll

PREFACE

Third, religious historians, particularly those focusing on early christianity and related cults, know that no text is more frequently cited in discussions of Greco-Roman piety than the concluding book of this nove!. Lucius's unexpected devotion to the goddess who saved him from 3sininity, his prayer and fasting. his apostolic self-publicity and self-rejection give us one of the first (it seems) first-person accounts of an experience that from then on would have a central place in the conflict of Western religious and political idcoiogics-convcrsion. The jack-in-the-box appearance of that born-again narrator is what first irked me to look very closely at the narratology of ApuJcius'scxceedingly clever performance. The reinterpretations reached here should significantly alter our understanding of what it could mean to have a new religious commitment in the second century C. E.; they thus ought to be of interest to Western social historians generally, who arc sometimes misled by periodizations (especially of the exciting Foucauldian variety) to dismiss the beforc-X as radically irrelevant to X. From each of these audiences I anticipate a different skepticism, a different initial reluctance. From modem literati I cxpc:ct modernism-the belief or premise that medieval and ancient cultures are beyond the horizon of our conremporary perspective: one can get there, but only by abandoning all the familiar social and historical realities that have shaped Europe and America since the Renaissance. There is some truth to that. I hope this book will build a bridge. From classicists I expect an initial disdain of current fads and a feeling of disorientation at the untraditional arrangement of materials. Classical philology is a venerable discipline ofgreat comprehensiveness and stability, and its best practitioners arc rightly suspicious of the ephemeral. But important new 3pproaches to literature have flourished in recent decades: they can complement and build on the achievements of traditional philology. Certainly this book has relied on the labors of several generations of classicists and would not have been possible without them. Again I hope to build a bridge. From religious historians I expect a reluctance to deal seriously with the whole of The Golden Assratherthanjust its magnificent lsiac conclusion. The lusty ta]es at the beginning obviously have so 1itt1c to do with the Great Lady at the- end that their suspicions. I admit, are not without founda-

PREFACE

IX

tion. But if you approach the subject with an open mind and a little curiosity I promise that you will see a marvelous bridge being built. l would hazard a guess that the general reader, whom l have in mind as much as the specialists, is likely to care more about the claim that there was a "modem" ancient novel or about the issues involved in rdigious individualism than about Latin liter:ature as such. Sinct' (it goes without saying) Latin literature is terra incog~Jita, how should we conduct our trek over this strange terrain? The problem concerns more than just the general n:ader. Since the argument of this book draws on three kinds of expertise. even the three kinds of expert will probably find themselves sooner or later in alien lcrritory. My challenge as a writer has been to speak. as it were:. not only everyday English but also the special vocabularies ofl3arthes, Pauly-Wissowa, and Nock to an audience of persons who may not know those languages or who may know one very well and the others not at all. l think at this point of a display speech that Apulcius once delivered to a sophisticated and critical crowd iu two different languages: ••1 ha\·e not forgotten my original promise to the opposing factions of this audience-that neither the Greek-speakers nor the Latin-speakers among you would leave at the end with less than full measure of my mcssagc." 2 My aim here has been to conduct the analysis at a level that will satisfy not only the sman general reader but also those knowledgeable in each discipline without contusing or alienating the rest. In practice this means that I try, wherever possiblt:', to usc narratologkal techniques for their implicit intelligibility and to avoid Members Only discussions of shop. particularly in pans One and Two. The footnotes cite some key theoretical discussions behind the techniques I employ, but I have Jimited references to secondary literature to what 1 hope is a helpful minimum rather than given an t.•xhausrivt.• maximum (a point on which Quintilian is wise). 3 The cultural specificity of Part Three demands a good deal of documentation but even here the text is meant to be re-ad2. 114m t1 i11 prin(ipio ,,_,his diu,·rs.1 tendemibus iM lllt'miru pvllicm, 111 tll'fllra pcHS UI"S· tnmt, nee qui Gram• lite qui l.aliN•' prldbdti~ JiaaC<~fi~ lmius t'XIIC'Ift'~ tlbirrti~. (Dr· plriiMLIJllri.a libr~ cd. [~ Thomas I Leipzig. 19081: 5 = Op11swlrs plrilosophiqu~s tt fra~mrnts, cd. J. lkaujeu l?..lris, 1973]: 168.) J. •·To search out what c,·crybod.y, duwu to the most wnrcmptiblc of men. hJs said on a subject i!O l'itht"n·xcruri:uingly painful or d1e \\.'ork ofempty vanity: ir sruit~ns

