American Journal of Philology

At first glance the use of the word “allusion” in the subtitle of this book suggests an old-fashioned approach to literary analysis. Finkelpearl has, however, given a lot of thought to her choice of terms. She acknowledges the equivocalness of allusions but prefers to use this word for the process of incorporating material from earlier writers rather than “reference” or “intertextuality.” In spite of her somewhat informal description of the process of allusion (“recalling, modifying, transforming, and playing around with passages”), she has made a conscientious effort to circumvent the “fuzziness and inexactitude” of identifying allusions by making vigorous use of TLL and other traditional philological aids in order to isolate words, phrases, and lexical combinations that are unique to Apuleius and his putative sources. She has also deliberately avoided applying a single theoretical model, because “Apuleius draws on a wide variety of genres from different time periods, . . . use[s] his sources differently at different times [and] . . . often maintains an ambiguous stance—between rejection and incorporation, homage and polemic—even within single allusions” (24). This “ambiguous stance” is in fact central to the thesis that Finkelpearl consistently develops in her book: In the Metamorphoses, “allusion provides a medium [End Page 471] for exploration of the fit between the novel and the genres it contains and helps the novel toward a definition of its genre” (27). She emphasizes the ambiguity of her subject from the beginning to the end of her book, stating in chapter 1 that her aim is “to examine the multiplicity of interactions between the Apuleian text and its forebears, with a vigilant consciousness of the novel’s various uncertainties” (31) and concluding that she has focused on the tensions caused by situating “an uncertain genre” within a defined literary tradition.

There is no uncertainty about the structure of the book. Each of the eight chapters begins with a survey of relevant scholarship and a declaration of Finkelpearl’s place within, or outside of, the range of summarized views. The sequence of chapters also unfolds logically. After surveying in chapter 1 (“Background and Method”) the various scholarly procedures that have been used to characterize allusions, she progresses from the seemingly most simple (parody) to the most complex practices of allusion. One of the strongest features of the book is that she manages to uncover complex patterns of allusion in passages that other scholars have been content to label parodies. Good examples of this resourcefulness occur in Finkelpearl’s examination of Apuleius’ use of Sallust, one of the canonical Latin archaic models during the second half of the second century. At 1.16.2–3 the “low-life character” Aristomenes makes an unsuccessful attempt to commit suicide by hanging himself with a rope attached to his bed. He addresses the bed in the words spoken by Adherbal over the corpse of his brother Hiempsal (BJ 14.22), substituting, however, grabattule for frater. Other scholars have commented on the obvious disparity between the dignified poignancy of the passage in Sallust and the low-life melodrama of the Apuleian revamping of it. Finkelpearl explains that “the choice of reference has relevance beyond its comic effect” (51), for Aristomenes’ words are “motivated by the questions posed . . . [by Adherbal] about life and death in the face of fratricide and injustice.” As she puts it, “Apuleius never merely defaces or satirizes; examination of his text reveals a complex thematic engagement with his sources.”

In chapter 3 (“Reading Isolated Allusions”) Finkelpearl also manages to find overarching resonance in seemingly isolated pastiches. Others, including me, have perhaps been too quick to conclude that Lucius’ prolonged praise of the maidservant Fotis’ hair in book 2 of the novel is an empty piece of the type of rhetorical tour de force that characterizes the Second Sophistic. Finkelpearl argues, however, that hairstyle and other styles of appearance and dress can serve in the Augustan poets as emblems of literary doctrine and that Apuleius...