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DRAMA obsolescent forms are artificially exploited at line-end to facilitate scansion (e.g. stem = sim, laudarier = laudari). 'Word-order and syntax however relate directly to contemporary speech, so that, e.g., hyperbaton is significant when it occurs. Contrary to a common opinion, Plautus' language is not in any sense vulgar. In vocabulary, for example, lumbi 'bottom' occurs, but not culus 'arse', and words like fabulari which disappear from polite diction after Terence but survive in Romance (> Fr. faibler, Sp. hablar) were stylistically neutral in Plautus. Greek borrowings and 'neat' Greek are admitted, the latter (like obscene jokes) only just enough to make one wonder why there is not more; this Greek is sub-literary Doric and is attributed almost exclusively to the lower orders.' Here is an example of the internal social differentiation of the stagelanguage, and it is a question that would reward investigation whether the greater variety of Plautine syntax relative to the classical language is also to some extent socially determined. 2 Plautus was quite capable of writing wellsustained complex sentences (e.g. Amph. iff., the longest in Plautus 3 ) and could affect an almost Terentian telegraphic style (Mer. j62ff., Trin. iO78ff.); normally, however, when he wishes to express emotion in any of his modes, he does so not by those means which would convey the impression of real life overheard, for example, studied brevity, broken utterance, and baldness of expression, but rather a bludgeoning prolixity, exuberance of imagery, verbal inventiveness, bizarre identifications, and elevation of the tone to that of tragic discourse; borrowing elements of archaic and public diction, with festoons of alliteration and assonance. Lastly, Plautine diction is characterized by its great variety of resources. Any one of these, e.g. the use of riddle-jokes, of legal terms and ideas, of particular diminutive or adverb formations, etc., will be found by itself to be less common overall than anticipated. Terence's three main alterations of the inherited stage-diction were to loosen the movement of the verse, to reduce but not eliminate the aural exuberances of a Plautus, and to exploit a smaller number of resources but with greater internal variety and absolute frequency. The last and most remarkable feature of Plautine comedy bearing on the question of characterization is its setting and dramatic illusion. There was no point in inviting a Roman audience to 'imagine that this is Phyle in Attica', as Menander's Pan (Dysk. iff.); the evocations would be lost. Plautus' plays are nominally set in 'Athens', 'Epidamnus', even 'Aetolia', but in fact we are always in the same ciuitas graecoromana, a universal city as large as the civilized world, the contemporary oecumene. Celts, Scyths, and Spaniards are 1 Shipp (1953) 105—12, (1955) 139—52. For example Pseud. 483ff. val yip is a combination of affirmative particles never found in written Greek, and a word like thermipolium 'bistro, cafe' is borrowed from a Greek word which no doubt existed in southern Italy, but is unrecorded in literature. 2 Arnott (1972) 58—64 broaches the question of linguistic characterization in Plautus. 3 A parody of the exordium al a magistrate's speech, cf. Cic. Pro Murena init. Cambridge Histories Online © Cambridge University Press, 2008
LIGHT DRAMA mentioned as outsiders, but the inhabitants of Plautinopolis have never heard of Rome and Italy, only of barbari and ba.rba.Tia. Romans are mentioned explicitly only once in a passage of vigorous Plautine quality but of doubtful authenticity, a jokingly uncomplimentary allusion (Poen. 1314), as are all veiled allusions to sections of the audience. 1 There is no praise or celebration of the city as was traditional in Attic comedy. The stage-city is remarkably objective and cosmopolitan. The caricature of a Greek sketched by Curculio (28off.) is not at all chauvinistic, and characteristically the humour is that a persona dressed as a Graecus palliatus is made to deliver a parody of a praetorian edict against Graeci palliati. We have alluded (p. 94) to the remarkably sympathetic treatment of Carthage and Aetolia in Poenulus; Aetolians are again treated with sympathy in Captivi. The dramatic time is the present, and the place is an ambiguous 'here'. Plautus does not mechanically reproduce unintelligible allusions from his models, or simply keep situations which depend on alien assumptions, customs or laws. Either he explains them {Cos. 68ff., Stick. 44
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THE CAMBRIDGE HISTORY OF CLASSICAL
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THE CAMBRIDGE HISTORY OF CLASSICAL
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CONTENTS List of plates P°g e xii
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CONTENTS 11 Cicero and the relation
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CONTENTS PART V! EARLY PRINCIPATE 2
