The paper proposes a solution to the problem with Odysseus’ kingship in the Odyssey by maintaining that Odysseus is not officially considered dead. Consequently, Telemachus cannot inherit the position of king and Penelope must leave Odysseus’ household before remarrying. After discussing the modern concept of legal death and previous interpretations of the Ithacan situation, the paper focusses on Athena's speech at 1.275–92. A close reading demonstrates that erecting a cenotaph to Odysseus would be tantamount to a modern declaration of death in absentia, since it will render Penelope a widow and Telemachus the head of the household. This legal convention chimes with the Homeric depiction of Hades.

This article discusses the concept of ἰδιώτης, often translated as ‘layman’, in Dionysius of Halicarnassus’ critical essays, where he places particular emphasis on validating the judgement of the ἰδιώτης in aesthetic evaluation. Dionysius’ focus on the impact and reception of art enables him to lay the groundwork for shifting the semantic meaning of ἰδιώτης from being in strict opposition to the artist/critic to a more fluid category, ranging from ‘unskilled’ listener and layman to a relatively experienced ‘amateur’. By conceiving the change from ἰδιώτης to τεχνίτης in criticism as a more gradual process (rather than one of irreconcilable division), Dionysius shows the discipline of rhetoric and literary criticism to be a particularly relevant form of learning that speaks to the sensibilities of Imperial Rome.

This article examines ancient depictions of the death of Troilus in art and literature and challenges the widespread belief that the Iliad implies an alternative version of the myth in which Troilus dies in battle. In particular, it argues that the death-in-battle interpretation is both insufficiently supported by the internal evidence and incompatible with the external evidence. Given the evident popularity of the story of Achilles’ ambush of Troilus in the Archaic period, it is hard to avoid the conclusion that the poet of the Iliad knew the story of Troilus’ death by ambush. That the poem's only reference to Troilus does not contradict this story, and possibly even alludes to it, should persuade critics of the strong likelihood that the popular story of Troilus’ ambush at the fountain was also the one in the poet's mind.

This paper analyses the metaliterary statements that pervade the oeuvre of Ennodius of Pavia (a.d. 474–521) in order to reconstruct his underlying conception of language: its nature, power, function, limitations, and dangers. This new perspective provides a more nuanced insight into the paradoxical poetics of the author as well as his final renunciation to literature after his appointment as bishop of Pavia.

This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), MANE[T], contributes significantly to the poignancy and purpose of the poem. MANE can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. MANET can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, ROSA RVES (‘[a] rose, you will fall to ruin’).

This note on Propertius 4.7 argues that Cynthia, repeatedly cast in the role of the poet's Muse, rejects the burden of inspiration through a learned choice of words (non tamen insector, 4.7.49). The verb insector constitutes a clear reference to the invocation of the Camena in Livius Andronicus and of the Muse in Ennius. Cynthia recalibrates the parlance of poetic inspiration to end her relationship with Propertius, both as his puella and as his Muse.

This note suggests a new emendation for the spurious verb bibunt in Nemesianus, Cynegetica 68. The passage should read Nilique latentem in origine fontem.

This note examines the significance of Gylippus at Aen. 12.271–83 and argues that Virgil's narrative is an epitaphic gesture alluding to Nicander of Colophon, Anth. Pal. 7.435 and other epigrams from Anth. Pal. 7. Virgil's bilingual reader would participate in the Hellenistic Ergänzungsspiel and supplement further meaning to this otherwise generic scene.

This note makes a new argument for van Lennep's conjecture di at Ovid, Heroides 7.21 against the manuscript reading te.

This contribution provides a study of the fabula Atellana from an epigraphic perspective. It brings together the existing inscriptions related to this dramatic genre, explaining the challenges that one faces when trying to identify possible Atellana actors. It also examines the status of Atellana performers and playwrights, contrasting the information provided by literary sources, especially Livy, with the data obtained from inscriptions, which indicate an increasing professionalization of Atellana actors in the first century a.d. Finally, this article poses some questions concerning the development, continuity and geographical diffusion of Atellan comedy in the Imperial era in the light of the epigraphic material and also in comparison with the evidence available for other popular shows, specifically mime and pantomime, which suggests that by the second century a.d. the Atellana was no longer performed on public stages but was rather represented in private settings and studied for its linguistic and rhetorical peculiarities.

