By Michael Paschalis; Stavros Frangoulidis (ed.)

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Cf. Harrison 2000, 211–235. 5: , Aegiensis. 24, it may well be right to keep the transmitted text and not supply the name. But more interesting than the name is the indication of origin: Aristomenes is from Aegium, a small town east of Patras. 7 This seems to be clear in its implication: Aristomenes comes from the area of Patras just as his tale comes from the Metamorphoses attributed to Lucius of Patras. Likewise, the friend whom Aristomenes finds filthy and destitute, the ironically named Socrates,8 also goes to places of literary association.

II After these general connections between Daphnis and Chloe and Pleasantville I now turn to a specific scene in either work which best illustrates the simultaneous presence of innocence and experience from whose inherent tension the narrative development of a love story may derive its most irresistible force and greatest appeal. Both scenes are highly erotic, if in different ways. That in Pleasantville is indeed the most erotically charged one in the entire film. Neither scene is in any way pornographic.

3; this and the following quotation are from Gill, 300. 34 MARTIN M . WI NKLER tional and stereotypical 1950s role, and determinedly emancipates herself from husband and kitchen. ) While she is in the process of discovering her erotic self in the bathtub, she begins to see her surroundings in color. Soon after, she leaves behind her black-and-white existence for good and turns into color herself. it gives rise to a whole new world of nuance and beauty that’s nonsexual…. Although Ross does not name Plato here, he might as well have done so, because his words are clearly in the tradition of Platonic philosophy.

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