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DRAMA longer passages than any that can be confidently cited from Plautus. Thais' discovery that Chaerea has raped Pamphila is such a passage. 1 Sometimes he would implicitly Romanize a detail for the sake of comprehensibility or immediacy, 2 but never with the gusto of Plautus. Sometimes he remodelled a passage with a rather pusillanimous eye to Roman decorum : a dialogue between a respectable wife and a prostitute is reported, not presented; a disappointed lover contemplates not suicide but flight. 3 Terence avoids themes involving aged or middle-aged lovers, and none of his Syruses or Parmenos steals even those two or three minae which Plautus' Chrysalus regarded as such small beer. From the few brief lines that can be compared directly with their originals and from general comparison, it is clear that Terence often enfeebled the specific quality of Menander by generalization, even where this was unnecessary: the midwife at An. 483—5 gives her instructions in general and rhetorical form, whereas her Menandrian counterpart spoke with a properly crone-like intimacy and recommended the new mother to take 'the yolk of four eggs' (Men. fr. 37 K—Th). At H.T. 64, on the other hand, it was essential to give up the allusion to the setting of the play in Halai; but it is a weakness of all Terence's plays that they take place nominally 'in his regionibus'', i.e. an undefined 'Athens'. Terence avoids the means which Plautus used to specify his plays and actually goes beyond Menander in isolating his cast from contact with the audience. He never solved the problem which his rejection of the older style involved: Afranius, who greatly admired Terence (Macrob. 6.1.4), may have done better here. An epigram of Julius Caesar praises Terence as puri sermonis amator 'a lover of refined diction', but criticizes him as 'half-Menander' (0 dimidiate Menander) because of his lack of drive (uis, not uis comica).* This is a fair point. Terence's alterations do not compensate for his failure to focus and particularize adequately. It is certainly mistaken, in the present writer's opinion, to interpret any of the alterations reviewed as having deep spiritual significance, or to credit Terence with the communication, even the invention, of a new conception of reason, reasonability, and relationships (humanitas) that differed essentially from ideas already present in Menander and widely diffused in the post- Eratosthenic oecumene. 5 Plautus and Ennius do not use homo, humanus in the 1 Eun. 817—922, cf. Men. Dysk. 233—81 for the dramaturgy. a Eun. 255ff., an Italian market complete with butchers (cf. p. 109, n. 2); 319, the praetorian edict. 3 Ter. Hec. 816-40, Ad. 275, Don. ad loc.% Ludwig (1968) 176. 4 Suet. Vita Terentif. The tag vis comica' comic strength'is a mistake deriving from false punctuation: lenibusatque utinam scriptis adiunctaforet uis, \ comica utaequato uirtuspolleret honore \cum Graecis neue hoc despecius pane iaceres; as if Caesar meant that Terence failed in uirtus compared with the Greeks rather than uirtus comica. 5 Too much has been made of this alleged aspect of Terence, especially by Italian writers since Croce. See Ludwig (1968) i^f., 175, 178. Cambridge Histories Online © Cambridge University Press, 2008
LIGHT DRAMA loaded sense which we find in Terence, but that does not mean that they were unaware of the concept of the community of the wise and good; indeed that is an essential aspect of their cosmopolitan outlook. The inference to be made is rather that the usage had become fashionable in the 170s and 160s in the upperclass philhellene circles in which Terence grew up, and that it was a loantranslation of
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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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Page 43 and 44:
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
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THE SCOPE AND CONTENTS OF THE ANNAL
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THE SCOPE AND CONTENTS OF THE ANNAL
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ENNIUS AND THE MUSES Virgil's time
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ENNIUS THE HELLENISTIC POET the Gra
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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
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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 and 130: LIGHT DRAMA Ballio's entrance in Ps
Page 131 and 132: LIGHT DRAMA mentioned as outsiders,
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: LIGHT DRAMA and even spectacular
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
Page 181 and 182: LUCILIUS ((30) 1013 M = ROL 1091).
