Chariton's novel thus inverts this topos of rhetorical theory, with Callirrhoe being the object of an [TEXT NOT REPRODUCIBLE IN ASCII].
Xenophon's predecessor, Chariton, depicts another 'subversive' plot of chastity in the double marriage of Callirrhoe.
Published in 1884, to considerable critical acclaim, Callirrhoe tells the story of the erotic conversion of a virtuous virgin.
Furthermore, the veneration of pleasure can be seen to reach its apex in the orgiastic religion of Dionysus and, in becoming a Maenad, Callirrhoe is transformed, along with her community, by the power of sexual freedom and passion.
And, like Byron's pilgrim who comes to appreciate the (re)vitalizing power of love, Callirrhoe finds love and spiritual fulfillment at the very moment when she is threatened with destruction.
I suggest that there is a strongly subversive subtext to Callirrhoe in which the sexualized Hellenism of Swinburne is combined with the pleasure principles of Shelley.
Interestingly, the heroines of both Atalanta and Callirrhoe begin the dramas as dutiful devotees of the goddess Artemis.
In Callirrhoe, as in Swinburne's work, sexual desire is not the exclusive preserve of male characters.
In Callirrhoe, the virility and civic masculinity of the male citizens of Calydon is similarly shown to be compromised.
Callirrhoe is the one important exception to the swelling ranks of Michael Field's Maenads.