Calpurnius Siculus

Although the ancient pastoral setting is often considered harmonious, this view can be challenged by examining poems in which trees are used by shepherds for writing (Verg. ecl. 5, Calp. ecl. 1 and 3). Usually seen as metapoetic elements, these carvings can be considered products of a poetic memory and, at the same time, examples of a violent relationship established by humans with their environment. In order to understand these aspects, I analyze the occurrences of inscribed trees in Virgil and in Calpurnius Siculus as representations of a continuous transformation of cultural memory through the exploitation of natural elements. Within this perspective, my purpose is to read Roman pastoral poems as texts with a reciprocal construction of a discourse, thus avoiding Virgil as a primary source of meaning.

Post-Virgilian pastoral poetry abounds with phenomena that can be described as imitative series and clusters, as becomes evident if we only glance at the first poems of Virgil's most immediate extant successor in the genre of pastoral, namely the Neronian author Calpurnius Siculus. 1 In his first eclogue, Calpurnius makes use of the setting of Virgil's fifth eclogue (two herdsmen meet and sing a song that has been etched into a tree trunk), but the song (a prophecy that praises a young ruler, presumably Nero) reveals itself to be indebted to other models, first and foremost to Virgil's fourth eclogue. In addition, this text includes important influences from outside the pastoral tradition, e.g. from the exegetical tradition to Virgil's Eclogues as well as from the opening of Aeneid 6 (and thus also from the end of Helenus' speech in Aeneid 3.441-62), where Virgil reflects upon whether it is better for prophecies to be written or sung. 2 In Eclogue 2, Calpurnius begins with a narrative which-through the elegiac filter of Propertius (2.34b.73-4)-recalls the opening lines of Virgil's second eclogue, but then combines this conjunction with the song exchanges of Virgil's third and seventh eclogues, adding a couple of elements from the Georgics. 3 In short, the creative clustering of several model texts seems fundamental to Calpurnius' imitative technique and moreover for post-Virgilian pastoral in general. This technique is not a complete innovation, however, but rooted in Virgil's Eclogues themselves: his second eclogue, for example, has Theocritus' 11th idyll as principal model, but contains several elements that are borrowed from other  1 While quotations have been unified to the volume's style (see Works Cited), I have also consulted the following editions: for Virgil the Teubner editions, Conte (2011) and Ottaviano and Conte (2013); for Calpurnius Vinchesi (2014); for Nemesianus Korzeniewski (1976); for Bion Reed (1997); for the Carmina Einsiedlensia Korzeniewski (1971); for Livy Ogilvie's OCT (1974). Occasionally I have slightly adapted the text and translations from the Loeb series. The Neronian dating of Calpurnius is disputed. A substantial overview about the debate with an up-to-date bibliography is offered by Cordes (2017, pp. 10-12), who also mentions the possibility that the Eclogues were written in a later period, but are set in the age of Nero.

Cover design by Maryna Wiśniewska This book has been reviewed for publication by Mikołaj Szymański and Ewa Wipszycka Computer design and DTP by Tomasz Derda Editing and proofreading by Tomasz Derda, Jennifer Hilder, and Jan Kwapisz © for the book by Fundacja im. Rafała Taubenschlaga © for the constituting papers by the authors Warszawa 2017 The publication of this volume was made possible thanks to the financial support from the Faculty of Polish Studies of the University of Warsaw

Lo studio della ricezione delle Bucoliche di Virgilio deve tenere conto di dinamiche complesse, determinate dall'eterogeneità che caratterizza il genere pastorale fin dalle sue origini. Questo intervento elabora una lettura della quarta ecloga di Calpurnio Siculo, proponendo di indagarne le linee di continuità, più che le deviazioni, rispetto al modello delle Bucoliche. Il misterioso silenzio di Coridone nell'incipit dell'ecloga (vv. 1-4), la dolcezza attribuita al suo canto (v. 9), l'elogio del patrono Melibeo (vv. 29-42), i temi della successione poetica (vv. 58-63) e del potere orfico del canto (vv. 64-69), il ricorso all'onomastica tradizionale dei pastori (con annessa allusione al "passato bucolico" dei personaggi) sono esaminati nella loro interazione con l'intertesto virgiliano. Lo scopo è di mettere in luce le strategie con cui Calpurnio Siculo fa uso degli strumenti espressivi e tematici messi a disposizione dal modello di Virgilio per sviluppare un discorso politico, senza rinnegare l'appartenenza della propria poesia al genere pastorale.