x

PREFACE

able by specialist and non-specialist alike. I have translated most of the Greek and Latin, and in most cases the original text is printed in the

footnotes for ease of reference. As regards competing systems of narratology, what is extraordinary for me about The Colden Ass is not what it contributes to a general theory of narrative but the fact that it is, simply on the face of it, such a modem-seeming narrative about narratives. This wants exploration in the contemporary narratological style but not necessarily according to the rules of a single system. The bricks in my building have been scavenged from several sites: I only took what I could use for this project. Some of the best examples of narratology arc focused on single te-xts (Barthes's S IZ, Genette's Figures III) rather than on the universal theory of narrative as such; this is the format I admire and find most congenial. I also regard critical totalitarianism as a real danger. In guarding against that, especiaUy at the beginning in Part One, I knowingly take the risk of seeming eclectic to the point of being scatterbrained. In favor of Part One's playful non-commitment, I'd argue that it would be a shame to write a tedious book about a comic novel; other reasons wi11 e-merge in due course. The following eleven chapters contain much that is facetious. They are meant to be thoughtful, variegated, and fun to read, an appropriate combination for Apuleius, whose attitude 1 would ultimately describe as one of salutary insouciance.

In a11 seriousness, however, I owe thanks to several friends and readers who have helped this book along: to james Tatum, john Henderson, Stanley Fish. Peter Brown, Froma Zeitlin, Herbert Lindenberger, Susan Stephenst Jeffrey Henderson. William Levitan. Ludwig Koenen, T. G. Rosen meyer, john Heath. Michael Wigodsky, and a Press referee for reading the whole; to Car] Schlam, David Jordan. David Braaten, Mark Singer, Robert Schwartz, Cathy Winkler, M. C. Winkler, Anne Winkler. Christopher jones, R. Th. van dcr :md destroys; one·s mental energies, which :are bener spenr elsewhere. The person who scrutinizes everything that is written. c\lcn those: pages that don't dcsen-c to ~ read, might as well tum his ancntion to old wi\·cs' tales' (perstqui quidem quid 411is amaquam11tl tonrtltlplissimorum l1orninum dixtrit, am nimillt misl:'riat aut ittar1is iactanti~u· tsl tt drtintt atqw: obmit it~grtJi4 mdiru "liir llacawm. nam qui omnc:s t:ti4'lm inJixnas lrctionc: scidas c:xmrit, anilib11s q•wqut'fabulis at:commiJdart Opt'rdm porrst, [,lSI. 1.8.18-19~

PREFACE

XI

Paardt, Bob Da\vkins, Arthur Hansc..·n, Gerald Sandy. Mkhacljamcson. Richard Pierce, Mark Edwards, Ronald Mellor, and Sabine McCormack for reading parts; to the nu~mbers of an Apuldus seminar at Ohio State University and another at Stanford and to audiences at Stanford and at the Philological Association of the t•acitlc Coast for listening to parts. Erica Zweig heroicially typed and retyped andretyped chapters 1 to 4. Comments from all these co\vorkcrs were grateful1y received and incorporated. The Classics Department ar the University of Southern California, administering a Mellon felJowship in 1978, and the Stanford Humanities Center in 1982 provided the stimulating leisure needed to work on this book. I hope Nietzsche is right that we rdiw cvc:ry cxpt.·ricncc ad it!/itlitum, for all of these were good ones.

