This book provides the first general account of the works of the Latin writer Apuleius, most famous for his great novel the `Metamorphoses' or `Golden Ass'. Living in second-century North Africa, Apuleius was more than an author; he was an orator and professional intellectual, Platonist philosopher, extraordinary stylist, relentless self-promoter, as well as a versatile author of a remarkably diverse body of other work, much of which is lost to us.
at ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam, modo si papyrum Aegyptiam argutia Nilotici calami inscriptam non spreveris inspicere. figuras fortunasque hominum in alias imagines conversas et in se rursum mutuo nexu refectas, ut mireris, exordior. ‘quis ille?’ paucis accipe. Hymettos Attica et Isthmos Ephyrea et Taenaros Spartiatica, glebae felices aeternum libris felicioribus conditae, mea vetus prosapia est; ibi linguam Atthidem primis pueritiae stipendiis merui, mox in urbe Latia advena studiorum Quiritium indigenam sermonem (...) aerumnabili labore nullo magistro praeeunte aggressus excolui. en ecce praefamur veniam, si quid exotici ac forensis sermonis rudis locutor offendero. iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quern accessimus respondet. fabulam Graecanicam incipimus. lector intende: laetaberis. (shrink)
Here Gellius, also the target of poems 74, 80, 89, 90, 91 and 116, is accused of incest with his mother, sister, and aunt. This accusation is coupled with the only extended mythological reference to be found in the group of short Catullan epigrams 69–116:2 not even Tethys or Oceanus can wash out Gellius' crimes. This notion that large bodies of water are unable to wash away the stain of crime is of course a topos going back to Greek tragedy, (...) but the individual naming of the two sea-deities seems to make a point—a literary point which is relevant to the invective of the poem. (shrink)
The information transmitted on the numeration of the books of Petronius' Satyrica is notoriously contradictory. Parts of the extant fragmentary text are variously assigned to Books 14–16: the testimonia are clearly set out in Muller's recent fourth edition , and briefly discussed by Sullivan: of Müller's testimonia, no. 10 places Sat. 89.1 in Book 15, no. 13 puts Sat. 20.5 in Book 14, no. 21 identifies the Cena Trimalchionis as Book 15, and no. 22 suggests that excerpts from Sat. 6–141 (...) and the complete Cena all come from Books 15 and 16. My main purpose here, however, is not to reopen the general question of the numeration or the overall number of the books of the Satyrica. (shrink)
Epistles 1.20, the last poem of its book, begins with an elaborate joke on the entry of Horace's book of epistles into the world and ends with a well-known σραγς describing the poet himself. It will be argued here that this final poem recalls and subverts the pretensions of two earlier final poems in Horace's own Odes, and that its good-humoured depreciation of Horace himself is matched by a similar attitude towards his previous grand poetic claims as a lyric vates.
Peter Marshall has done what all those concerned with manuscripts dream of doing: he has turned up a substantial lost portion of an ancient text. His discovery is related, with great modesty, in an article in Manuscripta 37 , 3–20, where he prints for the first time Tiberius Claudius Donatus' commentary on Virgil, Aeneid 6.1–157, edited from a gathering written in the sixteenth century and now bound into Vaticanus Latinus 8222 ff. 2r–9v. We offer here some emendations to the text (...) he prints; we are grateful to Prof. M. D. Reeve and Dr S. J. Heyworth for their suggestions, which we have incorporated in what follows. The bold figures represent the lines of Aeneid 6. (shrink)
Quid enim? si Daphitae fatum fuit ex equo cadere atque ita perire, ex hocne equo, qui cum equus non esset nomen habebat alienum ? aut Philippus hasne in capulo quadrigulas vitare monebatur? quasi vero capulo sit occisus. Quid autem magnum aut naufragum illum sine nomine in rivo esse lapsum – quamquam huic quidem his scribit in aqua esse pereundum? ne hercule Icadii quidem praedonis video fatum ullum; nihil enim scribit ei praedictum: quid mirum igitur ex spelunca saxum in crura eius (...) incidisse? puto enim, etiam si Icadius tum in spelunca non fuisset, saxum tamen illud casurum fuisse, nam aut nihil est omnino fortuitum aut hoc ipsum potuit evenire fortuna. (shrink)
Our information on Horace's friend Aristius Fuscus, whom he addresses in Odes 1.22 and Epistles 1.10, is neatly summed up by Nisbet and Hubbard: ‘he was a close friend of Horace's . He wrote comedies and seems to have had a sense of humour: it was he who refused to rescue Horace from the ‘importunate man’ in the Sacra Via . Horace says elsewhere that he was a town-lover, who disliked the countryside ; here he amuses him with an account (...) of the perils of his Sabine estate. Fuscus was a schoolmaster by profession ; in epist. 1.10.45 Horace teases him for his stern discipline . Fuscus is mentioned with Asinius Pollio and others as a critic who approved of Horace's poetry . He may also have written on grammar; cf. gramm. 7.35.2 ‘Abnesti Fusti grammatici liber est ad Asinium Pollionem’. The purpose of this note is to add a further piece to this picture, consonant with Fuscus' grammatical interests, namely to argue that Fuscus was also a Stoic, and that his philosophical loyalties are played on in the two poems addressed to him by Horace. (shrink)
