IMAGINES 1.15 - Philostratus
Imagines
is a work by Greek author Philostratus explaining stories
that coincide with works of art. Imagines
1.15 focuses on Ariadne, Theseus, and Dionysus, after Theseus abandons
Ariadne on the island of Dia. The text explores different representations of
Dionysus, the assumed mindset of Theseus, and the physical description of
Ariadne. The story of Ariadne and Theseus has been told in many different ways.
Ariadne’s subsequent abandonment is detailed from her point of view in
mythological works by Catullus and Ovid.
Catullus 64 is an epyllion mostly devoted to Theseus’ abandonment of Ariadne. Catullus writes that Ariadne is “carrying uncontrollable rage in her heart” as Theseus sails away [1]. Both Philostratus and Catullus take great care in describing Ariadne’s physical attractiveness. Philostratus mentions her bare bosom, “delicate throat”, and how fair a sight she is, which are all points also mentioned by Catullus [2]. Ariadne’s beauty contrasts with her abandonment. The detailed description in both texts juxtaposes her delicate beauty with the dull separation provided by the island. This effective positioning leaves the reader wondering why a man like Theseus would leave such a fragile woman alone in an awful place.
Catullus continues as Ariadne laments, featuring a song that “bewails a pledge that was broken” [3]. Ariadne’s lament is written in stages to express her grief. The first two sections concern Theseus’ betrayal, and her aid and devotion to him. The middle section details her complaining about her situation, her confusion at being left behind, and her despair at being left. The final section is again Theseus-centered as Ariadne summons Eumenides (the Furies) and curses Theseus. The lament is told in a “Theseus-Ariadne-Theseus sequence”, which constitutes a “cause-effect-cause sequence” [3]. Theseus’ betrayal leads to Ariadne’s complaints, confusion, and despair, which then cause her to seek vengeance on Theseus. This form is effective in its completing arc of Ariadne’s emotional stages at being abandoned. Towards its end, the poem closes with Theseus’ mind being “[blinded with] smoke” and he forgets to raise the correct flags to signal his return to his father, resulting in tragedy [1]. The lament in Catullus 64 can act as a sort of continuation for what Philostratus describes as Ariadne sleeps on the beach. Philostratus remarks that Ariadne was treated “unjustly”, and Ariadne’s song clearly describes her sadness and frustration. The conciseness of Imagines 1.15 contrasts with the length of Catullus 64, showing each writer’s view of what is important in the tale of Ariadne and Theseus. Philostratus focuses on Ariadne physically, while Catullus focuses on her emotionally. By doing this, Philostratus leaves a positive, beautiful image in the reader’s mind, and Catullus shows the negative effects of Theseus’ decision.
Ariadne’s abandonment is also relayed in Ovid’s Heroides X: Ariadne to Theseus. This letter written by Ariadne tells her innermost feelings and reveals her actions after Theseus leaves. Philostratus leaves his text as Ariadne is still asleep. Now time has passed, and Ariadne has contacted Theseus. Her letter deals heavily with her isolation on the island. She begins her letter without preamble, writing, “Gentler than you I have found every race of wild beasts” [4]. This abruptness in introduction implies her distressed emotional state and her detachment from civilization [5]. The aspect of isolation is further explored in her actions. She says that she spends most of her time crying and wondering if she will ever see society again. Ariadne’s isolation is different than most. Other figures have been cut off from their homes and families. Ariadne’s isolation is three-fold. She is “cut off from Theseus,…her family on Crete and, perhaps most importantly, from all visible signs of human civilization” [6]. Ariadne’s problem is further complicated by the revelation that she would have nowhere else to go. “Suppose I did find those to go with me, and winds, and ship – yet where am I to go? My father’s realm forbids me to approach” [4]. Ariadne is left to numbingly wander the island alone, adding to her helplessness that Ovid does not explore in Heroides with figures like Briseis and Medea. Ariadne has no foreseeable future. She curses Theseus and reminisces of home. Her references to Athens and the labyrinth emphasize her isolation by contrasting it to the world at large [6]. At the end of the letter, her only idea for a reunion with Theseus is him returning to find her bones [4, 6]. Ariadne’s helplessness relates to the vulnerable position she is left in in Imagines. Philostratus illustrates the idea of her isolation in his brief writing when he spends the majority of the text talking about Dionysus and Theseus, only to return to Ariadne in the last few lines of the text (“And look at Ariadne, or rather at her sleep”) [2]. The first section of Imagines makes it clear that it will be about Ariadne, but Philostratus switches to speak of other, more relevant topics, before getting back to her alone on the island. Ariadne’s separation is noted in both texts, and it shows the vivid effects of Theseus’ betrayal.
