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INTRODUCTORY All these factors, and no doubt many others which we cannot so clearly discern, led in late antiquity to an effacement of the traditional distinctions between literary genres. Panegyric — and its opposite, invective — are composed in the metre and language of epic poetry. Didactic poems are written in elegiac couplets. The tale of the Trojan war is retold in flat, uniform prose. The letter is used for public polemic. The principles of Christian dogma are set forth in Horatian lyrics. Satire as such is no longer written. But the satirical manner colours many other kinds of writing, such as Arnobius' refutations of pagan doctrines, Claudian's political lampoons, many of Jerome's letters on moral and theological themes. New genres begin to emerge, as writers seek an appropriate literary form for new kinds of content. An example is the kind of autobiography in which the writer reveals something of his inner life. Augustine writes his in highly rhetorical prose. Paulinus of Nola chooses traditional hexameter verse, but without all the apparatus of classical allusion which traditionally belonged to it. In a period in which traditional rules no longer held there was naturally much formless, rambling writing, both in prose and in verse. But it would be a mistake to suppose that the chief characteristic of late Latin literature is decadence. The period saw the development of new literary forms and new techniques. Among the most important of these, judged by its consequences, is the sustained allegory, first developed by Prudentius in verse and by Martianus Capella in prose. Augustine was in many respects a most unclassical writer. But that he wrote powerfully and compellingly cannot be denied. Claudian uses the metre and language of epic poetry for strange purposes. But he uses them strikingly and effectively. The literature of late antiquity combined tradition and innovation, and often in a truly creative fashion. Finally, the gradual, non-revolutionary character of the changes in life and literature must be emphasized. Two hundred years is a long time. It would be a great mistake to suppose that late antique man was as aware that he was living in an epoch of radical and irreversible change as we are today. Nothing was sudden. The old persisted along with the new. Much continued apparently unchanged. Among the literate the sense of continuity was sustained by a highly traditional system of education based on the detailed study of a small number of classical texts. No one, not even the most innovatory of new men in power, thought for a moment of changing this system. Constantine confirmed the privileges of professors. More than two centuries later, after Italy had been devastated by twenty years of war, Justinian restored the emoluments and privileges of teachers of rhetoric. Everything conspired to create the illusion of immutability, and innovators could only conceive of their own measures as acts of restoration. From none of the epitomizing historians of late antiquity would the casual reader gain the impression that the fourth century was in any 690 Cambridge Histories Online © Cambridge University Press, 2008
INTRODUCTORY significant way different from the centuries that preceded. Only Ammianus Marcellinus had the insight to perceive that he was living and writing in an age of crisis, though he never attempts to define the nature of the crisis. Christian writers, with their essentially historical view of the world, were sometimes more sensitive to the signs of change than their pagan contemporaries. Augustine's City of God in its way marks the end of the ancient world in the west as clearly as do the great barbarian invasions. 691 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,
Page 489 and 490:
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
Page 509 and 510:
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
Page 521 and 522:
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
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
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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
Page 547 and 548:
SENECAN TRAGEDY eclipse, or is the
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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
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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
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
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VALERIUS feeble and attenuated: obs
Page 605 and 606:
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:
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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
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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
Page 639 and 640:
MARTIAL AND JUVENAL Likewise Juvena
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MARTIAL AND JUVENAL derision. Juven
Page 643 and 644:
PHAEDRUS fables had appeared only i
Page 645 and 646:
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
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
Page 673 and 674: TACITUS sension and lust for power
Page 675 and 676: PLINY THE YOUNGER serious request f
Page 677 and 678: 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
Page 683 and 684: FLORUS as hero (see 2.14.4—6), th
Page 685 and 686: 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: INTRODUCTORY between Ambrose and Sy
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
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HISTORY particular from Virgil. His
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HISTORY of Nazianzus. Most of these
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HISTORY All these points demanded c
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39 ORATORY AND EPISTOLOGRAPHY The s
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ORATORY AND EPISTOLOGRAPHY and othe
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ORATORY AND EPISTOLOGRAPHY as one o
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ORATORY AND EPISTOLOGRAPHY to Valen
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SCHOLARS works as Varro's Res rusti
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SCHOLARS platonist mystic worship o
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GRAMMARIANS read and write. In ever
Page 787 and 788:
GRAMMARIANS is sound rather than or
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MINOR FIGURES rate rhetorical purpl
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MINOR FIGURES the courts during Dio
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APULEIUS (' On the commonwealth') a
Page 795 and 796:
APULEIUS exhorting those readers to
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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
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EPILOGUE the Tuscidans and from the
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APPENDICES Cambridge Histories Onli
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APPENDIX OF AUTHORS AND WORKS ANDRO
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APPENDIX OF AUTHORS AND WORKS had i
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APPENDIX OF AUTHORS AND WORKS that
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APPENDIX OF AUTHORS AND WORKS disco
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APPENDIX OF AUTHORS AND WORKS M. Ta
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APPENDIX OF AUTHORS AND WORKS schol
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APPENDIX OF AUTHORS AND WORKS Moste
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APPENDIX OF AUTHORS AND WORKS CAECI
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APPENDIX OF AUTHORS AND WORKS Carth
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APPENDIX OF AUTHORS AND WORKS (5) P
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APPENDIX OF AUTHORS AND WORKS B. Ta
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APPENDIX OF AUTHORS AND WORKS expli
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APPENDIX OF AUTHORS AND WORKS editi
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APPENDIX OF AUTHORS AND WORKS I. Ma
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APPENDIX OF AUTHORS AND WORKS (190
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APPENDIX OF AUTHORS AND WORKS at Nu
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APPENDIX OF AUTHORS AND WORKS WORKS
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APPENDIX OF AUTHORS AND WORKS 73-10
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APPENDIX OF AUTHORS AND WORKS Heine
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APPENDIX OF AUTHORS AND WORKS A. S.
