The subject of the so-called ‘veristic’ portraits of the late Republic holds a special fascination for the classical art-historian, especially on the vexatious question of the origins of the style; a question which still remains, essentially, open and unsolved. Yet despite the thoroughness with which the topic is debated, one possible influence upon the emerging veristic style, that of the ancestral portrait, continues to receive inadequate consideration.

Livy's celebrated account of the Bacchanalia has long been a magnet for students of Roman politics, social life, religion, and private law. Two recent surveys document this extensive range of scholarship. J-M. Pailler, the wellknown French archaeologist, has published a massive monograph of 850 pages, admirably documented and containing a chapter of sixty pages reviewing the bibliography of the past hundred years. Erich Gruen, in his collected papers entitled Studies in Greek Culture and Roman Policy, has contributed a long essay on the political aspects, again with a full bibliography. This paper has the more modest aim of reviewing Livy's account primarily from the literary aspect, concentrating in particular on the opening chapters which describe how the alleged coniuratio was detected.

Among the plethora of minor players whose names intrude briefly into the historical record of the age of Alexander the Great is Aristonicus of Carystus. A member of Alexander's entourage, he clearly attained some standing in his own right, and at least some of that renown derived, it seems, from his prowess as a ball-player. Thus one of the interlocutors in Athenaeus' Deipnosophistai reports of his honouring at Athens (1.19a) that

For all its swashbuckling image, classical mercenary soldiering was, on the whole, as subject to the discipline of practical economics as less glamorous-sounding pursuits. Current economic and political considerations dictated whether and why a citizen would become a mercenary; what and how he would be paid; what negotiating power he possessed; whether a ruler would use mercenaries or his own citizenry to fight his wars, and the necessity for a recruiting centre or ‘mercenary market’ where prospective employers and employees could meet and strike a bargain.

‘If, almost a hundred years ago,’ writes the critic Martin Esslin, Walter Pater could sum up the then prevailing trend in his famous epigram, “All art constantly aspires towards the condition of music”, the dominant tendency of our own age might be described as an aspiration of all the arts to attain the condition of images' Certainly it is true that the study of imagery has been a fashionable method of literary criticism for some time and, employed with the proper blend of caution and imagination, has proved itself of service in the interpretation of a number of poets, most notably perhaps Shakespeare. It has long been recognized that Aeschylus is a poet who often works through ‘key’ or ‘dominant’ images; indeed, I suspect that classical scholarship may take some modest pride in having been the first in this field of study, even if it has yet to reach the dizzy heights (and sometimes the excesses) achieved by the Shakespearians.

A striking feature of the speeches in Tacitus' Histories is their responsion to one another. Previous discussions have centred round responsions of theme and argument between speeches given by different speakers. So Galba's advocacy of adoptive versus hereditary monarchy (1.15–16) is balanced by Mucianus' speech urging Vespasian to seek the throne for himself and his son (2.76–77), while Piso's attack on Otho's vicious character (1.30.1) is matched by Otho's criticisms of Piso as a deutero-Galba, harsh and avaricious (1.38.1). In this paper, I shall explore a different kind of responsion, hitherto unnoticed, between four speeches delivered by the same speaker. Tacitus binds Otho's first four speeches (1.21; 37–38; 83–84; 2.47) together through the consistent application of traditional motifs from the general's harangue before battle, although none of them is in fact a cohortatio. The topoi of the battle harangue form a remarkably stable repertoire through ancient historiography and epic and they would have been very familiar to the ancient reader. He would, therefore, have been sensitive to any changes rung on these tropes by the author. An examination of Plutarch's versions of the speeches suggests that Tacitus may well have added these exhortation motifs to express his distinctive point of view. In closing, I shall suggest a possible antecedent for this particular technique.

The legend of the dying swan's melancholy song is given its first expression in extant Greek literature by Aeschylus in 458 B.c., and it has obsessed poets, commentators, and natural historians ever since. Poets like Tennyson may sing of the dying swan's ‘music strange and manifold’, unaffected by the scoffing doubts expressed by ancient scientists and modern editors of classical texts. But do dying swans really ‘sing’? The answer has been known now for over a century and a half, and is mentioned briefly in one or two works on ancient zoology such as C. J. Sundevall's Die Thierarten des Aristoteles (Stockholm, 1863), p. 152, and O. Keller's Die antike Tierwelt (Leipzig, 1913; reprinted 1963), ii.215. English commentators on ancient texts and D'Arcy Thompson's standard Glossary of Greek Birds (second edition, London and Oxford, 1936; reprinted 1966), however, tend either to neglect or unscientifically to dismiss the correct explanation. For this reason a restatement of the facts both ancient and modern seems advisable.

