By Iris Owens
Harriet is leaving her boyfriend Claude, “the French rat.” That no less than is how Harriet sees issues, whether it’s Claude who has simply requested Harriet to go away his Greenwich Village condo. good, a method or one other she has no purpose of leaving. on the contrary, she's going to remain and targeted revenge—or may have if Claude had no longer had her unceremoniously evicted. nonetheless, even though moved out, Harriet isn't really approximately to maneuver on. now not whatsoever. Girlfriends circle round to patronize and suggest, yet Harriet merely takes offense, and it’s effortless to appreciate why. simply because mad and maddening as she should be, Harriet sees earlier the well mannered platitudes that everybody else is content material to spout and reside through. She is an unblinkered, unbuttoned, unrelenting, and particularly bitingly humorous prophetess of all that's improper with women’s lives and hearts—until, in a shock twist, she unearths a savior in a gloomy room on the Chelsea inn.
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Two further matters deserve notice. Callimachus leaves us in no doubt about the nature of Apollo’s opponent, dail|mior h^q, j aQm¹r evir. In Apollonius Dekv}mgr is merely given the general epithet pek~qior48 and there is no explicit indication of what sort of creature it was. We may contrast 4, 1396 – 1398 where K\dym, the serpent of the Hesperides, is described explicitly as wh|mior evir, and Apollonius’ obvious interest in dragons is fully displayed at 4, 127 – 161. His silence at 2, 706 may therefore be added to the cumulative argument that he is writing in this passage with his eye on an already existing poetic version.
Of some interest perhaps are the similarity of v. bom, to v. jo}s,, and the fact that whereas Apollonius has indicated an etymology for Delphi (cf. above p. 36), Callimachus refers to both names for the holy shrine, Delphi (98) and Pytho (100); no strong argument for priority can, however, be derived from either of these observations. Suggestive also is the word 1v}lmiom which both poets use. This word is first found here and at Call. fr. om 1v}lmiom43 ; 1v}lmiom has been thought to be an invention of Callimachus, but no good argument for this has been produced44.
Of criticism in English most can be learned from E. Phinney, ‘Narrative Unity in the Argonautica, the Medea-Jason Romance’, TAPA 98 (1967), 327 – 41 and Campbell 37 – 77. Cf. Fusillo’s strictures (p. 287 n. 54)’ II problema della “doppia Medea” e forse il piu ozioso e il piu falsato nell’ impostazione di quelli su cui si e soffermata la bibliografia apolloniana’. 2. 3 Behind criticism of this kind lies both an understandable desire to relate the characters of ancient literature, if not to our own experience, at least to what instinct tells us is possible, and the whole tradition of criticism which descends from the Poetics of Aristotle.
After Claude by Iris Owens