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An unnoticed allusion to Homer's Iliad in Catullus c. 37 contributes to the poem's recognized military theme by providing a clearer correspondence between figures from epic and those in Catullus' poem, while also establishing a new framework for analyzing the dynamics of the poet's verbal attack on his rivals that ultimately implicates him in his own mockery. [ABSTRACT FROM AUTHOR]

The article focuses on the interpretation of specific lines from Sextus Propertius and the debate surrounding textual emendations and grammatical nuances. It reports that scholars have examined the use of possessive forms and adjectival constructions. It highlights the complexities of translating and interpreting these passages. It mentions the disagreement over the correct form of certain words and offers multiple reasons for different interpretations.

The article considers an emandation in Book 1.4, lines 87 to 88 of "Silvae," a collection of Latin poetry by Publius Papinius Statius. It particularly examines the object of line 87, tributum. Topics discussed include Gallicus' procurement of tax from the Libyans, Regulus' demand for a tribute, and his private share of the money extorted in Libya.

The article analyzes the significance of the use of the name Titius for a character in lines 1.4.73-74 of the poem "Elegy" by Latin poet Tibullus. Topics discussed include the belief of some scholars that Titius is consul Marcus Titius or Titius the poet, role of the cognate name of the Roman god of fertility and marriage Mutinus Titinus in the possible sexual implications of the Latin word titus, and the humorous tone of the poem due to the name.

The article focuses on the English translation of line 169 of the Latin poem "Catullus 61." Topics discussed include the focus of the passage on the reassurance that the affection of the groom to the bride is greater in intensity, problem posed by the verb uritur in the transmitted text, and reason behind the need to emend line 169 and not line 170 in light of the sensible subject in the passage.

Word-final syllables consisting of a short vowel or a short vowel followed by a single consonant sometimes scan as heavy in Latin hexameter poetry, a feature known as 'irrational lengthening', lengthening in arsis, diastole etc. We examine the contexts in which this occurs in the poetry of Virgil. It is widely acknowledged that this phenomenon is based on a similar licence in earlier Greek and Roman models for Virgil, but it has also been argued that other, metrical or phonological, aspects may have been relevant to the use of lengthening. We examine these environments, and, where possible, carry out statistical analysis. We conclude that, while some of these are descriptively true, the position of lengthened words is primarily due to the constraints that Virgil applied to the construction of his hexameter rather than any other explanation. [ABSTRACT FROM AUTHOR]

This paper examines Ammianus Marcellinus' intertextual dialogue with epic tradition in his account of the Persian siege of Amida (Amm. Marc. 19.1-9). It adds to the stock of meaningful Vergilian allusions in the Amida episode, as well as examining significant allusions to Vergil's successors, Ovid, Lucan, and the Flavian poets. Epic offers both a verbal resource for the historian's richly varied prose as well as an effective generic vehicle to signify the scale of his personal experience of combat. [ABSTRACT FROM AUTHOR]

This article contributes to the discussion on the significance of the Latin Love Elegy, with regard to its language, themes and conventions, as a means of generic innovation in Valerius Flaccus' Argonautica. In particular, it will be demonstrated that in the scenes of lament and separation that take place in books 2 and 3, Valerius incorporates a selection of elegiac themes and motifs to enhance the effect and sensationalism of these episodes as well as the pathos in the rhetoric of his female protagonists (in particular the Lemnian wives and Hypsipyle as well as Clite, the wife of king Cyzicus). At the same time he will be seen to take a step further by inverting and/or refashioning some of these topoi and tropes so as to leave his own metapoetic comment on his negotiations with other genres in the Argonautica. [ABSTRACT FROM AUTHOR]

A critique of the Latin elegiac poem "Propertius 2.10," by Sextus Propertius, a Roman poet who lived around 50-15 Before Christ (BC). Topics discussed include the poet's proposal to abandon love elegy and the adoption of a more serious style of poetry with a suitably elevated expression. Also mentioned are the metaphorically bowed head as a defining characteristic in Propertius's poems as well as his recusative tone.

A critique of the epic poem "Sheep and Simonides, PMG 576," by Roman poet Publius Vergilius Maro, known as Vergil, who lived between 70 to 19 Before Christ (BC) is presented. Topics include the focus on the Latin tradition when discussing parallels for the sheep and on the cultural association of the colors. Also mentioned are the oddness of the polychromatic sheep being offset by adducing the testimony to Simonides and Vergil's lambs being an extrapolation of the reversal of the age of iron.

