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HORACE 7. pallida Mors aequo pulsat pede pauperum tabernas regutnque turns, o beate Sesti, uitae summa breuis spetn nos uetat incohare longam. iam te premet nox fabulaeque Manes et domus exilis Plutonia. (1.4.13—17) Pale Death kicks with impartial foot the poor man's cottage and the prince's castle. My well-off Sestius, the short span of life forbids us to initiate long hopes. Soon night and the storied spirits and the meagre Rich house will hem you in. [Pluto, like Dis, means 'rich'.] Note the plosives and dentals in the first sentence, the contrast of summa breuis with spem longam, and the juxtaposition of exilis and Plutonia, which gives an added reminder to the beatus Sestius. (The meaning of exilis is guaranteed by Epist. 1.6.4 5 f.) 8. 'o sol pulcher! o laudande!' canam, recepto Caesare felix. (4.2.46-8) / shall sing 'Day of beauty, day of glory!' in my happiness at having Caesar back. Here the trochaic rhythm of a popular song of triumph has been cleverly incorporated in a sapphic stanza. 9. illic omne malum uino cantuque leuato, deformis aegrimoniae dulcibus alloquiis. {Epod. 13.17—18) There lighten every misfortune with wine and song, those sweet assuagers of ugly depression. Chiron is advising the young Achilles on how to face the miseries of the Trojan war, from which he will never return. This is the first recorded instance of alloquium; and it is used in the extended sense of 'assuager'. Bentley, who noticed the peculiarity, took it to indicate textual corruption instead of poetic originality; but he was probably right in thinking that Horace had in mind the Greek irapaiiOStov. The expression deformis aegrimoniae looks back to ' scowling moroseness' (5) and to the glowering storm of 1.1. • 10. parcius iunctas quatiunt fenestras iactibus crebris iuuenes proterui, nee tibi somnos adimunt, amatque ianua limen. (1.25.1-4) Not so relentlessly do wild young men shake your closed shutters with volleys of stones; they do not rob you of your sleep, and the door hugs the threshold. The sarcasm derives its force from the implication that to any respectable woman the cessation of these disturbances would be a welcome relief; whereas • See Rudd (1960W 383-6. 384 Cambridge Histories Online © Cambridge University Press, 2008
A CRITIQUE OF THE TRADITIONAL STEREOTYPE for Lydia it marks the beginning of the end. Later in the ode, women past their prime are spoken of as aridae frondes 'dry leaves'. In another place (4.13.12) Horace talks of capitis nines 'head snow', when he means 'white hair'. This may not strike us as very daring, but no parallel is recorded and Quintilian (8.6.17) thought it a harsh metaphor (dura translatid). What, one wonders, did he think of 2.11.6—8 where sexual pleasure is driven away by 'dry whiteness' — arida canine — an expression combining the two ideas of dry leaves and white hair? T. S. Eliot once spoke of'that perpetual slight alteration of language, "words perpetually juxtaposed in new and sudden combinations*. He can hardly have been thinking of Horace's dictum in A.P. 46E., yet the resemblance is remarkably close: in uerbis etiam tenuis cautusque serendis dixeris egregie notum si callida uerbum reddiderit iunctura nouurn. You should also be subtle and careful in weaving words together. If a clever combination makes a familiar word new, that is distinguished writing. 2. A CRITIQUE OF THE ACADEMIC DICHOTOMY Whereas the traditional stereotype is popular and superficial, the two divergent views which we shall shortly consider are represented (in various degrees) by several important works of scholarship. Before coming to them, however, let us grant diat Horace's poetry offers a number of contrasting features, e.g. public/private, urban/rural, Stoic/Epicurean, grand/plain. How should these be interpreted? Certain answers may be set aside at once. One might say, for instance, that consistency was not to be expected — Horace wrote as the mood took him. There is somediing in this, for die poet refuses to be tidied up. Yet to distinguish two sides of his poetic character and then to leave the matter there is not satisfactory. (A similar procedure has failed with Catullus and Juvenal.') Or we could say that the whole question was irrelevant — Horace simply dons different masks, which must, presumably, be taken at their face value. But this only moves the question one step back, for we still want to know whedier the personae are themselves related. Or we might try to see a chronological development in which Horace gradually moved from one side to the other. But this doesn't work, because both sets of concerns are visible at every period. Of the two serious approaches which we have to discuss, one maintains that most of what is lasting and important in Horace is to be found in the public column, whereas the private column contains engaging but essentially ephemeral nugae. According to the other view the true Horace only reveals himself 1 See Frank (1928) and Bibbeck (1865). 385 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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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
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SERIOUS DRAMA dramatists. Perhaps m
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SERIOUS DRAMA TRF 590, 591-3 = ROL
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THE RANGE OF OLD LATIN PROSE Cicero
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THE RANGE OF OLD LATIN PROSE Flamin
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TECHNICAL WRITING dimensions for th
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THE PEN IN POLITICS wider audience
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THE PEN IN POLITICS she is able to
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THE PEN IN POLITICS When Cato spoke
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HISTORY To be truly Roman was not a
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CATO ORATOR what a position our cou
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CATO ORATOR plebitas, duritudo (cf.