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CONTENTS 41 Minor figures 770 by RO
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PREFACE The Cambridge History of Cl
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Anth. Lat. ANRW Bardon BT Bude Burs
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OCT Para via PIR PL PLF PLM PLRE PM
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READERS AND CRITICS Cambridge Histo
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BOOKS AND READERS IN THE ROMAN WORL
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EDUCATION The same dependence, and
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EDUCATION Such were the characteris
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AUTHOR AND PUBLIC his work on a sma
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AUTHOR AND PUBLIC was of humble or
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AUTHOR AND PUBLIC remained relative
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BOOKS AND PUBLICATION Greek papyri
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BOOKS AND PUBLICATION In antiquity
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BOOKS AND PUBLICATION "We are on sl
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THE 'FATA LIBELLORUM' conditions
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THE 'FATA LIBELLORUM' to look. Even
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SCHOLARSHIP AND CRITICISM panion vo
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THE SENSE OF 'LIBER' two books, as
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2 LITERARY CRITICISM Literary criti
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THE 'ACADEMICS' for we find him ass
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THE 'ACADEMICS' on the prominence o
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THE 'ACADEMICS' some distinguished
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THE 'ACADEMICS' descended to erotic
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THE 'ACADEMICS' before it three pre
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THE CRAFTSMEN ON THEIR CRAFTS to su
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THE CRAFTSMEN ON THEIR CRAFTS foren
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THE CRAFTSMEN ON THEIR CRAFTS to ju
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II EARLY REPUBLIC Cambridge Histori
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THE GENESIS OF POETRY IN ROME I. TH
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THE PRE-LITERARY BACKGROUND The lin
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THE PRE-LITERARY BACKGROUND This ar
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THE EARLIEST EPIC POETRY Despite a
Page 79 and 80: THE SCOPE AND CONTENTS OF THE ANNAL
Page 81 and 82: THE SCOPE AND CONTENTS OF THE ANNAL
Page 83 and 84: ENNIUS AND THE MUSES Virgil's time
Page 85 and 86: ENNIUS THE HELLENISTIC POET the Gra
Page 87 and 88: ENNIUS THE HELLENISTIC POET anapaes
Page 89 and 90: ENNIUS THE HELLENISTIC POET anachro
Page 91 and 92: ENNIUS THE HELLENISTIC POET This is
Page 93 and 94: ENNIUS THE HELLENISTIC POET wind-si
Page 95 and 96: 5 DRAMA I. THE ORIGINS OF ROMAN DRA
Page 97 and 98: THE ORIGINS OF ROMAN DRAMA story in
Page 99 and 100: THE ORIGINS OF ROMAN DRAMA not only
Page 101 and 102: THE ORIGINS OF ROMAN DRAMA record t
Page 103 and 104: THE ORIGINS OF ROMAN DRAMA declaime
Page 105 and 106: THE ORIGINS OF ROMAN DRAMA Greek pr
Page 107 and 108: THE ORIGINS OF ROMAN DRAMA poets fr
Page 109 and 110: THE ORIGINS OF ROMAN DRAMA a well-d
Page 111 and 112: THE ORIGINS OF ROMAN DRAMA and who
Page 113 and 114: LIGHT DRAMA Plautus (i) The authent
Page 115 and 116: LIGHT DRAMA Carthaginian' = Karched
Page 117 and 118: LIGHT DRAMA (Alexis may have). Lycu
Page 119 and 120: LIGHT DRAMA fore cannot logically a
Page 121 and 122: LIGHT DRAMA style, and yet the vers
Page 123 and 124: LIGHT DRAMA Characterization is not
Page 125 and 126: LIGHT DRAMA exploits and strategy w
Page 127 and 128: LIGHT DRAMA City One is, through ex
Page 129: LIGHT DRAMA Ballio's entrance in Ps
Page 133 and 134: LIGHT DRAMA He lists several object
Page 135 and 136: LIGHT DRAMA Menander, but distorted
Page 137 and 138: LIGHT DRAMA ing, and because of the
Page 139 and 140: LIGHT DRAMA and even spectacular
Page 141 and 142: LIGHT DRAMA loaded sense which we f
Page 143 and 144: LIGHT DRAMA quae ibi aderant forte
Page 145 and 146: LIGHT DRAMA Terence had a difficult
Page 147 and 148: SERIOUS DRAMA The Argonautic saga a
Page 149 and 150: SERIOUS DRAMA narrow and unsystemat
Page 151 and 152: SERIOUS DRAMA related to the real-l
Page 153 and 154: SERIOUS DRAMA dramatists. Perhaps m
Page 155 and 156: SERIOUS DRAMA TRF 590, 591-3 = ROL
Page 157 and 158: THE RANGE OF OLD LATIN PROSE Cicero
Page 159 and 160: THE RANGE OF OLD LATIN PROSE Flamin