List of Abbreviations

AA EPRO FVS

1-/TR

)RS

RE TAPA

ZAS

Asinus A1m•us (Tiu· Goldm Ass) Etudes preliminaires des religions oricmalcs dans I'L·mpirc rom am Dit• Fragmmtt' dt·r Hmokratikt·r, cd. H. Dids and W. Kranz, 6th ed. (Berlin, 1951-52) 1-/an'tlrd Tlu~c,Jogicl11 Rer,iew }t.mmal of Rotllatl Studies Rt·ai-Encydopi:idie der klassiscllcn AltcrtumswissetJSclu~ft, L"d. A. Pauly, G. Wissowa, and W. Kroll (Swugarr, 1894-) Transactions oftire Amt>ricau PIJUological As$ociatiou Zl'itschrifl fiir ii,R)'ptische Spmclle

The text of Apuleius is cited from Rudolph Helm. cd., Apt41du.~ Metamorplloseou Libri XI (Leipzig. 1931) by hook and chapter thus: 1.1 means Book One, chapter 1. The abbreviations for names of classical authors and their works generally follow those of the Oxford Classical Dictitmary.

XJ11

1

The Question of Reading Oh, whar a tangled web we weave believe When first we practice lO ~

When Lucius as an ass hears the bellaJabdla narrated at great length (4.28-6.24) by the robbers· cook, he laments at its conclusion that he did not have handbook and stylus to set it down for posterity (6.25). When Lucius as an ex-ass is admitted to the worship oflsis. he is shown the sacred writings kept in the innermost shrine. but he sees they arc hieroglyphs intcrtwin~d in a caUigraphy so compJicated and circular that they arc illegible, at least to the profane (11.22). The hero of this nove] has problems with writing and reading, and perhaps we can regard these as apt tokens for the problem that mos[ readers have with the text of Tlte Goldeu Ass (Asitms Aurrus, abbreviated AA) itsci£ The novel is clearly a difficult one to read. The testimony of ancient and modern readers alike is severely discordant about what they take the basic meaning and structure of the book to be. For instance. in a climate ofbclicf more favorab]e to magic and demonology than ours, Augustine wavered between describing the AA as an autobiography or a novel. that is. as truth or fiction. 1 The work was in I . .. Yt:"t their minds did m1 t he c.: om c those of he a sts but n:nui ned rat ion.1l ;md human, just .as Apulcius said hap~ ned lO him!iclf. \'iz .. that when he took the dru~ he bec... mc :an ass but hi!> soul remained human, in the book ht• entitled GclldtPJ :t~s­ w hct her he told what rca lly ha ppcncd or just made 1t up" (nrc 1am~ 11 i11 ri5 Pnt·nl~m .tirri bestio1lmr, ud nllicrnalrm humanamqu'' Sf'm11i, simi :4.J'IIlt"ius i111ibrij quo.~ .1sini Aurf'i tit11lo in$crip.sil sibi ip~i llUidiJ~c·, ur.l(ffJ''" l'rllCIIO lrum~o~no .mimo prrmallt'lllr asimu}ittt•t, 42111 indiCill'il .mt_tinxil) (dr ci1•. drllR 18).

1

2

AUCTOR & ACTOR

ancient times both aJlegorized as an exalted treatise on the soul's true progress2 and scomed as old wives, tales. 3 Th~ sam~ variety of interpretations can be found in modern timcs. 4

THE QUESTION OF GENRE The problem has usually been posed as a qut.>stion of genrewhat kind ofbook is Apuleius's Goldm Ass? Considering the question of genre, discussions of the AA reach answers such as novd, comic romance, folk-talc collection, aretalogy, philosophical or religious alJcgory. fictionalized autobiography, sophistic showpiece, or various combinations of the above. It is imponant that we keep in our sights from the very start the formulation of our question. For some questions arc unanswerable on their own terms-When did you stop beating your donkcy?-and others are set up to elicit multiple answers, such as the famous riddle oft he seven blind sages investigating an elephant. In such cases we must not answer the question but qut'stion it and expose the premises of the asking. This is our situation with the.: AA, for we..- have to deal not only with the problems of what

it means and what kind of book it is but with the problem that the question of its genre has received so many confident and contradictory answers. As an aid to the memory of rhosc who have not recently read Tl1e Goldetl Ass, the following summary ofits main episodes is offered. (It 2. At l!!'ast in part-fulgcntius's interprerauon 1pplit.'S only to the Psycl'lc and Cupid ~lory. which he considers as a separable part of the cntin: AA: t\p1,fcoiu5 ill libriJ mt·famor:fvsct.l'n ha,cfabula"' pl.missimc duigth•uir (Myth. 3.6). Fulgcntius is of course familiu with the compk-tc text oftht: AA, echoing its phraseology to heighten his own style: e.g .. ~Oit rirn warum .111rium srdes It pido quolibtt sus11m:t pt: nt1ulcearn ( Mytl1. 1. pre f. J)