Reception studies on Virgil's Eclogues must take into account complex dynamics, determined by the heterogeneity that characterizes the pastoral genre from its origins. 
This paper offers a reading of Calpurnius Siculus’ 4th Eclogue, proposing an investigation of its lines of continuity, rather than deviations, from the model of Virgil’s Eclogues. The mysterious silence of Corydon in the Eclogue's incipit (vv. 1-4), the sweetness attributed to his song (v. 9), the praise of his patron Meliboeus (vv. 29-42), the themes of poetic succession (vv. 58-63) and of the Orphic power of song (vv. 64-69), the use of the shepherds’ traditional names (with an allusion to the characters’ ‘bucolic past’) are examined in their interaction with the Virgilian intertext. The aim of this analysis is to highlight Calpurnius Siculus’ ability in exploiting the expressive and thematic tools provided by Virgil's model to develop a political discourse, without denying that his own poetry belongs to the pastoral genre.

This thesis is concerned with the study of metrical, rhythmic and discursive aspects of the Bucolics of the Roman poet Calpurnius Siculus and their poetic translation. The object of study is a book containing seven Latin poems of inexact dating, perhaps from the 1st or 3rd century AD. Besides presenting the analysis of the object, the thesis proposes a theoretical reflection on Latin epos, in other words, on the various forms of the hexameter and its possible uses in the ancient Roman literary context. This variety is assessed with its poetic genres, especially pastoral poetry, and their relationship with the problem of canonicity in the study of Latin meter. As regards the translation, the aim is to investigate the context of the Brazilian reception of Latin pastoral poetry and how this poetic genre is approached by critics and translators nowadays. As to the Portuguese version, I have decided to translate the poetic corpus into Portuguese hexameters, a meter adopted in Brazilian translations of classical poetry since the 20th century. Doing the critical work and the translation together demonstrated the need to examine the meter and the rhythm in each case, with attention to the peculiarities of their organization in Calpurnian poetry and their consequences for the poetic translation.

Moura, A. R. de. Poesia bucólica: Virgílio, Calpúrnio Sículo, Nemesiano. Campinas: Editora da Unicamp, 2022 (Coleção Bibliotheca Latina), ISBN 978-85-268-1557-5.

"Poesia bucólica" discute as bases desse subgênero literário na Antiguidade greco-romana e apresenta e interpreta seus principais textos, com destaque para os de poetas latinos, mormente Virgílio, autor das Bucólicas ou Éclogas, obra que é objeto de abordagem detalhada, quase verso a verso. O trabalho começa com uma investigação sobre as origens da poesia bucólica na literatura grega, contexto em que Teócrito é o nome de maior relevância. O livro inclui uma análise da tradição crítica referente à bucólica, esclarecendo questões de nomenclatura, definição ou recepção (da noção de “Arcádia”, por exemplo) e sublinhando as contribuições da retórica e poética antigas. Poetas menos conhecidos, como Calpúrnio Sículo e Nemesiano, são objeto de discussão que valoriza sua originalidade. Traduções apoiam a análise crítica e comparecem também na breve antologia do final do volume.   

Sumário

Abreviaturas e convenções........................................................................ 11
Apresentação.............................................................................................. 15
Sobre as traduções...................................................................................... 35

PARTE I Formação e teoria do gênero

Capítulo 1: Teócrito e a poesia bucólica grega........................................ 45

Capítulo 2: Antecedentes longínquos; modelos culturais amplos........ 53

Capítulo 3: Modelos mais próximos e contemporâneos........................ 71

Capítulo 4: Terminologia antiga e moderna: bucólico e pastoral
(e outros termos-chave)............................................................................ 87

Capítulo 5: A linguagem de Teócrito e o estilo da poesia bucólica...... 99

Capítulo 6: Vozes bucólicas....................................................................... 123