Page 161 and 162: TECHNICAL WRITING dimensions for th
Page 163 and 164: THE PEN IN POLITICS wider audience
Page 165 and 166: THE PEN IN POLITICS she is able to
Page 167 and 168: THE PEN IN POLITICS When Cato spoke
Page 169 and 170: HISTORY To be truly Roman was not a
Page 171 and 172: CATO ORATOR what a position our cou
Page 173 and 174: CATO ORATOR plebitas, duritudo (cf.
Page 175 and 176: THE MINOR WORKS OF ENNIUS Ennius ke
Page 177 and 178: THE MINOR WORKS OF ENNIUS associate
Page 179 and 180: SATURA BEFORE ENNIUS? remark are cu
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LUCILIUS ((30) 1013 M = ROL 1091).
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LUCILIUS si minu' delectat, quod or
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LUCILIUS should risk his own life t
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LUCILIUS cruel by asking a friend h
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LUCILIUS Greek words are very promi
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Ill LATE REPUBLIC Cambridge Histori
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8 PREDECESSORS The short poems of C
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PREDECESSORS even to a twentieth-ce
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THE NEW POETS AND THEIR ANTECEDENTS
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THE MARRIAGE OF PELEUS AND THETIS k
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THE MARRIAGE OF PELEUS AND THETIS C
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THE MARRIAGE OF PELEUS AND THETIS i
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'CATULLI VERONENSIS LIBER' lines of
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'CATULLI VERONENSIS LIBER' Catullus
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LESBIA, SIRMIO, CALVUS Lesbia. But
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LESBIA, SIRMIO, CALVUS Hadriae tabe
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LESBIA, SIRMIO, CALVUS o uenusta Si
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LESBIA, SIRMIO, CALVUS Licinius, ye
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10 LUCRETIUS The De rerum natura of
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BACKGROUND references to Roman ritu
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BACKGROUND This verdict cannot be c
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BACKGROUND genuine excitement, the
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POET AND PHILOSOPHER these can be e
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LUCRETIUS 3. THE POEM Structure Lik
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THE POEM teaching. The prologues, f
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THE POEM from earlier parts of the
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THE POEM elsewhere in the work and
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THE POEM politics, law, and public
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THE POEM and which would at the sam
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THE POEM poetry in too cerebral a m
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CICERO'S ATTITUDE TO CULTURE gorean
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CICERO'S ATTITUDE TO CULTURE date i
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ORATORY AS CICERO FOUND IT trumped
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ORATORY IN CICERO AND HIS CONTEMPOR
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VERSE Lines of similar structure to
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LETTERS In letter no. 9, long enoug
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SPEECHES We may surmise however tha
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SPEECHES Exordia, in Cicero's opini
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SPEECHES He executed all the prison
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DIALOGUES AND TREATISES As his prim
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DIALOGUES AND TREATISES Yet the De
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DIALOGUES AND TREATISES Senate and
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DIALOGUES AND TREATISES his daughte
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DIALOGUES AND TREATISES dared to br
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LITERARY INFLUENCE IN ANTIQUITY fea
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SALLUST known as the 'Catiline'), p
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SALLUST over distinction between bo
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SALLUST recent history? An answer i
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SALLUST to seem good' is high prais
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SALLUST moves closer to biography.
