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FLAVIAN EPIC impius and saeuus: or totally erase his greatness from record. Lucan had faced a similar problem with Caesar. In both the Bellum civile and the Punica, the axial polarization of good and evil, virtue and vice, painstakingly affirmed, has failed to persuade because the poets protested too much, too often and too stridently: perilous is the path of those 'who mythicize in verse the documents of history. Statius, Valerius, Silius. Three poets with three distinct styles, purposes, attainments. Only the Silvae and, even more positively, the Thebaid can be accounted successful: within their limitations. Dante placed Statius in purgatory, where he freely acknowledges the supremacy of Virgil (Purgatorio, Canto 21); he names his cardinal sin on earth as prodigality (Canto 22.). A not unfitting fancy: Statius 'was lavish in all his •works of the ars and ingenium with which he 'was unquestionably dowered. Critically, the modern world has lodged him in a more straitened confinement than did Dante: 'with small hope of heaven. Silius is more justly damned. As Pliny saw, he had little else than cura: a literary Attis, who emasculated himself before the shrine of his gods. Valerius remains an enigma. Lacking the virtues of Statius and the vices of Silius, he reveals a mediocrity that, if not golden, has appeared to some at least well-burnished silver. A tribute from Quintilian: reward enough, perhaps, for the Argonautica. 596 Cambridge Histories Online © Cambridge University Press, 2008
29 MARTIAL AND JUVENAL On the usual dating, 1 the beginning of Juvenal's literary career coincided with Martial's later years: the composition of the first satire, which contains a reference to the trial of Marius Priscus in A.D. IOO, was probably contemporaneous with the epigrammatist's retirement to Spain. Martial praised three emperors, and when it was safe to do so, condemned the memory of the first: but it is essentially the age of Domitdan in which he moves. His work spans the last quarter century, a medley of adulation, obscenity, and off-hand observation on a tired, neurotic world. Perhaps gloating, he writes to Juvenal from Spain, comparing town and country: he is at ease, while Juvenal is harassed in the city (12.18). Juvenal, strangely impersonal despite his spleen and violence, has nothing in reply. For one obsessed with the world of the dead, friendship could have had few attractions. Tradition has it that he mellows with time: in fact he simply writes less well after the vitriolic ninth satire, and the paradigmatic, rhetorical tenth. 2 In Satire 15 the venom returns, but it is for his first two books, Satires 1—6, that he is chiefly celebrated. With time, his manner becomes less taut and less intense, more leisurely and reflective; the later Juvenal is a declaimer's poet, preoccupied with theses. In his earlier work he castigated vice and poured scorn on the insufficiencies of virtue, rejecting the ironic manner of Horace and the sermons of Persius, to adopt a deeply pessimistic, hysterically tragic stance. 3 Martial provided him with material and characters, but the mood is all his own. Nor must we overemphasize a direct connexion between the two writers, since epigram and satire deal in common currency. Both forms are traditionally unambitious, both take life as their province — presenting sometimes, occasionally transforming; the higher flights, of epic and tragedy, are 1 For Juvenal, see Cofley (1976) 119—23; and for Martial, Friedlander (1886) pref. 1 Highet (1954), with his insistence that Juvenal is growing old, illustrates the tendency to explain away the change of tone by simplistic appeal to the passing of time: for example 'Book IV is the work of an ageing man' (122); 'signs of age were visible in JuvenaPs Third and Fourth Books. Book III was weaker. Book IV was mellower* (138). But this is perhaps not so tiresome as the theory that Juvenal could not have been the author of the later satires, as Ribbeck (1859) thought, even though his conclusions are supported by stylistic criteria. Writers modify their manner, and without biographical evidence, we cannot say why. 3 See, e.g., Scott (1927), and Bramble (1974) 164—73. 597 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
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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
Page 483 and 484:
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
Page 491 and 492:
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
Page 511 and 512:
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
Page 519 and 520:
CHALLENGE AND RESPONSE under August
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25 PERSIUS The satires of Persius a
Page 523 and 524:
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
Page 533 and 534:
SENECAN PROSE You tell me {you say)
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SENECAN PROSE In either case, howev
Page 537 and 538:
SENECAN PROSE Pensies — a paragra
Page 539 and 540:
SENECAN TRAGEDY that the literate p
Page 541 and 542:
SENECAN TRAGEDY literature (modern
Page 543 and 544:
SENECAN TRAGEDY reproduced for thei
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SENECAN TRAGEDY an Attendant; and t
Page 547 and 548:
SENECAN TRAGEDY eclipse, or is the
Page 549 and 550:
THE OCTAVIA in modern discussions,
Page 551 and 552:
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
Page 563 and 564: LUCAN No rural Pan dwelt there, no
Page 565 and 566: LUCAN desertion is premature; worse
Page 567 and 568: LUCAN at uagus Afer equos ut primum
Page 569 and 570: LUCAN The horses are stabbed, not s
Page 571 and 572: LUCAN Lucan now completes his demol
Page 573 and 574: LUCAN non Euri cessasse minas, non
Page 575 and 576: LUCAN proves right: he remains outs
Page 577 and 578: INTRODUCTORY It was only at the Ren
Page 579 and 580: INTRODUCTORY thoroughly vindicated.
