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THE NEW DIRECTION IN POETRY KOCI pot Kcrrcx crruq>EXoTo aapcovi8os aurfKOt |i{Tpr|v Seipf|v lve6f|K0(TO • Ted 6' ITT' 4KE£VT) And when she knew her brother's cruel mind, she wailed more loudly than the nightingales that in the groves make myriad-lament for the Sithonian boy. And from a sturdy oak she straightway tied her head-scarf and therein laid her neck: for her the virgins of Miletus rent their garments. Six hexameters, divided into two sections of three, the third and sixth hexameter being a spondaic: the phrase f) 8' OTE 81*1 £>' 6A00T0 (1) is echoed by KCC( £ot KOTOC CTTU9EA0T0 (4); OccnivcoTspov (2) is metrically equivalent to £VE0I'|KOCTO (5), and both -words are followed by similar phrases: a! T* tv\ fir\
THE NEW POETS AND THEIR ANTECEDENTS love becoming the impassioned, masterful woman - her sentimental education is the achievement of Apollonius in his Argonautica. And Euphorion, as did Catullus and Virgil after him, learned from Apollonius. An instructive fragment is preserved. J Apriate, while being hotly pursued along a precipice by the hero Trambelus, unburdens herself of an erudite and disdainful speech, and then — in a single hexameter — throws herself into the sea: the occasion of an aiTiov. Euphorion is not interested in narrative, he is interested rather in obscure mythological allusion and the emotional state of his heroine: his procedure consequently, like that of Catullus in his epyllion (64), is elliptical and abrupt. 2. 'THE MARRIAGE OF PELEUS AND THETIS* An epyllion was more or less expected of the complete New Poet; 2 and Catullus would have been eager to emulate Cinna, whose Zmyrna he so extravagantly admired. The Marriage of Peleus and Thetis, as 64 is usually called, is Catullus' longest and most ambitious poem, undoubtedly his intended masterpiece; a beautiful poem only partially successful but necessary to an understanding of Catullus. Catullus did not spend nine years working on it (is there a note of banter in his compliment to Cinna?); but he did not write it in a single mood of excitement, nor easily. 64 is learned and laborious, a specimen of strictly premeditated art. Formality is established at the outset, and a sense of remoteness from experience: Peliaco quondam prognatae uertice pinus dicuntur liquidas Neptuni nasse per undas Phasidos ad fluctus et fines Aeeteos. . . 0~3) On Pelion's crest once long ago pine-trees were born, and swam {men say) through Neptune's liquid waves to Phasis' waters and the borders of Aeetes. . . In these lines there is nothing of the apparent easiness with which, for instance, 50 begins: Hesterno, Licini, die otiosi.. . ' Yesterday, Licinius, at our leisure. . .'; so might Cicero have begun a letter to an intimate friend, the rhythm of the hendecasyllable being so close to that of ordinary cultivated speech. It is of the essence of this poetry that there should be no dissimulation of the means by which its effect is attained. Certain features would have been recognized immediately by an ancient reader: Peliaco quondam: an ornamental adjective with an adverb to summon up die dateless past; a formula invented by Callimachus for the beginning of his Hecale and then imitated by Theocritus and Moschus. 3 1 Easily accessible in Page (1940) 495—7. The tale is essentially the same as that of Britomartis (Dictyna) and Minos, told by Callimachus, Hymn 1.189-100, which Valerius Cato probably used for his Dxtynna. 1 Furius Bibaculus and Ticidas appear to have been exceptions; Cornificius wrote a G/aucus. > Biihler (i960) 47. 187 Cambridge Histories Online © Cambridge University Press, 2008
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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
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ENNIUS THE HELLENISTIC POET anachro
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ENNIUS THE HELLENISTIC POET This is
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ENNIUS THE HELLENISTIC POET wind-si
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5 DRAMA I. THE ORIGINS OF ROMAN DRA
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THE ORIGINS OF ROMAN DRAMA story in
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THE ORIGINS OF ROMAN DRAMA not only
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THE ORIGINS OF ROMAN DRAMA record t
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THE ORIGINS OF ROMAN DRAMA declaime
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THE ORIGINS OF ROMAN DRAMA Greek pr
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THE ORIGINS OF ROMAN DRAMA poets fr
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THE ORIGINS OF ROMAN DRAMA a well-d
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THE ORIGINS OF ROMAN DRAMA and who
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LIGHT DRAMA Plautus (i) The authent
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LIGHT DRAMA Carthaginian' = Karched
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LIGHT DRAMA (Alexis may have). Lycu
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LIGHT DRAMA fore cannot logically a
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LIGHT DRAMA style, and yet the vers
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LIGHT DRAMA Characterization is not
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LIGHT DRAMA exploits and strategy w
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LIGHT DRAMA City One is, through ex
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LIGHT DRAMA Ballio's entrance in Ps
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LIGHT DRAMA mentioned as outsiders,
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LIGHT DRAMA He lists several object
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LIGHT DRAMA Menander, but distorted
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LIGHT DRAMA ing, and because of the
