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This paper aims to investigate the history of the refrain quisquis amat valeat and to speculate on its possible sources. It is attested in this form in twelve inscriptions from Pompeii, all dating back to the I century a. D. These occurrences are located mainly in private contexts and have various communicative purposes and different subsequent words. The origin of this hemistich has already been discussed by literary critics. Kristina Milnor (Milnor 2014) has concluded that this motto, together with others, like venimus hoc cupidi, was the building block of a popular song. It is however equally likewise that it was related to works of official poetry, that are now lost. The purpose of this research is to restore the evolution of this refrain trough an historical linguistic inquiry. The analysis will be developed with reference to the “transfusion of expressive codes” (Cugusi 2003) between epigraphy and literary sources. This interaction has great relevance for the history of Latin language because it allows a deeper insight into language variation from a diastratic perspective. The working method will consist in comparing the epigraphic evidence of the theme with the usage of quisquis as opening tag in literary sources and non-erotic inscriptions before the Empire. In ancient comedy and Cicero’s works the pronoun is usually followed by the verb esse. From love elegy on, we find a wider range of usages, which suggests a broader exchange between the canon of official literature and the erotic epigraphy. The parallels of hexameters and pentameters including quisquis, many of whom are related to the theme of love, are 70. It will be considered, in addition, the dimension of oral poetry in the context of Pompeii (Wachter 1998), documented by inscriptions as well as later sources.
"Witch’s Song: morality, name-calling and poetic authority in the Argonautica"
Classical Journal, 2017
This paper focuses on the interaction of Roman moral discourse and autonomous female voices in the Argonautica and Ovid's Heroides. It argues that Valerius' heroines use the moral language of the Heroides to reflect on the function of traditional language. By assigning culturally encoded roles to themselves and one another, these heroines present the audience with alternative versions of their stories that undermine the very terms they employ: they thus enact the problems inherent in using the language of the past to interpret the present. The cultural vocabulary that authorizes their voices to an internal audience presents a serious threat to the community, when coming from the mouths of marginalized characters. In illustrating the slippage between the roles of wife, witch, heroine and whore, Valerius invites his audience to consider the function of tradition, both social and literary, as a lens through which to understand the present. στοχαστέον γὰρ καὶ τοῦ προσώπου ᾧ γράφεται• ("Indeed one must consider the person to whom the letter is written," Dem. On Style 234.2-3) * I would like to thank the anonymous referees who offered valuable suggestions at the submission stage. Kirk Freudenburg, Christina S. Kraus, and Thomas Biggs all read early versions of this paper; it is far richer for their comments. 1 Many critics have noted the place of the Heroides in the Argonautica's literary background. Davis (2016) offers a concise summary, arguing that the Valerian Hypsipyle and Medea are informed by Catullus' Ariadne, Vergil's Dido and Ovid's Medea, Ariadne and Hyspipyle.
Greek and Roman Tragedy in Flavian Epic Poetry - Exploring Intersections, Influences and Adaptations through Literature and Material Culture (Sep 19 – 21, 2024 Academy of Athens & National and Kapodistrian University), 2024
Incorporating the Tragic in the Epics of Statius 10.00-10.30 Bernhard SÖLLRADL (University of Salzburg) Looking Back/Moving Forward: 'Tragic' Prologues in Statius' Thebaid 10.30-11.00 Georgia FERENTINOU (University of Toronto) Senecan Poetics and Dramatic Time in the Proem of Statius' Thebaid 11.00-11.30 Coffee Break & Biscuits PANEL 2-ECHOES OF TRAGEDY: REIMAGINING DEATH SCENES IN FLAVIAN EPIC Chair: Margot Neger 11.30-12.00 Lorenzo VESPOLI (University of Geneva) Nec fata traham natumque videbo / te sine. Tragic Models in the Death Scene of Jason's Family (Val. Fl. 1.752-826) 12.00-12.30 Patrick KUNZENDORF (Rheinische Friedrich-Wilhelms-Universität Bonn) Ending With a Bang-the Spectacular Deaths of Statius' Seven in Light of Theatre Influenced Reception Habits in Flavian Times 12.30-13.00 Francesca ECONIMO (University of Toronto) Tragedy in Nemea: Reading the Death of Opheltes and Maternal Grief in Statius' Thebaid through Seneca's Troades 13.00-15.00 Lunch Break PANEL 3-TRAGIC ELEMENTS Chair: Angeliki Roumpou 15.00-15.30 Dalida AGRI (University of Cambridge) Echoes of Tragedy in the Punica: The Battles of Lake Trasimene and Cannae 15.30-16.00 William DOMINIK (University of Lisbon) Echoes of Senecan Tragedy in Silius Italicus' Punica 14.30-15.00 Helen LOVATT (University of Nottingham) (Don't) Eat the Rich: Disnarration, Power and Consumption in Seneca, Lucan and Statius 15.00-15.30 Alexis WHALEN-MUSE (University of Southern California) Quid Pandioniae restant? Tereus, Procne, and Philomela in Statius' Thebaid" 15.30-16.00 Lorenzo COLLE (Ca'
2014
In Sophocles’ Ichneutai the second phase of the Satyrs’ tracking of the stolen cows begins with twenty-seven lyric lines, vv.176-202 (many of which fragmentary), during which the Satyrs progressively advance towards the cave of the nymph Kyllene.Two interesting, but puzzling, phrases are ἐν πρώτῳ at line 179 and δευτέρῳ at 182, which seem to belong together. The present paper explores their potential reference and meaning.