Apuleius’ tale of Cupid and Psyche is shown to feature detailed knowledge of ancient magic integrated into the plot, especially the magic of the so-called ‘Sword of Dardanus’ spell and of other papyri with Middle Platonic content. A recently published gemstone from Perugia testifies to the wide distribution of the ‘Sword’. Apuleius’ allusion to the erotic spell involves both Cupid and Venus torturing Psyche. Although Venus’ intentions are to prevent the bond between the lovers, her actions inadvertently echo those depicted in the ‘Sword’ and contribute to the couple's eternal union. Ancient magic is therefore shown to be potent and effective, despite Venus’ plans. This is a methodology Apuleius is known to use widely, for example in his obvious allusions to, and adaptations of, Hellenistic poetry in the story. Magic joins poetry and philosophy as a category of texts shown to be playfully integrated into Apuleius’ construction of the plot of Cupid and Psyche.

This article argues that the literary contexts of Horace's Odes 3.13, especially archaic Greek poetry, have been relatively neglected by scholars, who have focussed on identifying the location of the fons Bandusiae and on understanding the significance of the sustained description of the kid sacrifice. This study presents a more holistic interpretation of the ode by exploring Horace's interactions with previously unnoticed (Alcaeus, frr. 45 and 347) and underappreciated (Hes. Op. 582–96) archaic Greek poetic intertexts, which also offer a fresh perspective on earlier debates. Horace's use of Alcaeus’ fr. 45, a key intertext, firmly places the fons Bandusiae within the literary landscape of Horace's Sabine estate, and offers a structural and argumentative model for Odes 3.13; further, Alcaean and Hesiodic allusions also suggest that the kid is sacrificed as a surrogate for Horace for keeping him safe. These conclusions are used to offer a new interpretation of the ode on metapoetic, political and philosophical levels, and to explore how these different aspects of the ode interact with Horace's other odes.

This article re-examines the scholium on Euripides, Andromache 445, which several scholars have used to support the claim that Andromache premiered outside Athens, and concludes that both the scholium itself and a remark in the play's hypothesis rather suggest that the play was produced in Athens as part of a dramatic competition.

This article proposes a new acrostic (SAPI) and telestic (SOIS) at Laus Pisonis 227–30. Their position opposite one another is an indication that they are to be read as a single sentence and an admonition to both dedicatee and reader that poet and patron need each other to gain eternal fame. The telestic allows us to reconstruct the poet's usus scribendi of the reflexive possessive pronoun suus.

This article aims to offer a fresh analysis of two passages in the extensive necromancy episode in Lucan's Bellum Ciuile: the ritual to reanimate the dead soldier's corpse (6.667–73), and the surgical procedure Erichtho then proceeds to undertake (6.750–7), resembling the practice of a vivisection. The study will focus mostly on the strong connection of magic to medical traditions in antiquity, with a commentary on, and analysis of, these verses through the lenses of medical vocabulary, themes and motifs. It ultimately concludes that Lucan was familiar with the language and characteristics of the medical tradition, enriched his report with them, and was playing with his audience's knowledge of the same.

This article argues that the purpose of ravaging in Greek warfare was not to goad the enemy into fighting or to cause systematic economic harm but to facilitate plundering. The cereal harvest was commonly chosen as a time for invasion, because it maximized the amount of plunder an invading force could expect to find in the enemy countryside. While ravagers were unlikely to cause permanent economic harm to a community as a whole, they could imperil the livelihoods of individual farmers, both directly through theft and destruction and indirectly by preventing farmers from processing the harvest in a timely fashion. This explains the consistent fear of plundering and ravaging present in our sources.

This article bridges a gap in the study of Aristophanic humour by better demonstrating how individual jokes (in this case, the para prosdokian ‘contrary to expectation’ joke) contribute to the wider comic scenes in which they are embedded. After analysing ancient and modern explanations and examples of para prosdokian jokes, this paper introduces the concept of ‘comic bit’, a discrete unit of comedy that builds humour around a central premise, and establishes how para prosdokian jokes contribute to comic bits in a way that recent theories of para prosdokian cannot account for.

This article examines the dog-like aspects and associations of two marine monsters of Graeco-Roman antiquity: Scylla and the κῆτος. Both harbour recognizably canine features in their depictions in ancient art, as well as being referenced as dogs or possessing dog-like attributes in ancient texts. The article argues that such distinctly canine elements are related to, and probably an extension of, the conceptualization of certain marine animals, most prominently sharks, as ‘sea dogs’. Accordingly, we should understand these two sea monsters and the sea dogs as being interrelated in the ancient imagination. Such a canine resonance to certain sea creatures offers a valuable insight into the Graeco-Roman imagination of the marine element as being the abode of creatures reminiscent of terrestrial dogs.

This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.