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The Index scriptorum listed at the end of volume VII of the Grammatici Latini edited by Heinrich Keil (1855–1880) includes four quotations of Cassius Severus, a Roman rhetor who lived during Augustus’ and Tiberius’ reigns. Not all these four fragments (two of which are quoted two times, by two different authors) have a place in Cassius Severus’ modern editions. For this reason, in this paper, even if we cannot always conclude that we are actually dealing with Cassius Severus’ fragments, we will offer an analysis of these previously rather neglected quotations. [ABSTRACT FROM AUTHOR]

In a letter to his friend Burgundio (Sidon. epist. 9.14), who was about to write a laus Caesaris, Sidonius Apollinaris drew up a short list of the works written on Caesar that Burgundio had to face: scripta Patavinis, opera Svetonii, ephemeris Balbi, and finally a Iuventii Martialis historia. If the mention of Livy, Suetonius, and Balbus is not surprising, the name Iuventius Martialis (or Vivencius in the Parisinus Latinus 9551) raises some problems: first the identification and, subsequently, the nature of his work on Caesar. Following an ancient hypothesis of identification as Quintus Gargilius Martialis, this paper aims to discuss this suggestion by placing it in the political and cultural context of the end of the Severan age, during the reign of Severus Alexander. [ABSTRACT FROM AUTHOR]

This paper offers a new interpretation of Ar. Nub. 554. The aim is to stress the dependence of the expression ἐκστρέψας ... κακὸς κακῶς on a principle of ancient literary criticism here called the "poetic identity principle", based on the overlap between the author's nature and the content of his work. This dependence has been neglected until now. Therefore, I shall prove the principle is present in the line by first analysing the structure of the sequence in which the line is found (518-559) and then comparing l. 554 to other of Aristophanes' loci. Moreover, I shall argue that Aristophanes usually recalls the principle to build negative and positive poetic paradigms: such a principle may also concern the author himself within his own work, which had not been noticed before. [ABSTRACT FROM AUTHOR]

Maenads in pop culture are usually women with a strong eroticism, distinguished by sexual addiction and pure lust, malice, and murders. However, the maenads in Ancient Greek iconography and drama were completely different, not connected to the sexual sphere or to the manipulation of men. Ancient Greek maenads preserve their chastity, and their task is to honor Dionysus with dances and rites. The aim of this paper is to reconstruct the common thread that has led to this contemporary sexual and gloomy distinctive characterization of maenads in modern media and to understand where this dark vision of maenadism comes from. The stages on this journey through times past are the Bacchanalia scandal (186 B.C.), the black legend of Messalina, some cases of Christian condemnations, and the conception of maenads during the Renaissance and Victorian Hellenism. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to offer a new perspective on Silius Italicus' alleged stoicism through an analysis of three episodes in his poem which deal with exemplary deaths: the execution of the so-called "smiling slave" (a Hispanic slave who bears his torments heroically, mocking his torturers, Sil.1.169--181), the death of Marcus Atilius Regulus at Carthage (Sil. 2.340--344; 2.435--436; 6.535--544), and the death of Lucius Aemilius Paullus at Cannae (Sil. 10.260--288). My argument is that in Silius' poem both Regulus' and the slave's deaths are modelled on similar passages in Seneca's oeuvre, while the description of Paullus' death, despite being modelled on Livy's account (Liv. 22.49.6--11), includes several philosophical (and especially Senecan) motifs, so that the consul of Cannae becomes a sort of stoic sapiens. [ABSTRACT FROM AUTHOR]

P.Oxy. 2248 was published by Lobel (1952) as part of a 'oµµ" of Aeschylus' Semele on the basis of a palaeographical standpoint (cf. P.Oxy. 2164). According to modern scholars, the Aeschylean authorship of the papyrus could likely be confirmed thanks to some textual expressions (cf. ll. 2, 5, 12). In fact, the context seems to suggest a dialogue between the Chorus and another character about an adverse fate. The text, however, can be generally reconstructed, though not in detail, and from the reconstruction a more or less clear picture of its contents may be presented. There are still uncertain readings and some unresolved issues in the text, but it is my hope that this paper could overcome some of these difficulties. [ABSTRACT FROM AUTHOR]

The aims of this paper are to analyse the quotations and references in Perotti's Cornu Copiae to the ancient comedy of Aristophanes and to understand the context in which ancient words are considered by the humanist. Their role seems (as usually the whole aim of that work) simply auxiliary in order to give some semantic information about Latin expressions. But, as with the references to the Plutus, we can hypothesize direct knowledge of the text. [ABSTRACT FROM AUTHOR]