= aun~qut' '''"~ bf,.;.,(llalltpid(l summ1 P'rmuluar11 (AA I . I~

The :separation ofl'sychc and Cupid from the rc~t of the tc"l had evidently been the method also of Aris.tophontcs of Athens. who wrote voluminously (immni l't"rhon•m cirmilll, Fulgcntius .Uyll•. 3.6) on it in a work called Dy!att'$tia (.. Pml•i•~l! Critidm1 by a HarJ-ro-fJie.ut Cn.tic"?) at some unkno\...n d::~tc before Fulgcntius. 3. Hisuwi.l :\u"c•uta, CIC'dius :tlbit~ll$ 12.12. 4. C. C. Schlam. "The Sc:hobrship on Apulcius since 193~... C/a.s$i(al n'l,rld 64 (1970-71 ): 2R.:;-309. For carli.:r litcr:nure, M. Molt, "Ad Apulci MCOil librum pritnum conunemarius cxegcticus." (di:!..
THE QUESTION OF READING

3

is cast, like the A At in the first person; summaries of the plot that shift the narrative to the third person quite alter the effect.) I once traveled to Thcssa]y on business and stayed in the city ofHypata at the house of Milo. a very wealthy but miserly man to whom I had a letter ofintroduction from one of my friends in Corinth. When I was sen led in I began searching the dry for the real object of my journey, one of the famous witches of Thcssaly. J wandered the streets fruidcssly until in the Marketplace ofDcsirc a wealthy woman saw me and greeted me as a kinsman; she was my aunr Byrrhcna \vhom I had not sc.-cn in years. When I told her I was staying with Milo, she wamcd me that his wife was a notorious witch who might well lust after a handsome young man like mysclt: ln spite oft he danger I rushed home and there began to win the confidence of the serving maid, Photis. We became lovers and spent many passionate nights together. I was the victim at one point of an April Fools' joke perpetrat~d by the entire city to celebrate their Feast of laughter, but though the triple-murder trial they stagl·d was intensely humiliating to me, it led to Photis's revelation that she was privy to her mistress's secrets of magic. She agreed to help me attain my desire and one night woke me to come watch her mistress transform hcrsdfinto an owl to fly away to her lover. I wasn't satisfied with merely seeing it but had to experience it myself: with Photis's help I undr~ssed and applied the magic ointment to my body. But as l stood there flapping my arms and waiting for feathers to sprout, I gradually became not a bird but an ass. Phmis was horrified at

her mistake and assured me that when dawn came she would go out of the house to iind roses, which were the antidote. The rest of that night I would have to spend in the stable. However. late that same night a band of robbers broke into Milo's house, took all his gold, and loaded part of it on my back and drove me away with them. lfl had nibbled at a rose while in their possession, they would have killed me for a magician. So 1 c.•ndured my indignity through m:any trials. Fina11y. the fiance of a kidnaped maidc.•n int11tratcd the robber band and brought about their destruction and my liberation along with hers. But the rose season was past by then, aml I continued to endure numerous humiliations at the hands of various masters-a cruel boy who gathered wood, a band of Syrian priests, a baker, a truck farmer, a Roman soldier. two cooks, and their master. who was returning to Corinth. This last discovered that I