Past readings of Aeschylus’ Agamemnon (458 BC) have spawned numerous theories about the nature and significance of the cloth stage prop central to the ‘Carpet Scene’ (783-974). Kenneth Morrell has pointed out that ‘recent critics at best emphasize the ambiguous nature of the “fabric” ’, which the critics refer to variously as something carpet-like, as rugs or blankets, as garment-like tapestries or loosely-fitting garments, as draperies, and more generally as the household's treasure. But what fabric, if any, would have been versatile enough to function as a tapestry, a robe, and a blanket, and would have inspired outrage when used as a rug?

More symbolically significant than the most luxurious carpet, the fabric strewn on the ground before Agamemnon strongly suggests a bridal cloth, an object replete with symbolism, which would have served as both a nuptial robe and a coverlet for the marriage bed. Scholars who discuss Athenian weddings in the context of the Oresteia have overlooked the nuptial nuances of the ‘carpet’.

Ancient Athens developed democracy to a higher level than any other state before modern times. It was the leading cultural innovator of its age. This state is rightly revered for its political and cultural achievements. What is less well known is its extraordinary record of military success. Athens transformed ancient warfare and became one of the ancient world's superpowers. There is a strong case that democracy was a major reason for this success. The military impact of Athenian democracy was twofold. The competition of elite performers before non-elite adjudicators resulted in a pro-war culture, which encouraged Athenians in increasing numbers to join the armed forces and to vote for war. All this was offset by Athenian democracy's rigorous debating of war, which reduced the risks of Athenian cultural militarism. It also made military reforms easier and developed the initiative of the state's generals, hoplites, and sailors. Political scientists have long viewed Athenian democracy as a source of fresh ideas. At present they cannot satisfactorily explain the war-making of modern democracies. Consequently ancient history can provide political science with new lines of enquiry into how democracy affects international relations today.

The study of the women of classical Athens involves an evidentiary paradox. Women and their pastimes were prominent subjects in this state's literature and in the pictures on its painted pottery, while its comedies and tragedies regularly had articulate and forthright female characters. But none of this gives us access to the ways in which women conceived of their own lives; for they were – as the late John Gould explained so well – ‘the product of men and addressed to men in a male dominated world’. What is more, we lack any works from democratic Athens by female writers to counter this persistently male perspective. Two further biases complicate the study of Attic women. What evidence we have focuses almost without exception on the girls and the wives of Athenian citizens and so provides limited insight into the different circumstances of female slaves and female resident aliens. Typically this evidence also presents the life of wealthy females as the norm for every Attic woman, hampering our ability to reconstruct how exactly the daughters and the wives of poor citizens lived their lives.

Physiognomy (φυσιογνωμονία), the systematic diagnosis of a man's character from his bodily features, originated as a branch of Greek medicine. True, it had antecedents in Babylonia, but the Babylonian science was more concerned with the prediction of the vicissitudes of a man's life than with deciphering his mental and moral qualities, and even deliverances dealing with such qualities were couched in the omen form. Prophetic physiognomists or metoposcopi held their ground throughout classical antiquity, but it was recognized that there were two classes of physiognomist, the seers and the physicians. The medical science of physiognomy was an attempt to extend the idea of treating a man's visible conditions as signs or symptoms of his invisible state, and to produce a list of signs such that the mind's construction could be inferred when it was not transparent. According to Galen this science was invented by Hippocrates himself, which is likely enough, for physiognomical observations occur in probably authentic Hippo-cratic treatises, and there seem to be none in earlier Greek authors. It was introduced into Athens about the time of Socrates, for the philosopher Antisthenes devoted a treatise to it, and there was a story of a visiting expert's diagnosing Socrates as stupid and fond of women.

During the period of the Roman Republic incense from Arabia, ivory from East Africa, pepper from India, and perhaps an occasional consignment of silk from China had reached Roman markets, having passed through the hands of many eastern merchants. The trade had remained small, for such wealth as Rome possessed was in the hands of a small number of landowners or financiers, and the unsettled conditions in the eastern Mediterranean were not conducive to a free flow of trade.

In spite of much sensible writing, by many scholars, on the real importance and significance of the literary convention, there remains among some students of the Classics a persistent folk-memory which asserts that speeches in the ancient historians are rhetorically decorative, deliberately deceptive, and historically inessential. That a speech can be one (or all) of these things is inarguable: but to assume that all speech in historical writing can be so dismissed is dangerous, because such assumption inhibits a full understanding of what a serious ancient historian may be trying to do with it. I should therefore like to look again at the convention, and at some of the ways in which it is used by the major Roman historians.

