the festival of Momus, the God of Laughter. When the gladiator spares Encolpius's life because of his well-spoken words of mercy, the festival rewards the young man with Ariadne, a sensual woman with whom he must copulate as the crowd looks on. Impotent, Encolpius is publicly humiliated by Ariadne. Eumolpus offers to take him to the Garden of Delights where prostitutes are said to effect a cure for his impotence but the treatment—gentle whipping of the buttocks—fails miserably. In the second of the stories within a story in the film, the owner of the Garden of Delights narrates the tale of Oenothea to Encolpius. For having rejected his advances, a sorcerer curses a beautiful young woman: she must spend her days kindling fires for the village's hearths from her genitalia. Inspired, Encolpius and Ascyltus hire a boatman to take them to Oenothea's home. Greeted by an old woman who has him drink a potion, Encolpius falls under a spell where his sexual prowess is restored to him by Oenothea in the form of an Earth Mother figure and sorceress. When Ascyltus is murdered in a field by the boatman, Encolpius decides to join Eumolpus's ship bound for North Africa. But Eumolpus has died in the meantime, leaving as his heirs all those willing to eat his corpse. Encolpius hasn't the stomach for this last and bitter mockery but is nonetheless invited by the captain to board the ship. In a voice-over, Encolpius explains that he set sail with the captain and his crew. His words end in mid-sentence, as does Petronius's book, when a distant island appears on the horizon and the film cuts abruptly to frescoes of the film's characters on a crumbling wall. Cast Adaptation Petronius's original text survives only in fragments. While recuperating from a debilitating illness in 1967, Fellini reread Petronius and was fascinated by the missing parts, the large gaps between one episode and the next. The text's fragmentary nature encouraged him to go beyond the traditional approach of recreating the past in film: the key to a visionary cinematic adaptation lay in narrative techniques of the dream state that exploited the dream's imminent qualities of mystery, enigma, immorality, outlandishness, and contradiction. In Comments on Film, Fellini explained that his goal in adapting Petronius's classic was "to eliminate the borderline between dream and imagination: to invent everything and then to objectify the fantasy; to get