The article presents a philological edition of K.2727+K.6213, a fragmentary tablet from Nineveh that deals with a ritual for opening a canal. The paper discusses other references to this ritual, i.e. parallel sources for this type of ritual, the materials used, the gods addressed, and the specialists who performed the ritual actions.

In the early 1990s the two fragments of black stone making up the Tower of Babylon stele with pictures of the ziggurat in Babylon and the king Nebuchadnezzar II were found in the large open trench from the German excavations of Amran in 1900. The findspot was about 20 m north of the Esagil temple in Babylon, but the level where it was discovered is not Neo-Babylonian but later, possibly Parthian. The archaeological and historical background of the stele is discussed, and the image of the Ziggurat on the stele is considered. After 28 years in the Schøyen Collection Oslo, the stele is now in the Iraq Museum in Baghdad.

This paper explores the processes of specialized viticulture in the province of Gallia Narbonensis over the first three centuries CE and brings this evidence to bear on broader economic questions, particularly as they relate to the effects of connectivity and globalization on Roman economic development. Evidence from small farms to sprawling villas suggests that specialized production stretched across multiple strata of society in Narbonensis, from so-called peasants to the wealthiest elites. The existence of specialized agricultural production at the scale documented in Narbonensis required significant demand, well-connected and integrated markets, sustained trade, and an awareness of these economic factors by the residents of the province. The evidence presented here demonstrates that the residents of Narbonensis recognized that they were part of an economic environment in which high levels of connectivity and integrated markets allowed them to pursue more profitable production strategies and that they pursued these opportunities.

This paper analyses the metaliterary statements that pervade the oeuvre of Ennodius of Pavia (a.d. 474–521) in order to reconstruct his underlying conception of language: its nature, power, function, limitations, and dangers. This new perspective provides a more nuanced insight into the paradoxical poetics of the author as well as his final renunciation to literature after his appointment as bishop of Pavia.

Vitruvius’ book is chock full of bodies. It is by means of his oiled body that Dinocrates gains an audience with Alexander (2.praef.1), and by means of his naked one, and the equivalent body of water that it displaces, that Archimedes solves his well-known quandary (9.praef.9f.). The body is a living, vital thing (7.praef.2f.), even as it is a book, a body of work (7.praef.10), arising from a body of education (1.1.12). Most important of all, Vitruvius outlines a ‘body of architecture’ (corpus architecturae, 6.praef.7) to propagate and extend the reach of the deified Augustus, commander-in-chief (1.praef.1), and this idea arguably gives rise to that of the ‘body politic’ (corpus imperii). Vitruvius’ text has been interpreted in terms of these bodies in important studies by Indra Kagis McEwen and John Oksanish; both authors treat the body as replete with meaning, the site of contact between architecture and the political, between text and author. This chapter adds to our understanding of the repertoire of bodies in Vitruvius by looking at those earlier incarnations of circular and square bodies which Vitruvius inherits, and in terms of which he construes the human body as a site of ideal proportions.

This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.

The paper proposes a solution to the problem with Odysseus’ kingship in the Odyssey by maintaining that Odysseus is not officially considered dead. Consequently, Telemachus cannot inherit the position of king and Penelope must leave Odysseus’ household before remarrying. After discussing the modern concept of legal death and previous interpretations of the Ithacan situation, the paper focusses on Athena's speech at 1.275–92. A close reading demonstrates that erecting a cenotaph to Odysseus would be tantamount to a modern declaration of death in absentia, since it will render Penelope a widow and Telemachus the head of the household. This legal convention chimes with the Homeric depiction of Hades.

This article offers a structural analysis of Cicero's Orator, sections 140–8. Situating Cicero's defence of a form of educational activity in relation to his earlier denials that he is teaching anything, the article proposes an explanation for Cicero's apparent reversal of position rooted in status theory, the conceptual framework developed by Greek and Roman rhetorical theorists for schematizing the points at issue in a case and the corresponding lines of approach that a defender should take. Understanding the status-inspired organization of Cicero's self-defence affords readers smoother passage through a text that is often difficult and obscure. Furthermore, this analysis shows how Cicero deploys rhetorical techniques in defence of his educational endeavours both to support his claim to continued relevance and to exemplify the versatility of the ideal orator whom he portrays in the Orator.

This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), MANE[T], contributes significantly to the poignancy and purpose of the poem. MANE can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. MANET can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, ROSA RVES (‘[a] rose, you will fall to ruin’).

This article aims to discuss how Lucretius arranges the four ‘roots’ at the end of successive lines of verse in the De rerum natura (henceforth, DRN) (1.5–8). In this passage Lucretius, alluding to Empedocles, puts the words in such an order that one can see the layers of the world by a vertical reading. In the same passage, Lucretius imitates the very beginning of Homer's ecphrasis (Il. 18.478–85), which the allegorical tradition will explain as an image of the world, related to Empedoclean theory. The article also discusses the allusion to Daedalus by means of the adjective daedalus in DRN 1.7 (daedala tellus), which could be related to both Empedocles and Homer. This adjective is a keyword for discussing the image produced by the words on the written page.

