This article deals with a well-known crux in Juvenal (6.195). Previous conjectures are discussed before a new emendation is proposed.

Euripides is one of Clement of Alexandria’s most frequently cited sources, and his enthusiastic borrowings have received fresh attention in recent years. This interest has proceeded under the assumption that Clement’s theatrical engagement was primarily limited to the reading of dramatic texts instead of through performance. This article argues that a careful examination of Clement’s Euripidean material in fact reflects the broader performance landscape of the ancient city in which this Christian author lived and wrote. Taken against the backdrop of contemporary Alexandrian performance, this reveals a fresh complexity to Clement’s use of Euripides, and uncovers an author actively participating in and shaped by the cultural activities of this Graeco-Roman city.

This article responds to Laura A. Marshall’s argument that Socrates does not compare himself to a gadfly in Plato’s Apology but rather to a spur on the side of a horse directed by Apollo. In revisiting the evidence for the canonical reading, this article argues that ‘gadfly’ or some other irritant insect is the only plausible translation for μύωψ in the Apology. Scrutinizing the source of the contemporary notion of the Western philosopher is pressingly important—not only for its own sake, but because the ‘spur reading’ has made its way into public circles and even the Cambridge Greek Lexicon.

This article demonstrates that Ovid placed an incomplete reverse acrostic at Rem. am. 681–5 reading desin-. I will argue that it is intentional, noting that it fits the context in which it appears. Additionally, I will discuss how Ovid is drawing the reader’s attention to his engagement with the poetry of Catullus by referencing another possible acrostic in Catullus 36, as well as by playing with themes (and acrostics) from Catullus 8.

This article discusses the horse imagery related to the winds in the storm episode at the beginning of Virgil’s Aeneid. A close analysis of Aen. 1.50–86 brings to light the pervasiveness of this imagery, only partly noticed by scholars, who have regarded it as metaphorical (§1). It is here suggested that the winds released by Aeolus could instead be considered as real horses. A reassessment of the ancient literary—and, briefly, iconographic—evidence of the depiction of the winds as horses, horsemen or charioteers is proposed; Virgil fits into a long-standing tradition of Homeric ancestry, which represents the winds as horses (§2). This allows a better understanding of the narrative dynamic which in Aeneid Book 1 opposes Aeolus to Neptune, the god of the sea as well as of the horses; moreover, the equestrian (and circus) imagery evoked by Virgil contributes to the political and cosmic significance of the tempest episode (§3).

A conjecture in Birds 786–8.

This article examines a report in Dio of a vow made by Augustus in response to a prophecy. It establishes the setting as a festival for the Magna Mater rather than ludi magni, as has recently been suggested. Based on calendar entries and a passage from Ovid, the article then associates the content of the vow with altars of Ceres and Ops established in 7 c.e.

This article examines Diomedes’ speeches in the Iliad and provides a new reading of the Homeric formula ὀψὲ δὲ δὴ μɛτέɛιπɛ. Scholars have used this formula to support the claim that Diomedes is an inexperienced speaker. However, a closer reading of this formula reveals that Diomedes makes delayed responses in observance of the etiquette of Homeric deliberative speech which dictates that younger and lower-ranking chieftains wait their turn to speak. The article argues that the speech type must also match the speaker’s status. Junior statesmen can only respond to proposals, while elder statesmen can call assemblies, set the agenda and give unilateral commands to the host.

An emendation in Euripides, Hecuba 1045.