4

AUCTOR & ACTOR

was (for an ass) a quick study and could be taught tricks. He also learned that one of the fine ladies of Corinth had bribed my keeper to let her have sex with me. So he arranged to put me on djsplay in the public theater at Corinth. where I was to have sex with a woman condemned to die. Just before this was to happen I broke my halter and ran away toward the seacoast. That night under the full moon I fell asleep by the water and saw Isis in my dreams. She promised that I would see a procession of her worshipers. with shaven heads and linen clothes and carrying noisemakers, coming down to the ocean the next day to celebrate the launching of the first ship of springtime and that the priest would be carrying a garland of roses. which I was to approach and cat. So it happened. The priest had also seen Isis in his dreams. and when I regained my human shape he congratulated me for being saved by the goddess from the persecution ofblind Fortuna, due to my own lubricious pursuits. and invited me to join them in worship. I went with the other devotees back to the temple and stayed there in a rented room; I paid daily devotion to the goddess and eventually, at her express invitation. underwent the ritual of initiation into the special secrets of her religion-which I am not 2l1owed to divulge to you. curious reader. Ever more enthusiastic in my spiritual intimacy with her, I traveled to Rome. There I learned. somewhat to my surprise, that I needed another initiation. The anxiety caused by my poverty and by the expense of my second initiation was, however. assuaged by the spiritual blessing of being close to her every day in her temple on the Campus Manius and also thereafter by my material success as a practicing advocate, thanks to her. Praised be Isis! I could hardly believe it when a third initiation was required, this time to the secrets of Osiris 1 but the god himself assured me that this was a great privilege and that I would be singled out for speci:al honor as one of his five-year deacons. So 1 was happy to be seen by one and all as I was walking the streets ofRomc with my shaven head gleaming.

The methodological difficulty of interpreting the AA may be brought out by comparing five major critical readings of it that arc now current. What interests me is not the distinguishing particulars of each approach but the structure of metl1od common to them all. A brief statement of each reading runs as follows:

THE QUESTION OF READlNG

5

(i) We: can match certain incidents and concerns of Apuleius·s hfe

with portions of the AA, so the work is in some sense an autobiography, an apologia, perhaps a meditation on some important themes of his own life. 5 (ii) The final book documents a spiritual conversion as well as a physical metamorphosis., so the work as a whole is unified by its directedness toward Isis. This can be discerned in the most secular parts of the A.4, which are a preparatit> evanRflica Isiaca. It is a religious book.6 (iii) Apuleius was known as Platonicus, a name based on his pamphlets expounding a Platonic philosophy, on his (lost) translations of Plato's works into Latin, 7 and on his self-presentation as a philosopher in his Apolo.~ia. There are many themes and names and situations in the AA that can plausibly be read as references ro Platonic dialogues and devdopments of Academic principles. The AA is a philosophic novel. B Reading (iii) is distinguished from its near neighbor (ii) by its emphasis on the universal forms of experience and on cpistcmo]ogy rather than on the particular myth oflsis-Osiris: that is, the religious approach is concerned with the many-named Isis in various manifestations of female power and allure fleetingly discerned by a male viewer; the phiJosophic approach is concerned with the structure of that hierarchy (Me roc- Venus-Isis) and with its implications for the nature of soul as related to body and to ideas. 9

··r

5. The case is wdlmadc by M. Hiner, Autuhil~grap}ue dans l'Am: d'Or J' Apulee," L'Antiquitr Classiq11c' 13 (1944): 95-111, 14 (1945): 6l-6t!. ·'Lcs nombrcux taits autohiographiqul-s unanimL"mcnt admis p.ar IL"scririques,l':allusion ridicule au mariage in villt~, lcs episodes enticrs de l'atTairc des Poissons, du prod:s des oum:s, lc theme des :ICCUSations injustes, prouvcnt :lSSC'Z, nons sc-mblc-t-il, l'intiiUC COnfusion rhysique, morale. intcllcctudll.' qui cxistc.· entre ApuiC:e ct son 11CnJS Lucius. ou, 1."11 tout cas. b presence continuellc de l'auteur d;ms son oeuvre ... cettc intimitc c:nt~c lc pcrsonnagc historiquc: et son heros unc: fob. prom·«. lc problcmc du c~r.Jcthr: dl." I'Ant' d'Orchangc J' ~speer" (L'.4tJiiquili Cla$siquC' 14{19451; 65f.~ 6. E.g., 1'. Scazzoso. Lf Mttamo~/clSi di .4pull'it!: ~trrdirJ (riti{o sui si,~lli/itllto dtl ro· t1r.a11,;;o (Milan. 1951); R. Mc.rkdb,l.dl, R