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THE MINOR WORKS OF ENNIUS Ennius ke
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THE MINOR WORKS OF ENNIUS associate
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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
Page 351 and 352: 18 THE AENElD I. THE AENEID AND ITS
Page 353 and 354: AUGUSTAN BACKGROUND story became we
Page 355 and 356: AUGUSTAN BACKGROUND ut cum carcerib
Page 357 and 358: AUGUSTAN BACKGROUND nothing other t
Page 359 and 360: LITERARY BACKGROUND and Hecuba', el
Page 361 and 362: LITERARY BACKGROUND euertere opum i
Page 363 and 364: COMPOSITION AND STRUCTURE technique
Page 365 and 366: THE CHIEF CHARACTERS forward and si
Page 367 and 368: THE CHIEF CHARACTERS his Trojans ha
Page 369 and 370: THE CHIEF CHARACTERS development of
Page 371 and 372: THE CHIEF CHARACTERS world the best
Page 373 and 374: THE CHIEF CHARACTERS But that was e
Page 375 and 376: THE CHIEF CHARACTERS aspects of Tur
Page 377 and 378: DESTINY AND RELIGION he could trans
Page 379 and 380: DESTINY AND RELIGION their individu
Page 381 and 382: STYLE AND METRE can on occasion use
Page 383 and 384: STYLE AND METRE more cannot be said
Page 385 and 386: STYLE AND METRE caesura to line end
Page 387 and 388: CONCLUSION Deiphobus; the deaths of
Page 389 and 390: A CRITIQUE OF THE TRADITIONAL STERE
Page 401: A CRITIQUE OF THE TRADITIONAL STERE
Page 405 and 406: A CRITIQUE OF THE ACADEMIC DICHOTOM
Page 423 and 424: 20 LOVE ELEGY I. GENERAL INTRODUCTI
Page 425 and 426: GENERAL INTRODUCTION transform Gree
Page 427 and 428: CHARACTERISTICS OF THE LOVE ELEGY (
Page 429 and 430: CORNELIUS CALLUS twenties. Of the f
Page 431 and 432: ALBIUS TIBULLUS mythological or oth
Page 433 and 434: SEXTUS PROPERTIUS taken from his ea
Page 435 and 436: PUBLIUS OVIDIUS NASO the countrysid
Page 437 and 438: OTHER ELEGISTS The Latin love elegy
Page 439 and 440: 'FAME IS THE SPUR' The symbols are
Page 441 and 442: THE HEROIDES resultant action is en
Page 443 and 444: THE HEROIDES Dido threaten; the des
Page 445 and 446: THE HEROIDES Finally his impatience
Page 447 and 448: THE FASTI (Acontius and Cydippe), C
Page 449 and 450: THE METAMORPHOSES tragic (Cephalus
Page 451 and 452: 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
Page 477 and 478:
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
Page 515 and 516:
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
Page 533 and 534:
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
Page 549 and 550:
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
Page 557 and 558:
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
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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
Page 611 and 612:
SILIUS the recipient of a divine be
Page 613 and 614:
SILIUS miniature. Silius' cura has
Page 615 and 616:
29 MARTIAL AND JUVENAL On the usual
Page 617 and 618:
MARTIAL AND JUVENAL Faustinas' vill
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MARTIAL AND JUVENAL dictate to him:
Page 621 and 622:
MARTIAL AND JUVENAL to laud the new
Page 623 and 624:
MARTIAL AND JUVENAL imagination, an
Page 625 and 626:
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
Page 633 and 634:
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
Page 657 and 658:
32 HISTORY AND BIOGRAPHY I. VELLEIU
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VELLEIUS PATERCULUS Atticus (Cic. B
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TACITUS compelled the attention of
Page 663 and 664:
TACITUS demonstrate his talents rat
Page 665 and 666:
TACITUS Tacitus begins his Historie
Page 667 and 668:
TACITUS weaving details or opinions
Page 669 and 670:
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
Page 681 and 682:
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
Page 689 and 690:
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
Page 695 and 696:
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
Page 709 and 710:
INTRODUCTORY significant way differ
Page 711 and 712:
POETRY characteristics. The first i
Page 713 and 714:
POETRY It has been dated at various
Page 715 and 716:
POETRY of Man, but it is very doubt
Page 717 and 718:
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
Page 723 and 724:
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
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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