The greater subjectivity of the Apuleius’ romance as compared to the Greek Romances is attained by the aloneness of the hero, his quest and its implicit meaning, his individual satisfaction. This subjectivity is intensified by the complete adoption of the ego-narrative. Far more attention is paid by Apuleius than by the Greek romancers to the narrator and to his point of view in telling the whole romance. Achilles Tatius was afterwards to attempt the use of this device of narration in the first person, but he soon lost sight of the narrator in the narrative and even at the end he never let him reappear. Lucian adopted completely the _ich-roman_ form, but, as far as can be known, without rich characterization of the teller. Apuleius uses to the full the advantage of having a man-ass as narrator, for his composite hero has a duplex view-point of man and animal and displays a double humor, of man and beast. All this keeps the hero-narrator before our eyes and we become ever more and more interested in the effect of the events narrated on his inner life and on his final solution of life. Riefstahl points out that in the Greek love romances there is some striving after subjectivity in the presentation of external events. The possibility of expression is not yet rich, but by soliloquies, by descriptions of emotions, by reflections on events expressed in γνῶµαι the romancers are working from objective to subjective presentation of their material. The soul is treated as an individual entity separated from the body and contrasted to it. On this foundation in the love romances rests the inner structural arch of spatial separation and spiritual fidelity. The relation of the objective and the subjective creates somehow the scale on which all these romances take their place. The love romances are at the objective end of the scale, the older ones particularly, dynamic events holding writer and reader spell-bound. In Longus a peaceful atmosphere is created because there are few exciting events, little travel, only the study of the development of love in two adolescents in a quiet pastoral setting, but the expression is not adequate. Longus senses the dual conception of Eros, in man and in nature, for the love of the two young shepherds is set in the teeming, growing life of the outer world, but he does not develop fully this subtle implication. Achilles Tatius inclines toward the subjective direction through his attempted use of the ego-narrative. But the fullest subjective treatment is found in Apuleius. In Achilles Tatius as in Apuleius, the aim of the hero is a µυστήριον but with him it is the µυστήριον of love; in Apuleius it is the _sacrorum arcana_.[373] The powerful cosmic force of love appears only in Apuleius and there it is embodied in the personality of Isis. The goddess describes herself to Lucius as “the natural mother of all things, mistress and governess of all the elements, the initial progeny of worlds, chief of the powers