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LIGHT DRAMA and even spectacular
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LIGHT DRAMA loaded sense which we f
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LIGHT DRAMA quae ibi aderant forte
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LIGHT DRAMA Terence had a difficult
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SERIOUS DRAMA The Argonautic saga a
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SERIOUS DRAMA narrow and unsystemat
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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
Page 191 and 192: Ill LATE REPUBLIC Cambridge Histori
Page 193 and 194: 8 PREDECESSORS The short poems of C
Page 195 and 196: PREDECESSORS even to a twentieth-ce
Page 197 and 198: THE NEW POETS AND THEIR ANTECEDENTS
Page 203: THE NEW POETS AND THEIR ANTECEDENTS
Page 207 and 208: THE MARRIAGE OF PELEUS AND THETIS k
Page 209 and 210: THE MARRIAGE OF PELEUS AND THETIS C
Page 211 and 212: THE MARRIAGE OF PELEUS AND THETIS i
Page 213 and 214: 'CATULLI VERONENSIS LIBER' lines of
Page 215 and 216: 'CATULLI VERONENSIS LIBER' Catullus
Page 217 and 218: LESBIA, SIRMIO, CALVUS Lesbia. But
Page 219 and 220: LESBIA, SIRMIO, CALVUS Hadriae tabe
Page 221 and 222: LESBIA, SIRMIO, CALVUS o uenusta Si
Page 223 and 224: LESBIA, SIRMIO, CALVUS Licinius, ye
Page 225 and 226: 10 LUCRETIUS The De rerum natura of
Page 227 and 228: BACKGROUND references to Roman ritu
Page 229 and 230: BACKGROUND This verdict cannot be c
Page 231 and 232: BACKGROUND genuine excitement, the
Page 233 and 234: POET AND PHILOSOPHER these can be e
Page 235 and 236: LUCRETIUS 3. THE POEM Structure Lik
Page 237 and 238: THE POEM teaching. The prologues, f
Page 239 and 240: THE POEM from earlier parts of the
Page 241 and 242: THE POEM elsewhere in the work and
Page 243 and 244: THE POEM politics, law, and public
Page 245 and 246: THE POEM and which would at the sam
Page 247 and 248: THE POEM poetry in too cerebral a m
Page 249 and 250: CICERO'S ATTITUDE TO CULTURE gorean
Page 251 and 252: CICERO'S ATTITUDE TO CULTURE date i
Page 253 and 254: 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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Page 401 and 402:
Page 403 and 404:
Page 405 and 406:
A CRITIQUE OF THE ACADEMIC DICHOTOM
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Page 413 and 414:
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Page 417 and 418:
Page 419 and 420:
Page 421 and 422:
Page 423 and 424:
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
Page 527 and 528:
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
Page 565 and 566:
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
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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
Page 623 and 624:
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
Page 649 and 650:
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
Page 665 and 666:
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
Page 679 and 680:
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
Page 687 and 688:
COLUMELLA sension as he is independ
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PLINY THE ELDER was both patriotic
Page 691 and 692:
FRONTINUS well have sought a very p
Page 693 and 694:
QUINTILIAN In the long technical se
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FRONTO on threadbare themes exude t
Page 697 and 698:
AULUS GELLIUS has benefited us grea
Page 699 and 700:
VI LATER PRINCIPATE Cambridge Histo
Page 701 and 702:
35 INTRODUCTORY The period to be st
Page 703 and 704:
INTRODUCTORY regions as the militar
Page 705 and 706:
INTRODUCTORY only in the Greek lang
Page 707 and 708:
INTRODUCTORY between Ambrose and Sy
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INTRODUCTORY significant way differ
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POETRY characteristics. The first i
Page 713 and 714:
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
Page 719 and 720:
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
Page 725 and 726:
POETRY centuries saw the flourishin
Page 727 and 728:
POETRY looked like; and of Stilicho
Page 729 and 730:
POETRY Posteritas, admitte fidem: m
Page 731 and 732:
POETRY which he did not wish to sur
Page 733 and 734:
POETRY is characteristic of the cla
Page 735 and 736:
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
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BIOGRAPHY wise unknown authorities
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BIOGRAPHY concerned with anti-Chris
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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
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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
Page 785 and 786:
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
Page 815 and 816:
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
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
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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
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APPENDIX OF AUTHORS AND WORKS 73-10
Page 853 and 854:
APPENDIX OF AUTHORS AND WORKS Heine
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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
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APPENDIX OF AUTHORS AND WORKS possi
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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
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APPENDIX OF AUTHORS AND WORKS 13th
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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
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APPENDIX OF AUTHORS AND WORKS Guill
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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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