The tablet ARET 13, 15 was published in 2003 by Pelio Fronzaroli among other Eblaite “testi di cancelleria,” providing a basis for studying the document. This edition was the first step toward understanding the text, establishing that it describes several episodes pertaining to Ebla’s relations with Mari, its principal rival in eastern Syria, at the time of Yibbi-zikir, the last vizier of Early Dynastic Ebla. However, a number of difficulties remained unresolved. In a new edition, Walther Sallaberger (2008) (...) made significant progress in the interpretation of the structure, genre, and historical setting of the text, as well as of several problematic passages. In particular, he showed that the document describes offenses suffered by Eblaites visiting the Mari kingdom, related to a war between Ebla and Mari. We believe, however, that there is still room for a better understanding of the text. Here we suggest several new interpretations for a number of passages, revealing previously unnoticed lexemes and historical facts. We also provide the first English translation of the document. (shrink)

It is appropriate that this speech should be full of quotations from Roman drama. These offered the jurymen some compensation for their enforced absence from the theatrical performances of the Ludi Megalenses; on the very day when Cicero demolished Clodia's reputation in court, her brother Clodius, as curule aedile, was nearby presiding at the opening of the Ludi. Brother and sister both had a strong interest in the stage; in Pro Sestio 116 Clodius is described as ‘ipse ille maxime ludius, (...) non solum spectator sed actor et acroama, qui omnia sororis embolia novit’. In Pro Caelio 18 Cicero takes up Crassus' quotation of Ennius' Medea, ‘utinam ne in nemore Pelio …’ ends by calling Clodia ‘the Medea of the Palatine’. Clodius is made to address his sister in a trochaic septenarius, ‘quid clamorem exorsa verbis parvam rem magnam facis?’. A harsh parent is represented by a quotation from Caecilius, a gentle one by Micio from Terence's Adelphoe. Clodia herself is called ‘veteris et plurimarum fabularum poetriae’—this phrase should not be taken to mean that she had actually written plays—and in 65 the whole affair at the baths is likened to a mime with no satisfactory conclusion. (shrink)