Taking as a starting point Housman's note on Man. 4.780 (Cyrenes Lacrimis radicis Scorpios acris), the article analyses a stylistic device of Latin poetry, namely the repetition (consonance) of final -s within the same line. The analysis is based on the collection of all the cases of lines which have words, or all words except one, ending in -s, in both early and classical Latin poetry, the stylistic and linguistic features of which are discussed. A split between early texts and classical texts is observed: in early Latin texts consonance of -s is generally concomitant with asyndetic accumulation of similar words (cf. e.g. Enn. Ann. inc. 498 S.flentes plorantes lacrumantes obtestantes), which is an interesting stylistic pattern, common in early Latin and associated with elevated style, and later probably acquiring an archaising ring. On the other hand, consonance of -s in classical Latin poetry appears as an independent sound figure, deployed by authors for poetic effect (cf. e.g. Verg. A. 12.708 ingentis genitos diuersis partibus orbis). By analysing these patterns of consonance, the article also investigates the stylistic potential of asyndeton and the phonetic status of final -s in early and classical Latin. [ABSTRACT FROM AUTHOR]

The first section of this paper examines an allusion to Propertius 3.15 at 2.239 of Statius' Thebaid. Here Statius refers to a certain Mount Aracynthus in the context of the double marriage of Argia and Deipyle to Polynices and Tydeus. Invoked in Latin poetry as we have it a scant three times, Statius' Aracynthus recalls Propertius 3.15.42, where the mountain is the site of Amphion's paean celebrating the victory over Dirce, whose jealous pursuit of Antiope wrought her own destruction. Invoked in the midst of the wedding of Polynices, whose own jealousy over Eteocles will bring about his downfall, Aracynthus casts a pall over the otherwise idyllic description of the two brides and further hints at the doomed nature of their union to the two exiles, Polynices and Tydeus. The second section of this paper examines an implied reference to another Aracynthus at 2.729. This second Aracynthus, however, is Aetolian and not the Boeotian mountain of Propertius. Statius' two Aracynthi draw us in to an obscure debate, ancient and modern, concerning the location(s) of this (or these) mountain(s) and may suggest something about his engagement with his literary models. [ABSTRACT FROM AUTHOR]

The remarkable avoidance of unelided, i.e. preconsonantal, atque in Latin poetry has long been observed, although scholars have either offered no reason for it or but a single, and thereby necessarily inadequate, explanation. My purpose in this paper is twofold: (i) to establish accurate figures, based upon close textual scrutiny and emendation, for the poetic treatment of atque from Catullus to Juvenal; (ii) to draw together multiple interconnected reasons for why the handling of atque was so distinct. After a chronological account of the poetic treatment of the conjunction, both linguistic and stylistic reasons are found to be of great importance, whereas metrical reasons are seen to be of far lesser relevance. [ABSTRACT FROM AUTHOR]

Discusses the literary affiliations of the phrase cacata carta in the poem "Carmen 36." Views of poet Catullus on the phrase; Arguments raised on the scatological recycling proposition of cacata carta; Explanation on the literary background of the phrase.

Focuses on the four interrelated facets in the concepts of light and dark and the adjective candidus, which had special significance in the elegies of Albius Tibullus. Play involving Tibullus' own nomen Albius; Play on Corvinus, the cognomen of Messalla; Pattern of the concepts and vocabulary of light and dark to reflect Tibullus' changing vision of elegaic existence.

Presents suggestions on several passages in Latin poetry.

Comments on the poem 'Coma Berenices,' by Callimachus. Controversy over the translation of the poem by Catullus; Presence of the marriage-theme in the long poems by Catullus; Use of olive oil before marriage; Significance of the onyx or alabaster cup in 'Coma Berenices.'

Comments on the influence of allusions on the intertextuality of the Latin poems by Virgil. Interpretation of author A. Traina on the word latro; Representation of the latro in the poem `Aeneid'; Views of Roman commentators on the use of latro in Virgil's poem; Implications of the poem for a game of military strategy.

Discusses the concept of law and literature in the expression ultra legem in Latin poet Horace's Satire II. Presence of jurist C. Trebatius in the poem; Question on the difference between law and literature encapsulated in the expression ultra legem; Analysis of the conversation between the jurist and the clever poet.

The author describes the life of the eunuch Earinus, companion of the ancient Roman emperor Domitian, as chronicled in the Latin epigrams of Martial and the poem "Silvae" by Statius. Earinus' castration, his offerings of hair to the emperor, and manumission are discussed, as well as each poet's omission of Earinus' eventual freedom from slavery.

Discusses the words used by Catullus in his works. Meaning of the word 'sordida'; Origin of the name Porcius; Objections on the use of the verb 'vincere.'

The article lists articles that will be published in future issues of the journal on various topics including emendations in Latin poetry; interpretation of philosopher Aristotle; and plot of the Odyssey.

Two phrases in Catullus' Latin poem 'Lock of Berenice' strongly resemble phrases from a Greek epigram by Hedylus, a Hellenistic poet about whom little is known. Hedylus' epigram in turn resembled the Greek 'Lock of Berenice' by Callimachus of which Catullus' work is a translation. However, the complete text of Callimachus' work is non-extant, making it difficult to decide whether he lived before or after Hedylus. Thematic similarities suggest that they were contemporaries.