In Book 19, chapter 9 of the Nodes Atticae Gellius describes the birthday party of a young Greek of equestrian rank at which a group of professional singers entertained the guests by performing poems by Anacreon, Sappho, ‘et poetarum quoque recentium λεγεα quaedam erotica’ . After the singing, Gellius goes on, some of the Greek συμπόται present challenged Roman achievements in erotic poetry, excepting only Catullus and Calvus, and criticized in particular Laevius, Hortensius, Cinna, and Memmius. Rising to meet (...) this charge, Gellius’ teacher of rhetoric, Antonius Julianus, admits the superiority of the Greeks in what he calls ‘cantilenarum mollitiae’ in general , but to show that the Romans too have some good erotic poets, he recites four early Latin love epigrams, by Valerius Aedituus , Porcius Licinus , and Lutatius Catulus . The same three poets are listed in the same order in Apuleius’ Apology in a list of amatory poets which he provides in order to establish precedents and thus invalidate his prosecutors’ referral to his erotic poems in their accusation . Catulus is also enumerated in Pliny's list of Roman dignitaries who composed ‘uersiculos seueros parum’ like his own , and an amatory epigram of his is cited by Cicero in De Natura Deorum 1.79 . We possess no further evidence connecting the other two with the composition of either erotic or, more generally, ‘light’ verse, but a poem by Porcius Licinus on Roman literary history is attested by several sources including Varro, Suetonius, and Gellius himself. (shrink)

The abbreviation-symbols of the Romans, found in ancient uncial MSS., may be roughly divided into three classes: Those peculiar to juristic writing, e.g. R.P. ‘res priuata’ , Q.D.R.A. ‘qua de re agitur.’ They are properly called ‘notae iuris.’ They abound in the famous Verona MS. of Gaius. A few used in histories, etc., e.g. R.P. 'respublica' , Q. ‘Quintus’ . Valerius Probus, who compiled a manual of ancient Notae, calls this class ‘notae publicae’. They appear in such MSS. (...) as the codex Puteanus of Livy ; and since they have been transferred into modern editions of the Latin historians, etc., no one is at a loss to interpret them nowadays, although they puzzled mediaeval scribes. Symbols of ordinary words of frequent occurrence in any type of literature, e.g. Q. ‘que.’ It is this class which is the subject of this article. (shrink)

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art ,’ ‘I am ,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost ,’ ‘We are indebted to thee for .’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or (...) of the second person, for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art,’ ‘I am,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost,’ ‘We are indebted to thee for.’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or of the second person, (...) for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

Stone Age. They held father and mother together to meet the needs of that long human infancy which more than any other single thing has been the binding ...

In lieu of an abstract, here is a brief excerpt of the content:Attis at Large CATULLUS (Translated by Anna Jackson) And so Attis, seasick, heart sore, having left so terribly fast, with a pause, a leap, a landing, galliambically arrived in the shady regions, wood-clothed, in the goddessy depths of dark in a rage, a grief, a wild mood, having come so terribly far, and himself, still him, he tore off, with a flint, all his manly parts— so that (...) she (now she) when she saw she was all a a a a girl, even while still bleeding fresh blood, a new stain on that shagpile earth, in a flash, a leap, with no pause, she took up here a tambourine— tambourine of yours, your symbol, sign of Cybele’s syllables— with a clash, a strike, a ringing, her soft fingers on the stretched skin, she began to sing this whole song, in a tremble to, to the throng: All of us, not cis, but sisters—with a leap of nothing but faith let’s take off, let’s rush, let’s stampede, like a herd on the, the, the loose— you are lost, you’re all in exile, with a past you have left behind you have only me, your one hope, here to lead, if you’ll follow me, after all that we have been through, salty seas of masculinity we will sail no more, no, not we—let us now be all spiritual, that’s to say, let’s sing, and sing loud, with a clash of the tambourine and with tossing heads and wild leaps, we must throw ourselves into this, as if in to fire, with no fear—a religious sort of a pounce! And in need of no persuading, the stampede, if it was that, starts— all of them, not cis, but sisters, taking off with a lightness of heart like a sisterhood, a herd loosed, with a clash of the tambourine. And so Attis, no true woman, was swept along with the rest, in the lead, but led, herself led, the clash of the tambourine a resounding beat in her head, fa-la-LA, la la la la LA, like a heifer still unbroken, a disorder of flailing flight. And the sisterhood, a herd loose, kept the beat of the tambourine. And the sisters, having found peace, could all sleep when the ringing ceased, having come so far, so hard won, they were restless no more but at peace, after all that they had been through, having come so terribly far. arion 27.2 fall 2019 Yes but when the sun with eyes bright looked out at the whole airy sky, and the whole expanse of hard earth, and the whole wilderness of sea, yes and when the sunlight drove forth all the shadows of the long night, and when sleep itself was sent off, or took flight, as Attis awoke, well then sleep, not Attis, found rest; it was sleep that would rest at last. Not so Attis: sleep departed, and his madness departed too; not so Attis, who reviewed all he had done, and all in his heart, and could see the lie it had been, and see all that the lie had cost, and with surging mind and heart sore made return to shallowing shore. And there Attis, seasick, heart sore, with sore eyes salty as the sea now addressed her country, grief struck, with this song, or more of a speech: Oh my country, nation, homeland, oh my country where I was born! Like a truant out of bounds—bounds like a palace, a place of peace— in a rage, a grief, a wild mood, did I take myself off to here, here to live in lairs of wild beasts, here to live in shivering snow, to inhabit my own madness, my insanity the worst lair of them all. Oh where can I now understand my country to be? My sore eyes both long to be fixed in a gaze shiverless on you, for a pause, a space, to come clear, and to clear what’s left of my mind. Do I have to leave, to have left, my own home, and live in the wild? Do I have to... (shrink)

This chapter contains sections titled: A Living Oxymoron: Homo, the Meat‐Eating Herbivore Food Safety, Weapons, and the Birth of Ethics Thinking and Acting with Spears Ride 'em Cowboy? Notes.

Die Briefe des jüngeren Plinius gehören zu den berühmtesten Briefsammlungen der Antike. Die ersten neun Bücher geben ein vielseitiges Bild des Lebens und Treibens der vornehmen Welt unter der Regierung von Kaiser Trajan. Das 10. Buch enthält den Briefwechsel zwischen Plinius als Statthalter von Bithynien und dem Kaiser.