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SALLUST Many asyndeta do not effect
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13 CAESAR C. Julius Caesar's surviv
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CAESAR Tigurini on the river Arar,
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CAESAR the Gallic Wars. Indeed it w
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VARRO to explain how, in a full lif
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VARRO found in Menippus, a third-ce
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CORNELIUS NEPOS Nepos' shallow lear
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PROSE AND MIME 3. THE LITERARY MIME
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IV THE AGE OF AUGUSTUS Cambridge Hi
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15 UNCERTAINTIES Cicero was murdere
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UNCERTAINTIES the decline of civili
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16 THEOCRITUS AND VIRGIL Theocritus
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THEOCRITUS AND VIRGIL The Idyll beg
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VIRGIL AND THEOCRITUS rusticana). O
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VIRGIL AND THEOCRITUS eleventh Idyl
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VIRGIL AND THEOCRITUS ness on the p
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THE BOOK OF ECLOGUES M. Pollio hims
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THE BOOK OF ECLOGUES lective beauty
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THREE ECLOGUES tion that it was wri
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THREE ECLOGUES — an allusion to C
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THREE ECLOGUES reader's, unschooled
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POLITICAL BACKGROUND The poem deals
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INTENTION AND NATURE OF THE POEM im
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STRUCTURE farmer's calendar. Passag
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STRUCTURE Troy. Caesar himself has
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STRUCTURE principle, which could th
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STRUCTURE ported by the logos and i
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18 THE AENElD I. THE AENEID AND ITS
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AUGUSTAN BACKGROUND story became we
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AUGUSTAN BACKGROUND ut cum carcerib
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AUGUSTAN BACKGROUND nothing other t
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LITERARY BACKGROUND and Hecuba', el
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LITERARY BACKGROUND euertere opum i
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COMPOSITION AND STRUCTURE technique
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THE CHIEF CHARACTERS forward and si
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THE CHIEF CHARACTERS his Trojans ha
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THE CHIEF CHARACTERS development of
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THE CHIEF CHARACTERS world the best
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THE CHIEF CHARACTERS But that was e
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THE CHIEF CHARACTERS aspects of Tur
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DESTINY AND RELIGION he could trans
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DESTINY AND RELIGION their individu
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STYLE AND METRE can on occasion use
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STYLE AND METRE more cannot be said
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STYLE AND METRE caesura to line end
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CONCLUSION Deiphobus; the deaths of
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A CRITIQUE OF THE TRADITIONAL STERE
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A CRITIQUE OF THE ACADEMIC DICHOTOM
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Page 417 and 418:
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20 LOVE ELEGY I. GENERAL INTRODUCTI
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GENERAL INTRODUCTION transform Gree
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CHARACTERISTICS OF THE LOVE ELEGY (
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CORNELIUS CALLUS twenties. Of the f
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ALBIUS TIBULLUS mythological or oth
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SEXTUS PROPERTIUS taken from his ea
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PUBLIUS OVIDIUS NASO the countrysid
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OTHER ELEGISTS The Latin love elegy
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'FAME IS THE SPUR' The symbols are
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THE HEROIDES resultant action is en
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THE HEROIDES Dido threaten; the des
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THE HEROIDES Finally his impatience
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THE FASTI (Acontius and Cydippe), C
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THE METAMORPHOSES tragic (Cephalus
