This note on Propertius 4.7 argues that Cynthia, repeatedly cast in the role of the poet's Muse, rejects the burden of inspiration through a learned choice of words (non tamen insector, 4.7.49). The verb insector constitutes a clear reference to the invocation of the Camena in Livius Andronicus and of the Muse in Ennius. Cynthia recalibrates the parlance of poetic inspiration to end her relationship with Propertius, both as his puella and as his Muse.

Un texte récemment mis au jour dans les environs de Lepti Minus (Lamta, dans le Sahel tunisien), gravé sur sur la face principale d'une base de statue, apporte un éclairage substantiel concernant l’édification de l'amphithéâtre de la ville: le contexte d‘édification, la nature du financement et l'identité des évergètes qui l‘ont pris en charge. Il s'agit donc d'un hommage public que le populus Leptitanorum a rendu à L. Octauius Felix, un notable local, membre de l'ordre équestre, coopté en qualité de patron de la cité. Le texte présente ainsi des centres d'intérêt multiples: des considérations onomastiques et sociales, le cursus équestre du notable laptitain, L. Octauius Felix, du primipilat, à la préfecture du camp de la Legio VII Gemina, en Espagne, et a prise en charge de la construction de l'amphithéâtre.

This article discusses textually problematic passages in Catullus 63, a particularly corrupt poem from a particularly corrupt manuscript tradition. It proposes new conjectures and revives several old ones. Throughout there are notes on punctuation, conjecture attribution and an analysis of the structure of Attis’ lament.

This article examines the dog-like aspects and associations of two marine monsters of Graeco-Roman antiquity: Scylla and the κῆτος. Both harbour recognizably canine features in their depictions in ancient art, as well as being referenced as dogs or possessing dog-like attributes in ancient texts. The article argues that such distinctly canine elements are related to, and probably an extension of, the conceptualization of certain marine animals, most prominently sharks, as ‘sea dogs’. Accordingly, we should understand these two sea monsters and the sea dogs as being interrelated in the ancient imagination. Such a canine resonance to certain sea creatures offers a valuable insight into the Graeco-Roman imagination of the marine element as being the abode of creatures reminiscent of terrestrial dogs.

The article focusses on the catalogue of love-affairs from Book 3 of Hermesianax's Leontion (fr. 7 Powell = 3 Lightfoot). Contrary to two basic assumptions of previous scholarship, this article underscores that fr. 3 Lightfoot is neither representative of the Leontion as a whole nor an instance of unsophisticated poetic production. The evidence indicates that Hermesianax's catalogue might have played a crucial role in shaping the later reception of some of the figures he portrays (Mimnermus, Antimachus and perhaps even Hesiod). Finally, several points of contact with Clearchus of Soli show that Hermesianax may be engaging with relevant aspects of contemporary culture, most of all the Peripatetic investigation of biography and the phenomenology of love.

This article argues that one of our only pieces of evidence for Roman marriage between cinaedi, Juvenal's second satire, has been consistently misread and in fact describes a marriage between a cinaedus and a sex worker. It begins by providing the context for the passage in question and its traditional reading, and then demonstrates that the critical phrase siue hic recto cantauerat aere refers to financial, not erotic, exchanges. The article finally discusses the implications of this correction, which are far more substantial than one might expect for a contentious ablative.

This note points out and ventures to explain the remarkable absence of both hortus, ‘garden’, and all forms of hortari, ‘urge’, in a poem that seeks to encourage the audience toward the Garden.

This article presents a new interpretation of the results of the 1980s excavations led by Andrea Carandini on the north Palatine slope. In contrast to Carandini's original reconstruction of the complex as four atrium houses, I propose one palatial complex on the Sacra Via that finds some parallels in recently excavated complexes elsewhere, like the Auditorium site in Rome and the Borgo at San Giovenale.

In 2019, three fragments of terracotta nails were discovered at the site of Amyan (Kurdistan region of Iraq, Duhok Governorate), probably dated to the second half of the second millennium B.C. Typologically unprecedented, they nonetheless belong to the well-known category of nails found throughout Mesopotamia and Susiana, dating from the fourth to first millennia B.C. This article publishes the nails from Amyan and also contextualises them by comparing them to other terracotta nails found in northern Mesopotamia and dated to the second half of the second millennium B.C. By doing so, I ultimately propose an initial typology of these objects.

In the famous exchange between Passennus Paulus and Javolenus Priscus at Plin. Ep. 6.15, it has not been previously recognized that Priscus’ reply is metrical and carries on the hexameter begun by Paulus. This opens up some interesting new possibilities for the interpretation of the letter.

This article argues that the literary contexts of Horace's Odes 3.13, especially archaic Greek poetry, have been relatively neglected by scholars, who have focussed on identifying the location of the fons Bandusiae and on understanding the significance of the sustained description of the kid sacrifice. This study presents a more holistic interpretation of the ode by exploring Horace's interactions with previously unnoticed (Alcaeus, frr. 45 and 347) and underappreciated (Hes. Op. 582–96) archaic Greek poetic intertexts, which also offer a fresh perspective on earlier debates. Horace's use of Alcaeus’ fr. 45, a key intertext, firmly places the fons Bandusiae within the literary landscape of Horace's Sabine estate, and offers a structural and argumentative model for Odes 3.13; further, Alcaean and Hesiodic allusions also suggest that the kid is sacrificed as a surrogate for Horace for keeping him safe. These conclusions are used to offer a new interpretation of the ode on metapoetic, political and philosophical levels, and to explore how these different aspects of the ode interact with Horace's other odes.