Chapters 2 analyses the carpe diem motif in Horace and pays particular attention to wine and calendars. In doing so, the chapter shows how Horace’s lyric is distinct from any lyric poem that was written in archaic Greece. Rich Romans possessed thousands of wine amphorae, and consular dates marked the age of each amphora. The chapter argues that this made wine storage places into huge drinkable calendars, in which the oldest wines were stored at the back, and the younger wines at the front. Every time Horace mentions vintage wines, he accesses this calendar. Time is expressed through wine: opening an old wine creates a moment of present enjoyment, which cannot be repeated. Yet, through vintage wines Horace also brings moments of the past to the present. The chapter combines close readings of some of Horace’s poems with research into epigraphical sources, and ultimately advances our understanding of Roman calendars and fasti.

The Epilogue includes a new interpretation of a late antique poem by Pentadius. The Epilogue also summarises the findings of the book.

The Introduction discusses paideia (culture of Greek intellectuals) and its relevance for fourth-century clergy by providing a background to the Cappadocian Fathers. The chapter defines the meaning of "classical masculinity" for this study and places its treatment of gender into the broader scholarship on late antiquity and Christianity. The chapter outlines key concepts such as aretē (manly virtue), agathos (superior person), and asceticism (self-denial), and introduces agōn (contest or struggle) as the concept around which the book is organized. It also directs the reader to consider the Second Sophistic as the antecedent to the fourth-century culture of epistolary exhibitions. The chapter explains the differences in the Cappadocians’ use of genre and the distinguishing features of epistolography and hagiographic biography. And the Introduction explores identity theory and its usefulness for investigating gender and Christianity.

The Epilogue identifies classical masculinity as reflected in depictions of late antique clothing,liturgy in Carolingian monasteries, and miniature illustrations in middle-Byzantine manuscripts. Fifth-century clergy wore specific apparel to signify manhood. Benedictine lectors (readers) were selected according to their virility of voice. And Byzantine artists set clergy face to face in manuscripts, in part a legacy of the agōn trope of reciprocal strength. These examples show that elements of classical masculinity continued to inform the Christian church in western Europe and Byzantium into the eleventh century. Such representations continued to evoke power and authority within the hierarchy of the church.Like fourth-century agōn rhetoric, these trappings of classical manhood provided a language of hierarchy for church leaders to integrate into a faith that lacked comparable platforms for displays of social and spiritual distinction.