Euripides, Medea 11–13 :12 πολιτν codd. et Σbv; πολίταις V3, sicut coni. Barnes 13 ατ Sakorrphos; ατή codd. et gE et Stob. 4.23.30In his recent discussion of this passage , Diggle has convincingly argued for πολίταις and ατ, the latter of which he places in his new Oxford text, but recognises that υγ remains highly problematic : ‘The truth, I think, is still to seek’. It is to this last difficulty that I should like to suggest a solution.The problems of (...) υγ are syntactical, as Diggle clearly demonstrates : ‘With which verb is υγ to be constructed?’ Of these νδάνουσα is more likely for position, ίκετο for sense; but the former construction produces an obscurity, the latter an unacceptable hyperbaton. Another complicating element is the juxtaposition υγ πολιτν. it is clearly significant, and by its intervention appears to prevent taking υγ as π κοινο with both verbs, the third possible construction.As a solution I should like to revive a forgotten conjecture of Pierson's, made in his Verisimilia . His υγς πολίταις appears both to solve all the syntactical problems and to give appropriate point to the juxtaposition of ‘exile’ and ‘citizen’. υγάς would then go with νδάνουσα and bear a concessive sense: ‘pleasing, though an exile, the citizens to whose land she came’, a nuance found already in Wecklein's paraphrase of his text υγ πολιτν. ‘Sie gefällt denen, in deren Land sie gekommen ist, obwohl sie die Bürgerschaft als eine fremde, landesflüchtige Person gegenübersteht’. This contrast between citizen and exile and the necessity for the latter to please the former are naturally important themes in the dramatic situation of the Medea — cf. Medea's words at 222 χρ δ ξένον μν κάρτα προσχωρεν πόλει, with Page's note. (shrink)
Sic effata et osculis hiantibus filium diu ac pressule saviata proximas oras reflui litoris petit, plantisque roseis vibrantium fluctuum summo rore calcato ecce iam profundi mans sudo resedit vertice, et ipsum quod incipit velle, set statim, quasi pridem praeceperit, non moratur marinum obsequium: adsunt Nerei filiae chorum canentes et Portunus caerulis barbis hispidus et gravis piscoso sinu Salacia et auriga parvulus delphini Palaemon….
I quote Griffiths' translation: ‘A crown of many designs with all kinds of flowers had girt her lofty head; in its centre a flat disk above the forehead shone with a clear light in the manner of a mirror or indeed the moon, while on its right and left it was embraced by coils of uprising snakes; from above it was adorned also with outstretched ears of corn’. This is the detailed description of the crown worn by Isis in her (...) epiphany to Lucius at Cenchreae. ‘Sulcis’ is strange; it can only refer to the tracks or furrows left by snakes, a notion wholly irrelevant here – we require a noun referring to actual physical parts of the two snakes which border Isis' moon-disk on either side, preferably a reference to their hanging coils – so Griffiths' translation runs ‘on its right and left it was embraced by coils of uprising snakes’, though this does not render his text, which keeps ‘sulcis’. Read ‘spiris’, a word of similar shape to ‘sulcis’; ‘spirae’ is twice used of the coils of snakes by Vergil, at Aen. 2.217 and 12.848; ‘serpentum spiris’ in the latter passage may influence Apuleius’ ‘spiris…viperarum’. The alliteration and assonance of ‘spins’ and ‘spicis’ would be very much in Apuleius' manner as a jingle involving the change of a single consonant between two words – cf. Florida 3 ‘ita Marsyas in poenam cecinit et cecidit’, Apologia 85 ‘acerbiores morsus viventi et videnti offeruntur’ and H. Koziol, Der Stil des L. Apuleius , 204–5. (shrink)
Horace's Asterie ode has been somewhat neglected by critics. Fraenkel, uninterested in the erotic odes, fails to mention it, and others see it as merely counterbalancing the preceding six Roman Odes by its frivolity and light irony. However, it is one of Horace's most subtle and best-organized erotic odes, matching the more obvious conventions of Latin love-elegy with a romanticized Odyssey as an underlying framework.
The lack of a separate commentary on the fourth book of Statius' Thebaid has meant that many significant details in this description of Capaneus in the catalogue of the Seven have gone unremarked. This article aims to fill the deficiency, pointing out the rich literary allusions, artful symbolism and the careful use of language in this well written passage.
Here Horace's Catius lists restorative foods for drinkers. There seem to be two stages of drinking and two corresponding restoratives: the ‘marcens’ or drooping imbiber may be revived for more by prawns and snails, but not by lettuce, bad for the acidic and vinous stomach, while the man who is further gone needs ham and sausages or anything of that sort from the cook-shops. ‘Immorsus’ causes some difficulty here. It is usually taken with an understood ‘stomachus’ and translated ‘roused’ or (...) ‘excited’ , but it is surely better to understand not ‘stomachus’ but ‘potor’, giving the elegant balance ‘marcentem…recreabis…potorem…[potor] flagitat immorsus refici’, with both verbs of restoration having the drinker for object. The sense usually given to ‘immorsus’ also seems doubtful: ‘immordeo’ is found only twice in classical Latin and only here in this metaphorical sense, and ‘mordeo’ in such contexts means not to rouse the stomach but to cause it to smart or sting, hardly the effect of wine – cf. Scribonius Largus 188 ‘[aconita] mordet autem stomachum et cor adficit’, Pliny, Nat. 27.133 ‘[radix] gustu acri mordet’. (shrink)