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APPENDIX OF AUTHORS AND WORKS durin
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APPENDIX OF AUTHORS AND WORKS M.H.
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APPENDIX OF AUTHORS AND WORKS (1) E
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APPENDIX OF AUTHORS AND WORKS Hagen
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APPENDIX OF AUTHORS AND WORKS possi
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APPENDIX OF AUTHORS AND WORKS Aenea
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APPENDIX OF AUTHORS AND WORKS Page
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APPENDIX OF AUTHORS AND WORKS TIBUL
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APPENDIX OF AUTHORS AND WORKS Baile
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APPENDIX OF AUTHORS AND WORKS M. Ha
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APPENDIX OF AUTHORS AND WORKS ' Beo
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APPENDIX OF AUTHORS AND WORKS Catal
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APPENDIX OF AUTHORS AND WORKS ancie
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APPENDIX OF AUTHORS AND WORKS BIBLI
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APPENDIX OF AUTHORS AND WORKS VITRU
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APPENDIX OF AUTHORS AND WORKS (Amst
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APPENDIX OF AUTHORS AND WORKS 13th
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Page 893 and 894:
APPENDIX OF AUTHORS AND WORKS favou
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APPENDIX OF AUTHORS AND WORKS (1970
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APPENDIX OF AUTHORS AND WORKS 290-3
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APPENDIX OF AUTHORS AND WORKS Guill
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APPENDIX OF AUTHORS AND WORKS Lustr
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Page 905 and 906:
APPENDIX OF AUTHORS AND WORKS ascri
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APPENDIX OF AUTHORS AND WORKS PETRO
Page 909 and 910:
APPENDIX OF AUTHORS AND WORKS Velle
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APPENDIX OF AUTHORS AND WORKS TEXTS
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APPENDIX OF AUTHORS AND "WORKS 15 (
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APPENDIX OF AUTHORS AND WORKS SUETO
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APPENDIX OF AUTHORS AND WORKS STUDI
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APPENDIX OF AUTHORS AND WORKS COLUM
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APPENDIX OF AUTHORS AND WORKS Plini
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APPENDIX OF AUTHORS AND WORKS FRONT
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APPENDIX OF AUTHORS AND WORKS Bowde
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Page 929 and 930:
Page 931 and 932:
APPENDIX OF AUTHORS AND WORKS Honor
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Page 935 and 936:
APPENDIX OF AUTHORS AND WORKS (birt
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APPENDIX OF AUTHORS AND WORKS Cooke
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APPENDIX OF AUTHORS AND WORKS IUSTI
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Page 943 and 944:
Page 945 and 946:
APPENDIX OF AUTHORS AND WORKS Neuja
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APPENDIX OF AUTHORS AND WORKS P. Co
Page 949 and 950:
APPENDIX OF AUTHORS AND WORKS DONAT
Page 951 and 952:
Page 953 and 954:
APPENDIX OF AUTHORS AND WORKS de Gh
Page 955 and 956:
METRICAL APPENDIX should be disrega
Page 957 and 958:
METRICAL APPENDIX Trochaic septenar
Page 959 and 960:
WORKS CITED IN THE TEXT (1967). Kor
Page 961 and 962:
WORKS CITED IN THE TEXT Cichorius,
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WORKS CITED IN THE TEXT Fiske, G. C
Page 965 and 966:
WORKS CITED IN THE TEXT Harder, R.
Page 967 and 968:
WORKS CITED IN THE TEXT Knowles, M.
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WORKS CITED IN THE TEXT Mohrmann, C
Page 971 and 972:
WORKS CITED IN THE TEXT Pighi, G. B
Page 973 and 974:
WORKS CITED IN THE TEXT Seitz, K. (
Page 975 and 976:
WORKS CITED IN THE TEXT Watson, A.
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I Rome, Museo Nazionale Romano. Fra
Page 979 and 980:
III PQasr Ibrim L 1/2. Part of a pa
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