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THE METAMORPHOSES to new things'
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THE METAMORPHOSES by contrast, now
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THE METAMORPHOSES another catalogue
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THE METAMORPHOSES (13.i—398). Thi
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THE METAMORPHOSES maintained by the
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THE POEMS OF EXILE Ovid was not a p
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THE POEMS OF EXILE distinction is c
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THE POEMS OF EXILE ingenio tamen ip
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THE POEMS OF EXILE 10), or his pers
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THE POEMS OF EXILE The language and
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THE POEMS OF EXILE light the Tristi
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THE POEMS OF EXILE Ovid's was a muc
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ACHIEVEMENT AND CHARACTERISTICS in
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LIVY Historical activity had flouri
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LIVY a basis a narrative which he c
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LIVY of Abydus is told in terms of
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LIVY lights occurs when the Aequi t
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23 MINOR FIGURES I. POETRY The poet
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POETRY unlike the Copa and Moretum,
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POETRY survival, written according
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POETRY Messallae of 31 B.C. 1 A hig
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POETRY The elegiac, on the other ha
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POETRY Codrusque ille canit, quali
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POETRY saepe suas uolucres legit mi
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POETRY concerns the origins of astr
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POETRY utque per ingentis populus d
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POETRY Rome, it seems, never lost h
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POETRY while fr. i, T, ., ' Idaeos
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POETRY Pedo is more Virgilian. Usua
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POETRY another area of Latin litera
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PROSE apotheosis in a stiff, rather
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V EARLY PRINCIPATE Cambridge Histor
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24 CHALLENGE AND RESPONSE The first
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CHALLENGE AND RESPONSE home towns a
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CHALLENGE AND RESPONSE under August
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25 PERSIUS The satires of Persius a
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SATIRE 2 high-quality honour' (inco
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SATIRE 4 (In the second, one notes
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SATIRE 6 enlightened self-indulgenc
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26 THE YOUNGER SENECA I. INTRODUCTI
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THE STYLISTIC REVOLUTIONARY while i
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SENECAN PROSE You tell me {you say)
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SENECAN PROSE In either case, howev
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SENECAN PROSE Pensies — a paragra
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SENECAN TRAGEDY that the literate p
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SENECAN TRAGEDY literature (modern
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SENECAN TRAGEDY reproduced for thei
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SENECAN TRAGEDY an Attendant; and t
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SENECAN TRAGEDY eclipse, or is the
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THE OCTAVIA in modern discussions,
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27 LUCAN Petronius' classicistic re
Page 553 and 554:
LUCAN to warrant the hypothesis of
Page 555 and 556:
LUCAN declamation, epode — all st
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LUCAN The imminent rupture of all l
Page 559 and 560:
LUCAN Likewise, in the sphere of di
Page 561 and 562:
LUCAN As with poetic diction, so wi
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LUCAN No rural Pan dwelt there, no
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LUCAN desertion is premature; worse
Page 567 and 568:
LUCAN at uagus Afer equos ut primum
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LUCAN The horses are stabbed, not s
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LUCAN Lucan now completes his demol
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LUCAN non Euri cessasse minas, non
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LUCAN proves right: he remains outs
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INTRODUCTORY It was only at the Ren
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INTRODUCTORY thoroughly vindicated.
