This article applies and defends an intertextual approach to Heraclitus B51 DK, the ‘bow-lyre fragment’. It argues that the fragment alludes to the climactic scene of the Odyssey in which the hero strings the bow and is likened to an expert lyre-player (Od. 21.404–11). It then explores some implications of this point for our understanding of the significance of the fragment, of the sixth-century reception of the Odyssey and of Parmenides’ reception of Heraclitus.

This article re-evaluates the role of the manuscript tradition of the Historia Augusta in debates over the original contents and authorship of the text. Evidence for physical disruptions to the text before our oldest surviving manuscripts points to an earlier manuscript distributed across multiple codices. A multi-volume archetype eliminates critical arguments against the author's claims about lives missing before the Life of Hadrian as well as in the lacuna for the years a.d. 244–260. Other multi-volume codices of the eighth and ninth centuries show that loss of an initial volume would have disrupted the textual tradition for the index, titles and authorial attributions. Comparison of our most complete early witness, Pal. lat. 899, to the independent branches of the textual tradition shows discrepancies between these paratextual elements as expected in a disrupted tradition. Ultimately, this article concludes that the current debates on authorship and the original scope of the Historia Augusta rest on paratextual elements from a single branch of the manuscript tradition, raising doubts about the centrality of these controversies to understanding the work.

Within Prudentius’ Peristephanon there are three main episodes which focus upon the torture and/or death of women: the torture and death of Eulalia in Perist. 3, that of Encratis in Perist. 4 and the death of Agnes in Perist. 14. This article compares the variety and types of pain that these women are depicted as undergoing during their martyrdoms, analysing the extent to which gender and sexuality play a role in their responses to pain or to the threat of it. The article first examines the martyrdoms of Agnes and Eulalia and uses these as a basis for analysing the torture of Encratis who is depicted as suffering the most pain and who, even more than the other two, is represented as a liminal figure, not only in terms of gender but also in terms of her status as a living being. A comparison and contrast between Prudentius’ representation of Encratis and his depiction of Loth's wife in his Hamartigenia will give further insight into the significance of Encratis’ suffering and the way in which the slow and painful decay of her flesh links her with the city she protects. It will be shown how the vulnerability of these martyrs’ female flesh and the threatened or actualized violation of their virginal bodies are rendered at once shocking and their source of triumph over traumatic pain.

This article argues that a group of fourteen female statues seen in the Theatre of Pompey in Rome by Tatian belonged to Greek female poets. This group, along with the statues representing the fourteen nationes vanquished by Pompey, and certain groups of statues in the Forum of Augustus should all be ascribed to the influence of the Hebdomades of Pompey's familiaris Varro.

This note adduces three passages in Seneca the Elder to reinforce a demonstration in CQ 69 (2019), 793–8001 that the text of Plin. HN 7.117 has suffered corruption in one of its clauses and requires emendation to restore Pliny's intent. This additional evidence concerns a trope employed by declaimers which could have predisposed a scribe to alter Pliny's text to state that Cicero proscribed Mark Antony. Such a statement has no place in a list of achievements that otherwise all belong to Cicero's consulship twenty years earlier in 63 b.c.