James Davidson

Marina Warner’s No Go the Bogeyman: Scaring, Lulling and Making Mock is an impossible book. It circles around monsters and the frightening of children, but it also has chapters on the heavenly host, bananas and birdsong. Its material includes nursery tales, Greek myth, Shakespeare and Keats, autobiography, film and pop culture. It draws on the work of entomologists, etymologists, musicologists and historians. It is neither comprehensive, congruous nor conclusive. It is, on the other hand, fascinating, clever and original.

Some classicists were, I suspect, completely unaware that the author of The Civilisation of the Renaissance in Italy had written anything at all on the Greeks, and many (myself included) knew not much more than that. In the unlikely event that an allusion to his work is used to ambush you at a conference or a seminar, look nonplussed, mutter a sentence or two from which only the words ‘bourgeois individualism’, ‘Curiosity Shop’ and ‘Spirit of the Age!’ can be clearly heard and move on to the next question. In the unlikely event that the questioner asks you to speak up, simply repeat the procedure, adding the words ‘Swiss’ and ‘dilettante’; perhaps, if you are feeling energetic, quoting Braudel’s description of his work as ‘aérienne’ and ‘suspendue’.‘

‘If you saw him naked, you would forget about his face,’ Chaerephon mutters in Socrates’ ear. His cousin Charmides had entered the gymnasium, his beauty causing turmoil and consternation. Socrates astonished even himself: he was used to finding young men attractive, but Charmides was something else. Even the youngest boys in the room turned to stare, gazing at him ‘as if he were a statue’.‘

At a party once in Highbury I opened a door, stepping into what I thought might be a bathroom and found myself in an olive grove. Two other guests had found it before me. The smoke from their cigarettes hung around the branches, like an emanation from the leaves. I would have liked to spend some time there, but it was clear I had interrupted a private conversation and the roof was small; a minute or two was the most I could manage of casual lingering. I said something about how warm it was and went back inside.

The story of Jason sounds like an over-excited pitch to a Hollywood producer, a tale full of sex and violence with a doomed romance at its heart and plenty of opportunity for exotic locations and special FX. A wicked usurper sends his nephew to Colchis on the far side of the Black Sea, a mysterious kingdom in the former Soviet Union famous for its pheasants and autumn crocus. His mission impossible is to steal a golden fleece from under the watchful gaze of a giant snake. He gathers together a band of useful heroes to help him and invents the boat, even persuading Hercules to come aboard the newfangled contraption. Their route is full of hazards: six-armed giants, deadly feather-shooting birds, rocks that crash like cymbals, and women – the man-starved women of Lemnos who milk the Argonauts for sperm like lily-sucking bees, and the water-nymphs who like the look of Hylas, Hercules’ boyfriend, and reach out from beyond his reflection to make sure he is never seen again. By the time they get to Colchis, the Argonauts are in need of a bit of luck, and luckily the King’s daughter, Medea, forms an unsuitable attachment with Jason, betraying her father and her fatherland for the sake of a crush. Jason and his crew are pursued all the way up the Danube and into the Adriatic, but Medea comes to the rescue again, at last finding a use for Apsyrtus, the baby brother with whom she embarked just in case. By the time the Colchians have picked up his pieces, the Argonauts are well away.’