In attempting to investigate factors which may account for Aristophanes' revival in Renaissance times, the focus of this paper will be on Trissino's production, his reusing of passages and comic expressions from Plutus, in particular in the Italia liberata dai Goti. The primary goal of this study is to demonstrate that we are not talking about generic archaizing surfacing film, but concrete match to entire tracks, where Italian poet translates some Greek lines adjusting both traits and style to new different contest as well as audience (in greater detail, instead of the god and his distribution of wealth we see, here, a fairy and her spreading love...). This Trissino's personal way of approaching Aristophanes and entering lines from Plutus in the middle of his epic adventures proves that he quoted comedy regardless of topic but mostly like precious flourish. [ABSTRACT FROM AUTHOR]

In this paper, I provide an analysis of Lucr. 5, 1120-1135 and I propose a new attempt of transposition in Lucr. DRN 5, 1125-1135. The transmitted lines 5, 1125-1135 appear repetitive, inconsistent and overly varied: some intervention is inevitable. I follow Munro's transposition, shifting lines 1131-1132 in place of 1127-1128 with a clearer sense; additionally, I propose a new transposition of line 1135 in place of 1133. The reasons for my correction follow the argumentative logic of Lucretius' philosophical reasoning and argumentation. Consequently, I explain why I shift line 1135 to 1133, and I translate quandoquidem as "since", in order to provide a more linear and less apocalyptic explanation of the gnomic sentence in line 1133 nec magis . . fuit ante. My transposition agrees with Munro's correction: he proved that the entire section (1125-1135) was corrupt. [ABSTRACT FROM AUTHOR]

The aim of this paper is to illustrate a first neoanalytical frame of the Homeric Hymn to Apollo (HHA) intertextuality in function of a new critical edition with commentary. After Currie 2011's reflections about neoanalysis for the archaic hymns to Demeter, and the hermeneutical models of Olson 2012 and Vergados 2013 for the Homeric Hymns to Aphrodite and Hermes, I will show and discuss a provisional stemma of the genetic relationships between the HHA and a limited sample of honorific-dedicatory, cathartic-programmatic, and performative-hymnodic texts. The whole scheme of relationships has been established with regard to the productivity and recurrence of seven re-semantizated topoi. The stemma will enable us to define the domain of HHA prehistory, survivals and reminiscences in literary and paraliterary production before and after the terminus ante quem of 478 BC. [ABSTRACT FROM AUTHOR]

In this paper I try to explain common nouns in -ίδης, considering their diachronic development in Greek literature. Particular attention is devoted to ζοφοδορΠίδαις (Alcaeus 429 V. = L.-P.), which was given many non-convincing or inexhaustive explanations. [ABSTRACT FROM AUTHOR]

This paper aims at offering an analysis of the pragmatic functions developed by the Latin particle abi, originally the imperative of the verb abeo ('to leave', 'to go away'): discourse marker of conversation closing, directive pragmatic marker, expression of disagreement and expression of congratulation. Based specially on the evidences of Roman Comedy, a proposal of pragmatic evolution is offered, in agreement with similar pragmaticalization paths in other languages. [ABSTRACT FROM AUTHOR]

This paper aims to analyze the relationship between the Histories of Herodotus and the excerpta of the Γοήτων φώΡα of Oenomaus of Gadara (II century AD), which constitutes a not yet adequately-studied case in the context of the documentation concerning the oracles of Delphi. The goal is to determine the genesis and the developments of these two literary traditions, rejecting those hermeneutic approaches which connected the main source of Oenomaus to Herodotus. The textual comparison of the versions transmitted by the two authors allows to identify a set of lexical and syntactic differences, mutual lacunae and additions of verses, revealing a distinct appearance of the two oracular traditions in terms of chronology, origin and inclinations. [ABSTRACT FROM AUTHOR]

The present paper offers an edition of an unpublished Greek literary papyrus from the Giessen Collections bearing the inventory number P.Giss. inv. 176. It consists of two fragments mutilated on all sides and was once a part of an elegant papyrus-roll dated to the first century AD. Since merely remains of eleven lines have been preserved, one cannot be sure regarding the author, the title and the whole content. However, taking into account some information found inside, such as the stigmai preceding the expected verba dicendi or dialects mixing, one can presume the author introduced into his text sentences or quotations from other authors, possibly lyrics. The idea that this is just a lyric part of drama is also taken into consideration. [ABSTRACT FROM AUTHOR]