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STATIUS fantasia on a curious plane
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STATIUS quality of his verse. To th
Page 585 and 586:
STATIUS a propempticon, since it wi
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STATIUS ancient poets, with a unive
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STATIUS elements in the poems, but
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STATIUS no less many-sided are its
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STATIUS The epic ends on a note of
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STATIUS ing mania spreads to Argos
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STATIUS lengthy battle scenes (Book
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VALERIUS sense to Valerius' detrime
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VALERIUS object. By such a metamorp
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VALERIUS feeble and attenuated: obs
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VALERIUS you are astounded, I know
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VALERIUS instead a historic Weltbil
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SILIUS Pliny's words have survived
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SILIUS the recipient of a divine be
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SILIUS miniature. Silius' cura has
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29 MARTIAL AND JUVENAL On the usual
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MARTIAL AND JUVENAL Faustinas' vill
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MARTIAL AND JUVENAL dictate to him:
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MARTIAL AND JUVENAL to laud the new
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MARTIAL AND JUVENAL imagination, an
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MARTIAL AND JUVENAL selection is ap
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MARTIAL AND JUVENAL never seen dire
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MARTIAL AND JUVENAL at his disposal
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MARTIAL AND JUVENAL the first of wh
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MARTIAL AND JUVENAL rifle the resou
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MARTIAL AND JUVENAL tives, Grecisms
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MARTIAL AND JUVENAL Now autumn With
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MARTIAL AND JUVENAL Likewise Juvena
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MARTIAL AND JUVENAL derision. Juven
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PHAEDRUS fables had appeared only i
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CALPURNIUS SICULUS patron represent
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LAUS PISONIS favoured never feared
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EPIGRAMS group of verses, on Claudi
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31 PROSE SATIRE I. APOCOLOCYNTOSIS
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PROSE SATIRE 2. PETRONIUS Petronius
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PETRONIUS arrestingly adapted, the
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32 HISTORY AND BIOGRAPHY I. VELLEIU
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VELLEIUS PATERCULUS Atticus (Cic. B
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TACITUS compelled the attention of
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TACITUS demonstrate his talents rat
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TACITUS Tacitus begins his Historie
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TACITUS weaving details or opinions
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TACITUS writing. Tacitus' style is
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TACITUS Verbal sharpness, concomita
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TACITUS sension and lust for power
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PLINY THE YOUNGER serious request f
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PLINY THE YOUNGER affected. By blen
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HISTORY AND BIOGRAPHY 5. SUETONIUS
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SUETONIUS not so much because of it
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FLORUS as hero (see 2.14.4—6), th
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33 TECHNICAL WRITING 1. POMPONIUS M
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COLUMELLA sension as he is independ
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PLINY THE ELDER was both patriotic
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FRONTINUS well have sought a very p
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QUINTILIAN In the long technical se
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FRONTO on threadbare themes exude t
