Innocence and Disillusionment

Where it surfaces

• I: The Laura

  Philammon's innocent curiosity about the ancient temple contrasts with Arsenius's grim depiction of the world's corruption, foreshadowing his disillusionment.

• III: The Goths

  Philammon's naive expectations of the world are challenged as he encounters the brutal and chaotic reality of the Goths.

• A Day in Alexandria

  Philammon's initial awe at Alexandria's grandeur is tempered by the violence and moral complexity he witnesses, marking his disillusionment with the world.

• VI: The New Diogenes

  Philammon's initial 'shudder of regret' at the destruction and his inability to 'laugh away' the pity he feels for the broken statues marks a step in his disillusionment with the world he has entered.

• VII: Those by Whom Offences Come

  Philammon's journey from naive faith to a more complex understanding of the world, as he witnesses the Church's flaws and questions his own beliefs.

• VIII: The East Wind

  Philammon's exposure to Hypatia's rhetoric and ideas begins to shatter his simple monastic worldview, leading to confusion and inner turmoil.

• IX: The Snapping of the Bow

  Philammon's naive faith is shattered as he witnesses the corruption and pettiness of his fellow Christians, leading to a crisis of belief.

• X: The Interview

  Philammon's innocence is evident as he is overwhelmed by the new world he has entered, and he begins to question his previous certainties.

• The Bower of Acrasia

  Pelagia's naive view of philosophy and her hatred of Hypatia reflect a disillusionment with intellectual pursuits, while the Goths' nostalgia for their past contrasts with their present corruption.

• The Bottom of the Abyss

  Victoria's innocence and faith stand in stark contrast to Raphael's deep disillusionment with the world and with philosophical systems. Her hopefulness highlights his own loss of innocence.

• XIV: The Rocks of the Sirens

  Philammon's initial fiery devotion to his new life and mentor gradually fades into a weary, thoughtful state, suggesting a loss of innocence as he becomes more learned and complex.

• XVI: Venus and Pallas

  Philammon's flight from the monks and his encounter with the world of Alexandria shatter his earlier innocence, as he learns of his hidden past and the complexities of his relationships.

• XVIII: The Prefect Tested

  Philammon, in his search for his sister, is thrust into the violent and cynical world of the Goths and Roman politics, leading to a loss of innocence.

• XIX: Jews Against Christians

  Philammon's innocence is exploited by Miriam, and he begins to experience the corrupt and manipulative nature of the world he has entered.

• XX: She Stoops to Conquer

  Hypatia's internal conflict reveals her disillusionment with the purity of her philosophical ideals as she is forced to confront the sordid realities of political compromise and manipulation.

• Pandemonium

  Philammon's despair and horror at the brutality of the spectacle and his sister's role in it shatter his remaining innocence, revealing a world of cruelty and moral decay.

• Lost Lambs

  Philammon's disillusionment with philosophy and his return to a harsh faith, while Pelagia's innocence is shattered by the terror of damnation.

• XXV: Seeking After a Sign

  Hypatia's profound disillusionment is laid bare as her mystical experience fails, leaving her questioning the very existence of the gods and her own sanity.

• XXVI: Miriam's Plot

  Philammon's innocence is challenged by Miriam's worldly temptations, leading to a moment of disillusionment with his own ideals.

• XXVII: The Prodigal's Return

  Hypatia's steadfast belief in her gods and her dismissal of Raphael's warnings reflect a form of innocence that is about to be shattered by the violent reality of the mob.

• XXVIII: Woman's Love

  Pelagia's realization of her lost innocence and the crushing of her naive hopes for love and redemption.

• XXIX: Nemesis

  Philammon's naive hopes are shattered as he witnesses the mob's violence and the failure of his attempts to save those he loves.

• XXX: Every Man to His Own Place

  Philammon's disillusionment with religious hypocrisy contrasts with his innocent faith in the goodness of all people.