Hypatia

Philammon

Hypatia is an object of Philammon's intense fascination and spiritual obsession, while she views him as a curious pupil and potential convert.

Raphael Aben-Ezra

Hypatia and Raphael share a deep mutual admiration and intellectual attraction, though their romance is complicated by their differing beliefs.

Pelagia

Hypatia and Pelagia are rivals for Philammon's attention and represent opposing ideals of womanhood—intellectual purity versus sensual passion.

God

Hypatia's relationship with God is one of philosophical questioning and eventual conversion, marked by intellectual doubt and spiritual seeking.

Orestes

Hypatia and Orestes have a political alliance, with Orestes seeking her counsel and support in governing Alexandria.

Philammon

Hypatia is an object of Philammon's intense fascination and spiritual obsession, while she views him as a curious pupil and potential convert.

God

Hypatia's relationship with God is one of philosophical questioning and eventual conversion, marked by intellectual doubt and spiritual seeking.

Orestes

Hypatia and Orestes have a political alliance, with Orestes seeking her counsel and support in governing Alexandria.

Orestes

Hypatia and Orestes have a political alliance, with Orestes seeking her counsel and support in governing Alexandria.

Pelagia

Hypatia and Pelagia are rivals for Philammon's attention and represent opposing ideals of womanhood—intellectual purity versus sensual passion.

Raphael Aben-Ezra

Hypatia and Raphael share a deep mutual admiration and intellectual attraction, though their romance is complicated by their differing beliefs.

Philammon

Hypatia is an object of Philammon's intense fascination and spiritual obsession, while she views him as a curious pupil and potential convert.

Hypatia

Central figure, philosopher and teacher, navigating the intellectual and political landscape of Alexandria.

II: The Dying World

Receives Orestes and advises him on political matters; depicted in her private chamber, embodying classical beauty and philosophical detachment.

IV: Miriam

Receives Orestes' proposal via Miriam, struggles with the decision, and considers herself a potential sacrifice for the gods.

VII: Those by Whom Offences Come

The target of Philammon's planned confrontation, she is described as a sorceress and siren by the Christians, but her influence over Orestes and the city is acknowledged.

VIII: The East Wind

Delivers a lecture on Homeric allegory, dismissing Philammon's protest, and is preoccupied with thoughts of Raphael.

IX: The Snapping of the Bow

Her voice and image haunt Philammon, symbolizing the allure of knowledge and a different worldview.

X: The Interview

Observes Philammon with interest, seeing potential in him; questions his purpose and dismisses accusations against her as slander.

The Bower of Acrasia

Mentioned by Pelagia as the famous philosopher, she is seen as a conceited creature who talks about abstract things, contrasting with the physicality of the Goths.

XIV: The Rocks of the Sirens

Acts as a motherly mentor to Philammon, guiding his studies and dreaming of using him to further her cause of restoring the old gods. She feels a growing self-satisfaction as she watches his transformation.

Nephelococcugia

Engages in philosophical discourse, defends Neoplatonic views, and is visibly disturbed by Miriam's approach.

XIX: Jews Against Christians

Is mentioned by Orestes as his 'bride elect,' a fate that troubles Philammon.

XX: She Stoops to Conquer

Torn between her philosophical ideals and the corrupting reality of political maneuvering, she feels humiliated by Orestes' manipulations and her own passive complicity.

Pandemonium

Sits beside Orestes at the spectacle, looking wan and constrained, and is visibly unnerved by Philammon's intrusion and the ensuing events.

XXV: Seeking After a Sign

In a state of profound crisis, she attempts a final mystical vision, is confronted by the phantom of Pelagia, and desperately pleads for a sign from the gods, only to be met with silence.

XXVI: Miriam's Plot

Though not present, she is the central object of Philammon's internal conflict and renewed devotion.

XXVII: The Prodigal's Return

Dismisses Raphael's warnings and his new faith, remaining steadfast in her philosophical convictions. She is determined to deliver her lecture despite the danger.

XXVIII: Woman's Love

Mentioned as having been murdered by Christians, her death impacts the decisions of the Amal and Pelagia.

XXIX: Nemesis

Accuses Philammon of treachery and is seized by the mob, dragged to the Caesareum.

Endnotes

Mentioned as the recipient of an authentic letter from Synesius.