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AULUS GELLIUS has benefited us grea
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VI LATER PRINCIPATE Cambridge Histo
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35 INTRODUCTORY The period to be st
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INTRODUCTORY regions as the militar
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INTRODUCTORY only in the Greek lang
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INTRODUCTORY between Ambrose and Sy
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INTRODUCTORY significant way differ
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POETRY characteristics. The first i
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POETRY It has been dated at various
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POETRY of Man, but it is very doubt
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POETRY Trier to become tutor to Gra
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POETRY In the words of a perceptive
Page 721 and 722:
POETRY The prey is hooked, and slan
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POETRY been challenged. They are br
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POETRY centuries saw the flourishin
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POETRY looked like; and of Stilicho
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POETRY Posteritas, admitte fidem: m
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POETRY which he did not wish to sur
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POETRY is characteristic of the cla
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POETRY while adopting the latter. T
Page 737 and 738:
POETRY which Valentinian and his fa
Page 739 and 740:
POETRY of date, and it is clear tha
Page 741 and 742:
37 BIOGRAPHY The form of imperial b
Page 743 and 744:
BIOGRAPHY wise unknown authorities
Page 745 and 746:
BIOGRAPHY concerned with anti-Chris
Page 747 and 748:
BIOGRAPHY Laomedon to the capture o
Page 749 and 750:
BIOGRAPHY hearted commitment to a s
Page 751 and 752:
HISTORY Not all Republican or early
Page 753 and 754:
HISTORY themselves to a readership
Page 755 and 756:
HISTORY long and discursive history
Page 757 and 758:
HISTORY mentators. But it also cont
Page 759 and 760:
HISTORY Julian's teacher and friend
Page 761 and 762:
HISTORY There survives in a medieva
Page 763 and 764:
HISTORY summary fashion, either by
Page 765 and 766:
HISTORY are unknown to us, but bear
Page 767 and 768:
HISTORY particular from Virgil. His
Page 769 and 770:
HISTORY of Nazianzus. Most of these
Page 771 and 772:
HISTORY All these points demanded c
Page 773 and 774:
39 ORATORY AND EPISTOLOGRAPHY The s
Page 775 and 776:
ORATORY AND EPISTOLOGRAPHY and othe
Page 777 and 778:
ORATORY AND EPISTOLOGRAPHY as one o
Page 779 and 780:
ORATORY AND EPISTOLOGRAPHY to Valen
Page 781 and 782:
SCHOLARS works as Varro's Res rusti
Page 783 and 784:
SCHOLARS platonist mystic worship o
Page 785 and 786:
GRAMMARIANS read and write. In ever
Page 787 and 788:
GRAMMARIANS is sound rather than or
Page 789 and 790:
MINOR FIGURES rate rhetorical purpl
Page 791 and 792:
MINOR FIGURES the courts during Dio
Page 793 and 794:
APULEIUS (' On the commonwealth') a
Page 795 and 796:
APULEIUS exhorting those readers to
Page 797 and 798:
APULEIUS guard a corpse led to his
Page 799 and 800:
APULEIUS The two main anecdotes in
Page 801 and 802:
APULEIUS a traditionally dissolute
Page 803 and 804:
APULEIUS attributable to an impulsi
Page 805 and 806:
VII EPILOGUE Cambridge Histories On
Page 807 and 808:
The primary aim of any literary his
Page 809 and 810:
EPILOGUE Of the epic composed betwe
Page 811 and 812:
EPILOGUE pastoral now exists side b
Page 813 and 814:
EPILOGUE the Tuscidans and from the
Page 815 and 816:
APPENDICES Cambridge Histories Onli
Page 817 and 818:
APPENDIX OF AUTHORS AND WORKS ANDRO
Page 819 and 820:
APPENDIX OF AUTHORS AND WORKS had i
Page 821 and 822:
APPENDIX OF AUTHORS AND WORKS that
Page 823 and 824:
APPENDIX OF AUTHORS AND WORKS disco
Page 825 and 826:
APPENDIX OF AUTHORS AND WORKS M. Ta
Page 827 and 828:
APPENDIX OF AUTHORS AND WORKS schol
Page 829 and 830:
APPENDIX OF AUTHORS AND WORKS Moste
Page 831 and 832:
APPENDIX OF AUTHORS AND WORKS CAECI
Page 833 and 834:
APPENDIX OF AUTHORS AND WORKS Carth
Page 835 and 836:
APPENDIX OF AUTHORS AND WORKS (5) P
Page 837 and 838:
APPENDIX OF AUTHORS AND WORKS B. Ta
Page 839 and 840:
APPENDIX OF AUTHORS AND WORKS expli
Page 841 and 842:
APPENDIX OF AUTHORS AND WORKS editi
Page 843 and 844:
APPENDIX OF AUTHORS AND WORKS I. Ma
Page 845 and 846:
APPENDIX OF AUTHORS AND WORKS (190
Page 847 and 848:
APPENDIX OF AUTHORS AND WORKS at Nu
Page 849 and 850:
APPENDIX OF AUTHORS AND WORKS WORKS
Page 851 and 852:
APPENDIX OF AUTHORS AND WORKS 73-10
Page 853 and 854:
APPENDIX OF AUTHORS AND WORKS Heine
Page 855 and 856:
APPENDIX OF AUTHORS AND WORKS A. S.
Page 857 and 858:
APPENDIX OF AUTHORS AND WORKS durin
Page 859 and 860:
APPENDIX OF AUTHORS AND WORKS M.H.