[1] Catullus, Catullus 64. Trans. Thomas Banks. Lines 63, 207
[2] Philostratus, Imagines 1.15. Trans. Arthur Fairbanks
[3] Daniels, Mario Leathers, “‘The Song of the Fates’ in Catullus 64: Epithalamium or Dirge”, 99-100
[4] Ovid, Heroides X
[5] Michalopoulos, Andreas N., “Ovid ‘Heroides’ 10.1-4: Ariadne's ΜΙΤΟΣ”
[6]Bolton, M. Catherine, “The Isolating Effect of Sola in Heroides 10”
Catullus 64 is an epyllion mostly devoted to Theseus’ abandonment of Ariadne. Catullus writes that Ariadne is “carrying uncontrollable rage in her heart” as Theseus sails away [1]. Both Philostratus and Catullus take great care in describing Ariadne’s physical attractiveness. Philostratus mentions her bare bosom, “delicate throat”, and how fair a sight she is, which are all points also mentioned by Catullus [2]. Ariadne’s beauty contrasts with her abandonment. The detailed description in both texts juxtaposes her delicate beauty with the dull separation provided by the island. This effective positioning leaves the reader wondering why a man like Theseus would leave such a fragile woman alone in an awful place.
Catullus continues as Ariadne laments, featuring a song that “bewails a pledge that was broken” [3]. Ariadne’s lament is written in stages to express her grief. The first two sections concern Theseus’ betrayal, and her aid and devotion to him. The middle section details her complaining about her situation, her confusion at being left behind, and her despair at being left. The final section is again Theseus-centered as Ariadne summons Eumenides (the Furies) and curses Theseus. The lament is told in a “Theseus-Ariadne-Theseus sequence”, which constitutes a “cause-effect-cause sequence” [3]. Theseus’ betrayal leads to Ariadne’s complaints, confusion, and despair, which then cause her to seek vengeance on Theseus. This form is effective in its completing arc of Ariadne’s emotional stages at being abandoned. Towards its end, the poem closes with Theseus’ mind being “[blinded with] smoke” and he forgets to raise the correct flags to signal his return to his father, resulting in tragedy [1]. The lament in Catullus 64 can act as a sort of continuation for what Philostratus describes as Ariadne sleeps on the beach. Philostratus remarks that Ariadne was treated “unjustly”, and Ariadne’s song clearly describes her sadness and frustration. The conciseness of Imagines 1.15 contrasts with the length of Catullus 64, showing each writer’s view of what is important in the tale of Ariadne and Theseus. Philostratus focuses on Ariadne physically, while Catullus focuses on her emotionally. By doing this, Philostratus leaves a positive, beautiful image in the reader’s mind, and Catullus shows the negative effects of Theseus’ decision.
Ariadne’s abandonment is also relayed in Ovid’s Heroides X: Ariadne to Theseus. This letter written by Ariadne tells her innermost feelings and reveals her actions after Theseus leaves. Philostratus leaves his text as Ariadne is still asleep. Now time has passed, and Ariadne has contacted Theseus. Her letter deals heavily with her isolation on the island. She begins her letter without preamble, writing, “Gentler than you I have found every race of wild beasts” [4]. This abruptness in introduction implies her distressed emotional state and her detachment from civilization [5]. The aspect of isolation is further explored in her actions. She says that she spends most of her time crying and wondering if she will ever see society again. Ariadne’s isolation is different than most. Other figures have been cut off from their homes and families. Ariadne’s isolation is three-fold. She is “cut off from Theseus,…her family on Crete and, perhaps most importantly, from all visible signs of human civilization” [6]. Ariadne’s problem is further complicated by the revelation that she would have nowhere else to go. “Suppose I did find those to go with me, and winds, and ship – yet where am I to go? My father’s realm forbids me to approach” [4]. Ariadne is left to numbingly wander the island alone, adding to her helplessness that Ovid does not explore in Heroides with figures like Briseis and Medea. Ariadne has no foreseeable future. She curses Theseus and reminisces of home. Her references to Athens and the labyrinth emphasize her isolation by contrasting it to the world at large [6]. At the end of the letter, her only idea for a reunion with Theseus is him returning to find her bones [4, 6]. Ariadne’s helplessness relates to the vulnerable position she is left in in Imagines. Philostratus illustrates the idea of her isolation in his brief writing when he spends the majority of the text talking about Dionysus and Theseus, only to return to Ariadne in the last few lines of the text (“And look at Ariadne, or rather at her sleep”) [2]. The first section of Imagines makes it clear that it will be about Ariadne, but Philostratus switches to speak of other, more relevant topics, before getting back to her alone on the island. Ariadne’s separation is noted in both texts, and it shows the vivid effects of Theseus’ betrayal.
[1] Catullus, Catullus 64. Trans. Thomas Banks. Lines 63, 207
[2] Philostratus, Imagines 1.15. Trans. Arthur Fairbanks
[3] Daniels, Mario Leathers, “‘The Song of the Fates’ in Catullus 64: Epithalamium or Dirge”, 99-100
[4] Ovid, Heroides X
[5] Michalopoulos, Andreas N., “Ovid ‘Heroides’ 10.1-4: Ariadne's ΜΙΤΟΣ”
[6]Bolton, M. Catherine, “The Isolating Effect of Sola in Heroides 10”