and Leucippe,” but late in life embraced Christianity, and even became a bishop.  This latter statement, however, is unsupported by any other authority, and would seem to be opposed by the negative testimony of the patriarch Photius, who (in his famous Bibliotheca, 118, 130) passes a severe censure on the immorality of certain passages in the works of Tatius, and would scarcely have omitted to inveigh against the further scandal of their having proceeded from the pen of an ecclesiastic.  “In style and composition this work is of high excellence; the periods are generally well rounded and perspicuous, and gratify the ear by their harmony ... but, except in the names of the personages, and the unpardonable breaches of decorum of which he is guilty, the author appears to have closely copied Heliodorus both in the plan and execution of his narrative.”  In another passage, when treating of the Babylonica[1] of Iamblichus, he repeats this condemnation:—­“Of these three principal writers of amorous tales.  Heliodorus has treated the subject with due gravity and decorum.  Iamblichus is not so unexceptionable on these points; and Achilles Tatius is still worse, in his eight books of Clitophon and Leucippe, the very diction of which is soft and effeminate, as if intended to relax the vigour of the reader’s mind.”  This last denunciation of the patriarch, however, is somewhat too sweeping and indiscriminate, since, though some passages are certainly indefensible, they appear rather as interpolations, and are in no manner connected with the main thread of the story, the general tendency of which is throughout innocent and moral; and whatever may be said of these blemishes, it must be allowed that the pages of Achilles Tatius are purity itself when compared with the depravity of Longus, and some of his followers and imitators among the Greek romancists.

    [1] This work is now lost, and we know it only by the abstract
    given by Photius in the passage quoted.

The period of time at which the adventures of Clitophon and Leucippe are supposed to take place, appears to be in the later ages of Grecian independence, when the successors of Alexander reigned in Syria and Egypt, and the colonized cities in Thrace and Asia Minor still preserved their municipal liberties.  The story is related in the first person by the hero himself; a mode of narration which, though the best adapted for affording scope to the expression of the feelings of the principal personages, is, in this instance, very awkwardly introduced.  A stranger, while contemplating a famous picture of the Rape of Europa in the Temple of Astarte at Sidon, is accosted by a young man, who, after a few incidental remarks, proceeds, without further preface, to recount his adventures at length to this casual acquaintance.  This communicative gentleman is, of course, Clitophon; but before we proceed to the narrative of his loves and woes, we shall give a specimen of the author’s powers