Page 861 and 862:
APPENDIX OF AUTHORS AND WORKS (1) E
Page 863 and 864:
APPENDIX OF AUTHORS AND WORKS Hagen
Page 865 and 866:
APPENDIX OF AUTHORS AND WORKS possi
Page 867 and 868:
APPENDIX OF AUTHORS AND WORKS Aenea
Page 869 and 870:
APPENDIX OF AUTHORS AND WORKS Page
Page 871 and 872:
APPENDIX OF AUTHORS AND WORKS TIBUL
Page 873 and 874:
APPENDIX OF AUTHORS AND WORKS Baile
Page 875 and 876:
APPENDIX OF AUTHORS AND WORKS M. Ha
Page 877 and 878:
APPENDIX OF AUTHORS AND WORKS ' Beo
Page 879 and 880:
APPENDIX OF AUTHORS AND WORKS Catal
Page 881 and 882:
APPENDIX OF AUTHORS AND WORKS ancie
Page 883 and 884:
APPENDIX OF AUTHORS AND WORKS BIBLI
Page 885 and 886:
APPENDIX OF AUTHORS AND WORKS VITRU
Page 887 and 888:
APPENDIX OF AUTHORS AND WORKS (Amst
Page 889 and 890:
APPENDIX OF AUTHORS AND WORKS 13th
Page 891 and 892:
Page 893 and 894:
APPENDIX OF AUTHORS AND WORKS favou
Page 895 and 896:
APPENDIX OF AUTHORS AND WORKS (1970
Page 897 and 898:
APPENDIX OF AUTHORS AND WORKS 290-3
Page 899 and 900:
APPENDIX OF AUTHORS AND WORKS Guill
Page 901 and 902:
APPENDIX OF AUTHORS AND WORKS Lustr
Page 903 and 904:
Page 905 and 906:
APPENDIX OF AUTHORS AND WORKS ascri
Page 907 and 908:
APPENDIX OF AUTHORS AND WORKS PETRO
Page 909 and 910:
APPENDIX OF AUTHORS AND WORKS Velle
Page 911 and 912:
APPENDIX OF AUTHORS AND WORKS TEXTS
Page 913 and 914:
APPENDIX OF AUTHORS AND "WORKS 15 (
Page 915 and 916:
APPENDIX OF AUTHORS AND WORKS SUETO
Page 917 and 918:
APPENDIX OF AUTHORS AND WORKS STUDI
Page 919 and 920:
APPENDIX OF AUTHORS AND WORKS COLUM
Page 921 and 922:
APPENDIX OF AUTHORS AND WORKS Plini
Page 923 and 924:
APPENDIX OF AUTHORS AND WORKS FRONT
Page 925 and 926:
APPENDIX OF AUTHORS AND WORKS Bowde
Page 927 and 928:
Page 929 and 930:
Page 931 and 932:
APPENDIX OF AUTHORS AND WORKS Honor
Page 933 and 934:
Page 935 and 936:
APPENDIX OF AUTHORS AND WORKS (birt
Page 937 and 938:
APPENDIX OF AUTHORS AND WORKS Cooke
Page 939 and 940:
APPENDIX OF AUTHORS AND WORKS IUSTI
Page 941 and 942:
Page 943 and 944:
Page 945 and 946:
APPENDIX OF AUTHORS AND WORKS Neuja
Page 947 and 948:
APPENDIX OF AUTHORS AND WORKS P. Co
Page 949 and 950:
APPENDIX OF AUTHORS AND WORKS DONAT
Page 951 and 952:
Page 953 and 954:
APPENDIX OF AUTHORS AND WORKS de Gh
Page 955 and 956:
METRICAL APPENDIX should be disrega
Page 957 and 958:
METRICAL APPENDIX Trochaic septenar
Page 959 and 960:
WORKS CITED IN THE TEXT (1967). Kor
Page 961 and 962:
WORKS CITED IN THE TEXT Cichorius,
Page 963 and 964:
WORKS CITED IN THE TEXT Fiske, G. C
Page 965 and 966:
WORKS CITED IN THE TEXT Harder, R.
Page 967 and 968:
WORKS CITED IN THE TEXT Knowles, M.
Page 969 and 970:
WORKS CITED IN THE TEXT Mohrmann, C
Page 971 and 972:
WORKS CITED IN THE TEXT Pighi, G. B
Page 973 and 974:
WORKS CITED IN THE TEXT Seitz, K. (
Page 975 and 976:
WORKS CITED IN THE TEXT Watson, A.
Page 977 and 978:
I Rome, Museo Nazionale Romano. Fra
Page 979 and 980:
III PQasr Ibrim L 1/2. Part of a pa
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