By the colours and decoration of a vase fragment one determines the period and style to which the original belonged; while its physical contours show from what part of the original it comes. The material may be insufficient for a reconstruction of the whole design. But it is often legitimate to go beyond what is actually contained in the preserved pieces.

Barrett finds lines 1010–15 difficult. He says that ‘hovers between “an heiress as my wife” and “marriage with an heiress”’, that ‘a Greek heiress ( here and I.T. 682) did not inherit property as her own: it passed not to her but with her, to her husband and ultimately to her children.—In Attic law a widow was never : a man's property went to his legitimate children.

In Classical Quarterly N.S. ix (1959), 80 ff. Professor Hugh Lloyd-Jones published an article on the closing scenes of Seven Against Thebes. In it he directed an assault on the orthodox belief that these scenes are, in whole or in part, not authentic. The movement in favour of authenticity seemed all the stronger when independently, and in the same year, Walter Potscher put forward arguments in Eranos in defence of some parts of the disputed passages.

The existence of Otto Weinreich's excellent Türöffnung im Wunder-, Prodigienund-und Zauberglauben der Antike, des Judentums und Christentums continues to make an apology necessary for any re-examination of texts in which doors are made, or encouraged, spontaneously to open, to admit a divinity or, occasionally, to speed his departure. But what little fresh sustenance remains to be sucked from some of these well-gnawed bones may now be usefully supplemented with comment on a number of more recently suggested examples.

When Erysichthon, son of Triopas, persisted in felling trees in a grove sacred to Demeter the goddess inflicted on him an insatiable appetite, the consequences of which are brilliantly recounted by Callimachus in his sixth Hymn. Among them is a vain appeal from Triopas to his father Poseidon either to cure or else to feed his grandson, who has devoured the mules, the heifer which his mother was rearing for sacrifice, the racehorse, and the charger,

Hitherto reconstructions of Empedocles' cosmic cycle have usually been offered as part of a larger work, a complete history of Presocratic thought, or a complete study of Empedocles. Consequently there has perhaps been a lack of thoroughness in collecting and sifting evidence that relates exclusively to the main features of the cosmic cycle.

This study offers a new analysis of the last argument of Plato's Phaedo for the immortality of the soul.

Interpretations of this argument and especially of the last section have differed considerably. Judgements on its value have usually been adverse. One scholar speaks of the ‘screen of unreal argument’ which concludes the proof, and writes that ‘from the standpoint of logic the argument has petered out into futility’. Another describes the final stage of the proof as ‘a blatant petitio principii’. A third remarks that the conclusion follows ‘if we do not look too closely’.

In a recent article I drew attention to the fact that the well-known fable of the improvident cicada and the industrious ant has a close resemblance to the story of the twin brothers Amphion and Zethus and their classic debate on the respective merits of the artistic and practical life in Euripides' Antiope, which is reflected not only in the argument of Callicles and Socrates in the Gorgias and Horace, Ep. i. 18

In this article I propose to discuss some passages in the Oresteia in order to illustrate the method devised by Heimsoeth and Headlam for the detection of intrusive glosses. Headlam's theory of glosses, which I outlined in a recent article, was based on a systematic study of the ancient lexica and scholia. Further work on the scholia has raised some problems affecting their authenticity, which need to be settled, if they are to be used effectively for the elucidation of the text.

In this scene Oedipus receives the delegation of suppliants who have come, under the leadership of the priest of Zeus, to entreat Oedipus to deliver them from the blight and the plague. The issue with which I propose to deal concerns the composition of this delegation.

The question to be discussed in this paper can be put in simple terms: at what date were the collections of scholia on classical Greek authors compiled? Scholars have given two conflicting answers. The first was put forward by J. W. White in his edition of the scholia to Aristophanes' Birds. Developing an opinion of Dindorf, he suggested that the archetype of the scholia was a large parchment codex of the fourth or fifth century, which contained in the margins a commentary drawn from several sources. A very similar view has been expressed about the scholia to Apollonius Rhodius and Pindar.

Since the appearance in 1952 of Alexander Turyn's Studies in the Manuscript Tradition of the Tragedies of Sophocles it has been quite clear that editors must abandon the traditional stemma and with it much of their traditional thinking about the text. One of Turyn's most important contributions to Sophoclean studies has been his treatment of what he calls the vetustiores.

In a note on Aesch. Ag. 1243 f. in C.R. lxxv (1961) 187-8, I had occasion to cite a number of examples of adverbial transference. Whether they were or were not (cf. C.R. lxxvii [1963], 127) adequate to establish the point I was seeking to make I leave to the judgement of others, but the idiom possesses interest of its own, and it seems worth while to quote some further instances of it that I have noted since my article appeared. I will divide them according as they occur with verbs of hearing or with other verbs.

Features of the older Attic alphabet, which was officially replaced by the Ionic alphabet in the archonship of Eukleides, are still found sporadically in the Hellenistic period, although some cases are most probably explicable on grounds of analogy:

∈ written for 1324. 26. U (in. s. ii?)2

This perhaps shows the influence of the noun

Theocritus' four known Aeolic poems, 28–31, are all in metres used by Sappho and Alcaeus. 28, 30, and apparently 31, are in greater Asclepiads, and 29 is in Sapphic fourteen-syllable lines. Neither of these metres was in common use, and Theocritus is likely to have based his metrical practice, like his dialect, on the Lesbian models.

This passage comes at the end of Diodorus' account of the archon year 357/6 (Alexander's death probably in fact occurred earlier; 358 is the most likely date) and obviously contains a proleptic reference to the future fortunes of the tyrannicides, Tisiphonus, Lycophron, (and Peitholaus). Tisiphonus died probably in 355 or early in 354; Lycophron and Peitholaus were expelled from Pherae by Philip in 352.

Alexandrian epic is ‘arte allusiva’–to use the Pasqualian term—par excellence: the best methodological introduction to this literary feature still remains Herter's monograph. In the following pages I should like to show how certain passages from Callimachus or ApoUonius can be properly understood only if interpreted according to the canons of the ‘arte allusiva’ as practised by the poets

The most recent work dealing expressly with adoption in Greece is Wentzel's article in Hermes lxv (1930), 167–76, ‘Studien über die Adoption in Griechen-land’. Her article ranges widely over the whole subject and includes a list of all the inscriptions known to her which refer to adoptions, as well as a list of the adoptive formulae found in these inscriptions. In the present article I shall deal more fully with these formulae.

Vindobonensis Y (21), written round about the beginning of the fourteenth century, contains sixteen dialogues and six Spuria in a curious order, the first two Tetralogies and the Parmenides, then the Gorgias, Meno, Hippias Major, Symposium, Timaeus, Alcibiades I and II, and Spuria 7, 1–5, and was thought by Jordan and Immisch

In 163 Galen gave an anatomy lesson in Rome before an audience that included ‘Demetrius of Alexandria, a friend of Favorinus, who was every day speakingin public on themes proposed to him, in the style and manner of Favorinus’