Volume 156, Issue 1 -

In Sophist 228a7–8 the reading of Plato’s manuscripts διαφορᾶς διαφϑοράν is defended on the basis of a reconsideration of the Galenic passages of De placitis Hippocratis et Platonis (V 2, p. 302, 18–19 and V 3, p. 310, 26 De Lacy) usually advanced in order to maintain that it is corrupt and is to be changed into in διαφϑορᾶς διαφοράν. The analysis of several other passages of the Platonic corpus concerning στάσις and νόσος, and the comparison with Plutarch’s De Stoicorum repugnantiis 1041b, which shows a textual history very similar to the considered passage of Plato’s Sophist , further support the reading in the manuscripts.

Epigram AP XVI ( Plan. ) 275, by Posidippus, contains an ecphrasis of a statue created by the sculptor Lysippus that is an allegory of Kairos – not in expository form but rather in the form of a dialogue of questions and answers, with the aim of revealing the hidden meaning of its peculiar iconographic features. Lysippus’ statue and Posidippus’ epigram are the oldest testimonies existing in art and in the literary sources for Kairos , which was the subject of other descriptions and of a rich iconography starting at the end of the Hellenistic age. They contain discrepancies in the selection of the features characterizing the concept, which possibly derive from a change in the meaning and the role of the allegory. The text provides an indication of the frequency with which certain abstractions were personified and deified in the Hellenistic age, sometimes to the point of becoming an object of worship.

The speech of Gregory Thaumaturgus to the Christian scholar and theologian Origen (c. 238 C. E.) is a historical document of unusual importance, both in terms of its content, depicting the master-student relationship of the time from the perspective of the student, and in terms of form, providing an actual implementation of the theory of rhetoric that was a cornerstone of higher education. Yet disagreement persists to this day in the scholarly literature over the generic classification of this first example of Christian epideictic oratory. It is most frequently found categorized as a speech of thanksgiving, of praise, or of farewell. This paper discusses the grounds for the various definitions, examines the text itself in search of such grounds, and shows, in reference to two treatises on epideictic attributed to Menander Rhetor, why the most plausible classification is as a logos syntaktikos – a farewell speech, in which a traveler, by means of portraying and arousing emotion, laments the necessary parting and praises the person or people of whom leave is taken.

Among the witnesses of Galen’s Quod animi mores has been not yet employed the excerptum contained in the miscellaneous codex of Munich Clm 807, written in 1491 by the well-known humanist Angelo Poliziano. This excerptum seems to depend on the same model as the 1525 editio princeps , the so–called Aldina, which is currently supposed to be lost. It thus represents the only instrument of control for this traditional branch as well as a precious witness to the interest aroused by this Galen’s work and its circulation among classical scholars in the Renaissance Italy. This article provides a critical edition of the excerptum , including with identification, translation and commentary.

The Law of Hermann and Lachmann stipulates that in the iambo-trochaic verses of Roman drama the two shorts of a resolved element must not be the final syllables of a trisyllabic or longer word. The exceptions are covered by the ‘rule for places with licence’ (‘norma delle sedi con licenza’), for which a redefined and extended version is given in this paper. Its purpose is to show that a dactylic word can be placed behind the penthemimeral caesura in the iambic senarius. The paper discusses the transmitted evidence for this licence and argues that the place after the penthemimeral caesura in the iambic senarius corresponds to the place after the median diaeresis in the trochaic septenarius, a well established licence-place which permits dactylic words.

Elijah Fenton’s (1683–1730) Phaon to Sappho has so far never been in the focus of literary criticism. The article aims at a more detailed understanding of Fenton’s technique of literary reception by means of a close reading of both Phaon to Sappho and Fenton’s model, the (presumably) Ovidian Epistula Sapphus . As will be seen, Fenton offers an unexpected perspective on the ancient myth through the eyes of ‘his’ Phaon: Phaon did not leave Sappho out of faithlessness but was completely unable to entertain any feelings of true love, because he had been cursed by Venus for being unfaithful to his former girl-friend in Malea. Phaon merely enjoyed Sappho’s gift of song as a temporary remedy for the agony within his cursed mind, but had to leave her whenever she stopped singing. At this point Phaon is asking for Sappho’s intercession with Venus on his behalf. Although Fenton makes crucial changes to the plot, he does neither ‘deconstruct’ nor ‘correct’ the myth as such: instead, he meticulously retains all the major motifs developed in Ovid’s epistle and thus achieves a literary transformation of the myth, enabling the reader to regard either perspective on the two protagonists’ relationship as logically possible.

Seven mentions of Homer, Homeric characters or passages are contained in Fronto’s De orationibus and his five letters known as De eloquentia . Although these references might seem surprising in rhetorical texts, they form in fact a rather coherent corpus which features the famous epic poet in a singular fashion. His poems are however neither quoted nor commented upon at length. On the contrary the references are closely related to Fronto’s aims and thoughts and the poet as represented is different from both the actual and the traditional Homer. He is deprived of his own characteristics and becomes a rhetor and one of the most important orators. He is thus to be considered and followed by someone trying to define which is the best oratorical style in general and the best type of eloquence for an emperor in particular. Even if this sort of metamorphosis is not without precedent in Latin literature and oratory, the Frontonian Homer, whose perfect style is a model of purity and naturalness, is a new Homer reflecting a second-century rhetorician’s thinking.

The opus florentissimum mentioned at Aurelius Victor, Liber de Caesaribus 24, 5 is to be identified with the thermae Alexandrianae built by Alexander Severus. An emendation is put forward for the textual problem celebrio in the same passage.