Page 183 and 184: LUCILIUS si minu' delectat, quod or
Page 185 and 186: LUCILIUS should risk his own life t
Page 187 and 188: LUCILIUS cruel by asking a friend h
Page 189 and 190: 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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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
Page 513 and 514:
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
Page 541 and 542:
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
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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
Page 577 and 578:
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
Page 589 and 590:
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
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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
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POETRY which Valentinian and his fa
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POETRY of date, and it is clear tha
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37 BIOGRAPHY The form of imperial b
Page 743 and 744:
BIOGRAPHY wise unknown authorities
Page 745 and 746:
BIOGRAPHY concerned with anti-Chris
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BIOGRAPHY Laomedon to the capture o
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BIOGRAPHY hearted commitment to a s
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HISTORY Not all Republican or early
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HISTORY themselves to a readership
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HISTORY long and discursive history
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HISTORY mentators. But it also cont
Page 759 and 760:
HISTORY Julian's teacher and friend
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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
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HISTORY All these points demanded c
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39 ORATORY AND EPISTOLOGRAPHY The s
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ORATORY AND EPISTOLOGRAPHY and othe
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ORATORY AND EPISTOLOGRAPHY as one o
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ORATORY AND EPISTOLOGRAPHY to Valen
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SCHOLARS works as Varro's Res rusti
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SCHOLARS platonist mystic worship o
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GRAMMARIANS read and write. In ever
Page 787 and 788:
GRAMMARIANS is sound rather than or
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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
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APPENDICES Cambridge Histories Onli
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APPENDIX OF AUTHORS AND WORKS ANDRO
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APPENDIX OF AUTHORS AND WORKS had i
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APPENDIX OF AUTHORS AND WORKS that
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APPENDIX OF AUTHORS AND WORKS disco
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APPENDIX OF AUTHORS AND WORKS M. Ta
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APPENDIX OF AUTHORS AND WORKS schol
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APPENDIX OF AUTHORS AND WORKS Moste
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APPENDIX OF AUTHORS AND WORKS CAECI
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APPENDIX OF AUTHORS AND WORKS Carth
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APPENDIX OF AUTHORS AND WORKS (5) P
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APPENDIX OF AUTHORS AND WORKS B. Ta
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APPENDIX OF AUTHORS AND WORKS expli
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APPENDIX OF AUTHORS AND WORKS editi
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APPENDIX OF AUTHORS AND WORKS I. Ma
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APPENDIX OF AUTHORS AND WORKS (190
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APPENDIX OF AUTHORS AND WORKS at Nu
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APPENDIX OF AUTHORS AND WORKS WORKS
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APPENDIX OF AUTHORS AND WORKS 73-10
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APPENDIX OF AUTHORS AND WORKS Heine
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APPENDIX OF AUTHORS AND WORKS A. S.
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APPENDIX OF AUTHORS AND WORKS durin
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APPENDIX OF AUTHORS AND WORKS M.H.
Page 861 and 862:
APPENDIX OF AUTHORS AND WORKS (1) E
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APPENDIX OF AUTHORS AND WORKS Hagen
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APPENDIX OF AUTHORS AND WORKS possi
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APPENDIX OF AUTHORS AND WORKS Aenea
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APPENDIX OF AUTHORS AND WORKS Page
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APPENDIX OF AUTHORS AND WORKS TIBUL
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APPENDIX OF AUTHORS AND WORKS Baile
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APPENDIX OF AUTHORS AND WORKS M. Ha
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APPENDIX OF AUTHORS AND WORKS ' Beo
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APPENDIX OF AUTHORS AND WORKS Catal
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APPENDIX OF AUTHORS AND WORKS ancie
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APPENDIX OF AUTHORS AND WORKS BIBLI
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APPENDIX OF AUTHORS AND WORKS VITRU
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APPENDIX OF AUTHORS AND WORKS (Amst
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APPENDIX OF AUTHORS AND WORKS 13th
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Page 893 and 894:
APPENDIX OF AUTHORS AND WORKS favou
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APPENDIX OF AUTHORS AND WORKS (1970
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APPENDIX OF AUTHORS AND WORKS 290-3
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APPENDIX OF AUTHORS AND WORKS Guill
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APPENDIX OF AUTHORS AND WORKS Lustr
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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
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APPENDIX OF AUTHORS AND "WORKS 15 (
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APPENDIX OF AUTHORS AND WORKS SUETO
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APPENDIX OF AUTHORS AND WORKS STUDI
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APPENDIX OF AUTHORS AND WORKS COLUM
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APPENDIX OF AUTHORS AND WORKS Plini
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APPENDIX OF AUTHORS AND WORKS FRONT
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APPENDIX OF AUTHORS AND WORKS Bowde
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Page 929 and 930:
Page 931 and 932:
APPENDIX OF AUTHORS AND WORKS Honor
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Page 935 and 936:
APPENDIX OF AUTHORS AND WORKS (birt
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APPENDIX OF AUTHORS AND WORKS Cooke
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APPENDIX OF AUTHORS AND WORKS IUSTI
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Page 943 and 944:
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APPENDIX OF AUTHORS AND WORKS Neuja
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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.
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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.
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I Rome, Museo Nazionale Romano. Fra
Page 979 and 980:
III PQasr Ibrim L 1/2. Part of a pa
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