By The Department of Medieval Studies at the Central European University
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Extra info for Annual of Medieval Studies at Central European University 12 (2006)
The entire conversation serves once again to bring out Lucius’ heedlessness and foolish belief in false seers. 76 At the dinner table, Milo takes the position of the sceptical fellow-traveller; Pamphile appears in the place of the witches Meroe and Panthia, who perform their magic rites in the inn; and Lucius takes the place of Aristomenes, who narrates the tale of Socrates’ death. This narrative doubling multiplies the warnings Lucius receives of the risks associated with magic, prefiguring subsequent plot developments, as Lucius fails to learn from his experiences.
See also Keulen (2007, 380), who compares Milo with misers and moneylenders in Roman Comedy. 22): litteras ei a Corinthio Demea scriptas ad eum reddo (‘‘I have a letter for him from Demeas at Corinth”). 23): nam prae metu latronum nulla sessibula ac ne sufficientem supellectilem parare nobis licet (‘‘The fear of robbers prevents us from acquiring chairs or even sufficient furniture”). 23). Moreover, the explanation Milo offers for his Spartan lifestyle heightens the sense of irony when the house is later set upon by the robbers he has set out to deceive.
72 Slater (1998) 29. For parallels and contrasts between the ecphrasis in Apuleius and Ovid’s version of the story at Met. 138 – 142, see van der Paardt (2004) 27 – 30. Encounter with magic 27 Byrrhena then warns Lucius that Milo’s wife Pamphile is a powerful witch with a taste for young lovers, and advises her nephew to be extremely cautious. 3). It is only later when Lucius visits her house and she is able to talk to him in private that she notices his inordinate interest in the statue of Diana and Actaeon.