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In a brief article under the present title, Adam Parry raised a simple but profound question: were there certain things that the inherited vocabulary of oral poets did not allow them to sayF; The mere raising of this question, whatever his answer, is enough to make the article one of the more important contributions to Homeric studies in the last fifty years. As it happens, his answer was affirmative, and it has not been contested. Contested it will now be.
The reader of Catullus' fiftieth poem can hardly fail to be struck by the poet's use of erotic language to his friend Calvus. Sleeplessness and lack of appetiteare symptoms of love, and the threat of Nemesis is commonly used againsta haughty beloved; miserum (line 9), incensus (line 8), and indomitus furore (line 11) are words to describe a lover, and ocelle (line 19), as Kroll observes, is naturally addressed to a beloved. Even ut tecum loquerer simulque ut essem (line 13) suggests a lover's yearning, if we recall how Plato in erotic contexts stresses the desire to have company and conversation with the beloved (Symp. 211 d 6-8; Phdr. 255 b 2). It is strange then that Kroll should comment onpreces in line 18 that their content is not clear.
The significance of the dating of Enmann's Kaisergeschichte in the controversy which has long surrounded the Historia Augusta is common knowledge to all scholars who have more than a nodding acquaintance with the period. Enmann himself concluded that the KG ended with or shortly after Diocletian's accession. This was a necessary hypothesis for Enmann in 1884 because the H.A. had clearly used the KG and the self-proclaimed authorship and dating of the former were generally accepted. None the less in Enmann's opinion the resemblances between Victor and Eutropius continued into the sole reign of Constantius II down to the Battle of Strasbourg in 357 and Enmann was compelled to ascribe this to a ‘continuation’ of the KG.
Many books have been written on Greek dance. The fault which bedevils a large number of them is that their authors have tried to recreate the movements of the dances from the artistic evidence without taking into account the conventions of Greek vase-painting and sculpture. Other books, and they are the most useful, set out the literary and the artistic evidence without attempting to reconstruct the dances. Rarely, however, are the wider implications considered, and it is these which I wish to discuss here. More analysis and discussion of the evidence for many of my statements is no doubt required, but the place for that is a book rather than an article which ranges over a comparatively large field.