Page 581 and 582: STATIUS fantasia on a curious plane
Page 583 and 584: STATIUS quality of his verse. To th
Page 585 and 586: STATIUS a propempticon, since it wi
Page 587 and 588: STATIUS ancient poets, with a unive
Page 589 and 590: STATIUS elements in the poems, but
Page 591 and 592: STATIUS no less many-sided are its
Page 593 and 594: STATIUS The epic ends on a note of
Page 595 and 596: STATIUS ing mania spreads to Argos
Page 597 and 598: STATIUS lengthy battle scenes (Book
Page 599 and 600: VALERIUS sense to Valerius' detrime
Page 601 and 602: VALERIUS object. By such a metamorp
Page 603 and 604: VALERIUS feeble and attenuated: obs
Page 605 and 606: VALERIUS you are astounded, I know
Page 607 and 608: VALERIUS instead a historic Weltbil
Page 609 and 610: SILIUS Pliny's words have survived
Page 611 and 612: SILIUS the recipient of a divine be
Page 613: SILIUS miniature. Silius' cura has
Page 617 and 618: MARTIAL AND JUVENAL Faustinas' vill
Page 619 and 620: 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
Page 627 and 628: MARTIAL AND JUVENAL never seen dire
Page 629 and 630: MARTIAL AND JUVENAL at his disposal
Page 631 and 632: MARTIAL AND JUVENAL the first of wh
Page 633 and 634: MARTIAL AND JUVENAL rifle the resou
Page 635 and 636: MARTIAL AND JUVENAL tives, Grecisms
Page 637 and 638: MARTIAL AND JUVENAL Now autumn With
Page 639 and 640: MARTIAL AND JUVENAL Likewise Juvena
Page 641 and 642: MARTIAL AND JUVENAL derision. Juven
Page 643 and 644: PHAEDRUS fables had appeared only i
Page 645 and 646: CALPURNIUS SICULUS patron represent
Page 647 and 648: LAUS PISONIS favoured never feared
Page 649 and 650: EPIGRAMS group of verses, on Claudi
Page 651 and 652: 31 PROSE SATIRE I. APOCOLOCYNTOSIS
Page 653 and 654: PROSE SATIRE 2. PETRONIUS Petronius
Page 655 and 656: PETRONIUS arrestingly adapted, the
Page 657 and 658: 32 HISTORY AND BIOGRAPHY I. VELLEIU
Page 659 and 660: VELLEIUS PATERCULUS Atticus (Cic. B
Page 661 and 662: 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
Page 671 and 672:
TACITUS Verbal sharpness, concomita
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TACITUS sension and lust for power
Page 675 and 676:
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
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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
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VI LATER PRINCIPATE Cambridge Histo
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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
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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
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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
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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
Page 771 and 772:
HISTORY All these points demanded c
Page 773 and 774:
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
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
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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
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APPENDIX OF AUTHORS AND WORKS that
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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
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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
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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
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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