In the first chapter of De architectura book 3, Vitruvius famously expounds upon the theory of proportionality, ultimately crafting the analogy of the human body as a composition of ideal ratios. In this exposition, the architect repeatedly makes use of technical jargon, implementing terms found nowhere else within the Latin literary corpus. Amidst this series of rare Latin vocabulary, however, Vitruvius also includes a striking twenty-seven Greek borrowings—of which twelve are novel terms not found in the corpus before this passage, and seven are terms not found again. While many of these Grecisms are explicated by Vitruvius through the use of subordinate clauses or apposition, the very existence of Latin equivalents and the resultant redundancy of terms renders Vitruvius’ linguistic vacillation strictly unnecessary and rather obfuscating in effect. After all, why borrow a term that requires definition when a corollary already exists within one's primary, ‘matrix’ language? Likewise, once one has committed to adopting a second language of technical vocabulary, why bother translating? Other, similar lexical borrowings are evident throughout De architectura, yet the opening of book 3 offers a unique opportunity to analyze Vitruvius’ method of code-switching in close detail, revealing how the author uses the technique to draw attention both to the technicality of his art and to the Greek tradition evoked by these words.

This article examines ancient depictions of the death of Troilus in art and literature and challenges the widespread belief that the Iliad implies an alternative version of the myth in which Troilus dies in battle. In particular, it argues that the death-in-battle interpretation is both insufficiently supported by the internal evidence and incompatible with the external evidence. Given the evident popularity of the story of Achilles’ ambush of Troilus in the Archaic period, it is hard to avoid the conclusion that the poet of the Iliad knew the story of Troilus’ death by ambush. That the poem's only reference to Troilus does not contradict this story, and possibly even alludes to it, should persuade critics of the strong likelihood that the popular story of Troilus’ ambush at the fountain was also the one in the poet's mind.

This paper analyses the probability of a reading so far neglected by editors in Lactantius Placidus’ late antique commentary on Stat. Theb. 5.16. Next, the article argues that, regardless of the accepted reading, this part of the scholium is likely an interpolation.

The social virtues are not discussed thematically in the Socratic writings of Plato and Xenophon, but they are on display everywhere. Taking Aristotle's accounts of these virtues as a touchstone, this paper explores the portrait of Socrates as a model of good humour in Xenophon's Symposium. While Xenophon is addressing the same issues as Aristotle, and shares some of his red lines, his conception of the ideal humourist and of virtue in general differs from Aristotle's not only in detail but also in general conception. While he never actually violates the rules Aristotle sets down for eutrapelia, Xenophon's Socrates strives not to avoid opposites but to combine them. It is the careful combining of the spoudaion and the geloion that redeems Xenophon's otherwise outrageous portrait of Socratic humour. This suggests a broader paradigm in which virtuous behaviour is a combination of opposites rather than a middle path.

The excavation of a large administrative building at the city of Tell Brak in northern Syria saw the recovery of a considerable quantity of charred cereals dated to the mid-third millennium B.C.E. This remarkable discovery provides a rare snapshot into the nature of agriculture in Upper Mesopotamia during the Early Bronze Age. The material has been studied using a combination of primary archaeobotanical analysis, crop stable isotope determinations, and functional weed ecology to deliver new insights into cultivation strategies at Tell Brak as well as to contribute to the wider debate regarding trade and crop importation in this region. Specific crop regime choices also reveal how the farmers of Tell Brak were able to reduce the overall risk of crop failure by careful water management, a vitally important factor in this semi-arid region, with potential implications for the analysis of other large-scale urban agro-economies in the Middle East and beyond.

An anonymous biography of Lucan known as the Life of Vacca attributes to the poet the composition of a work called Siluae. This information has been accepted by scholars with regard to both Lucan and Statius, thus transforming Lucan into a predecessor of Statius’ Siluae. This article seeks to demonstrate that neither the manuscript tradition of Lucan's biography nor alleged references to Lucan's Siluae in Statius’ collection substantiate the affirmation that Lucan composed a work called Siluae. It is argued that the Life of Vacca is most probably late and its very long catalogue of works (mostly problematic or otherwise unknown) aggrandizes Lucan in response to the need for a commendatory biography of the poet when he became a school author. Pomponio Leto is responsible for perpetuating the mention of Lucan's Siluae by including it in his influential biography of Lucan (the first to reach the printed press). It is further argued that the circumstances of the tradition of Statius’ Siluae explain Leto's acceptance of Lucan's work of the same title. Leto was working on a commentary on the recently rediscovered Siluae, which explains his inclusion of a work called Siluae in his biography of Lucan, a great poet who had preceded Statius. Finally, this article deconstructs the theories that find references to Lucan's Siluae in Statius’ Siluae or that justify Statius’ silence about Lucan's Siluae with its political motifs.