A Traveller from Athens who takes the inland route to Cape Sounion will pass from the plain of Athens, between Hymettos and Pentelikon, to enter the pleasant and fertile region of the Mesogia. Through the vineyards and olive groves, and through the attractive and populous villages of Paiania, Koropi, Markopoulo, and Keratea, the road bears on south-eastwards to encounter and cross a hill barrier close to the eastern coast of Attica. Descending by this road as it winds through the Plaka Pass to Thorikos and the sea the traveller is struck by the changing aspect of the country. Already in the Plaka Pass there is a hint of an abandoned industrial area such as is encountered in Derbyshire. The impression produced by these first indications of industry is strengthened after the descent to the level of the sea-coast. The charm of Attica's shore, so apparent elsewhere, is here destroyed by an ugly village with great dark mounds like those of a Yorkshire colliery or Scottish shale mine. There are also industrial buildings, for the most part derelict, looking not unlike enlarged Nonconformist chapels in the nineteenth-century tradition. Up the hill-side stretches a curious brick tunnel, with smoke stacks at intervals, intended to remove the noisome vapours generated in the processes here carried out. This is the village of Lavrion. Its other modern name of Ergasteri underlines its character. It is a profoundly depressing place, and one passes through it with relief to regain the road to Sounion.

The words ‘rhetoric’ and ‘rhetorical influence’ come readily enough to the tongue when people talk of Greek and Latin literature, but all too often a great vagueness hangs about them; one is seldom sure whether they are being used historically with reference to certain facts of ancient education or as terms of abuse for some ‘insincerity’ or ‘artificiality’ in literature which the speaker invites us to deplore. My object here is to supply a few facts about the ancient rhetoricians and their intentions, and then to add some observations about the relevance of what they were doing to our own understanding of the ancient writers. Most of what I say is about Greek rather than Latin rhetoric, but I shall of course draw on Latin material, which, for some parts of the subject, is both more abundant and more intelligent than what survives hi Greek. Richard Volkmann, on whose great book we still depend, confessed that the only way by which he came to understand what rhetoric meant to the ancients, and to feel that he had in his hands an ‘Ariadne's thread’ to the labyrinth, was by the repeated reading of Quintilian.

The plot of the Medea concerns infidelity, a woman discarded by her husband for another younger woman and a more ‘suitable’ match. Infidelity by the husband was not an unusual occurrence amid the material of Greek myths. In Sophocles' play The Women of Trachis the heroine Deianeira, and wife of Heracles, must reluctantly take into her household Iole, a beautiful slave-girl whom her husband has taken as his concubine. Although she is made to give voice to her regret and to her jealousy, she has no thought of harming the girl or her husband. That Heracles is finally injured is not the result of an intentional act of revenge on her part but a mistake set in train by the malevolence of someone else.

The way we study Augustus’ Rome has been changing dramatically: I do not mean so much new discoveries of monuments or inscriptions, exciting though they have been, as the new-found disposition of archaeologists, art-historians, epigraphists, and Latinists to talk to each other and to admit cross-fertilization into their work; this spirit of co-operation has engendered a large bibliography, and one only regrets that the sort of multidisciplinary approach that was self-evident to the best Hellenists in Germany 150 years ago has been so painfully slow in reaching Latin studies!

Every country has its heroes, legendary or historical, who are remembered for some noble action that has caught the popular imagination and made their names immortal. Among the Romans, just as Fabricius was the type of incorruptibility, Decius Mus of devotion to country, Regulus of faith to the pledged word, so the name of Lucretia was proverbial for chastity. The story of her suicide after she had been violated by Sextus Tarquin is recounted by the historians Livy, Dionysius, and Diodorus, and alluded to by many Roman poets and prose-writers. But apart from such allusions, it is curious that of all the Roman poets whose works have come down to us none save Ovid has treated her story at any length; moreover, there is apparently no representation of her among the extant remains of Roman art. To painters and poets of later times, however, she made a strong appeal. In the Fitzwilliam Museum at Cambridge, for example, there is the famous painting by Titian; and in our own literature Chaucer sang the praise of ‘the verray wyf, the verray trewe Lucresse’ in his Legend of Good Women, Gower included her in the seventh book of his Confessio Amantis, Shakespeare in his youth composed that highly coloured arabesque The Rape of Lucrece, Thomas Heywood turned the story into a tragic drama, and most recently Benjamin Britten has made it the subject of an opera.

That Ovid found in Lucretia an attractive figure is evident from the detailed manner in which he treats her story in the second book of his Fasti.