Capítulo 7: Teócrito: breves comentários a alguns Idílios...................... 133
Idílio 11: uma mitologia i.................................................................... 135
Idílio 1: uma mitologia ii..................................................................... 141
Idílio 7................................................................................................... 150

Capítulo 8: Outras manifestações da poesia bucólica helenística..... 167

PARTE II A poesia bucólica latina

Capítulo 9: As Bucólicas de Virgílio......................................................... 181

Capítulo 10: As perdas da terra................................................................ 219
Bucólica 1.............................................................................................. 219
Bucólica 9.............................................................................................. 240

Capítulo 11: Um Ciclope latino: Bucólica 2............................................. 257

Capítulo 12: Eus bucólicos: Bucólica 8..................................................... 273

Capítulo 13: Utopia e divinização............................................................ 295
Bucólica 4............................................................................................ 295
Dáfnis revisitado: Bucólica 5............................................................. 310

Capítulo 14: Canto amebeu....................................................................... 345
Bucólica 3.............................................................................................. 345
Bucólica 7.............................................................................................. 361

Capítulo 15: Divindades campestres e um poeta romano..................... 371
Bucólica 6.............................................................................................. 373
Bucólica 10............................................................................................ 393

Capítulo 16: Arcádia.................................................................................. 419

Capítulo 17: Calpúrnio Sículo.................................................................. 441

Capítulo 18: Nemesiano............................................................................ 475

Capítulo 19: Outras manifestações latinas.............................................. 491

Capítulo 20: Ecos e conclusões modernas............................................... 509

Breve antologia........................................................................................... 521
Virgílio, Bucólica 3............................................................................... 523
Calpúrnio Sículo, Écloga 3.................................................................. 530
Nemesiano, Écloga 3, “Pã”................................................................... 536

Bibliografia comentada............................................................................. 541

Referências bibliográficas.......................................................................... 545

The leitmotif of this volume is the concept of “author images”, which is used in modern literary studies to describe processes of production and reading of literary works and is here applied for the first time to the study of ancient works. As a means of analysing ancient literature, it captures the aspect of personification, which is characteristic of ancient author concepts, and at the same time points to the fact that there is a difference between “image” and “author” and that it is only an image and not the author himself that can be seen and grasped by readers.

This makes the “author image” particularly suitable for examining the intersections of material, rhetorical and mental representations of literary authorship that form the subject of this volume. Using selected examples from Latin and Greek literature, the contributors explore the fields of cultural experience that nourish authorial images. They discuss the manifold possibilities of visualising and representing a person’s quality of being an author in general or being an author of specific works, be it physically through artworks or pictures, metaphorically through evoked authorial figures, through thematised representations of authors in a text, or through the combination of authorial images and texts.

These issues are addressed in four overlapping sections, each focusing on different areas of the metaphor’s application, namely material images in the form of artworks, knowledge about persons, textual images as authorial strategies and images in reception.

This article argues that Virgil introduced sexual overtones, an urbane motif par excellence, in Bucolica 2 and 3 – the oldest of his bucolic poems to forestall criticism from his intended audience: the Poetae Novi and their aficionados, who would have regarded bucolic poetry – however unjustly – as ‘rustic’. It explains that due to his connection to these Poetae Novi (via Pollio), Virgil would have wanted to conform to their concept of urbanitas. A detailed analysis of the two poems shows how they might be read as parodies. Bucolica 2 as a parody of an elegiac paraclausithyron, riddled with obscene innuendo, and Bucolica 3 as some sort of bucolic satirical invective, where the obscene is used as a weapon between two quarrelling shepherds. The article lists words and passages with possible sexual overtones and argues why in poems such as these an ambiguity found is likely to be an ambiguity intended. Numerous parallels and analogies are given for the ambiguous use of words found in B...

Mindmáig nem jutott nyugvópontra a kutatás azon kérdésben, hogy milyen égitest tűnik föl Janus Pannonius De stella aestivo meridie visa című elégiájában. Bollók János az égitestet az 1462 nyarán Kínában megfigyelt üstökössel azonosította. Álláspontját azonban kétkedés fogadta, s az elégiát elemző újabb tanulmányok a Venus bolygóval való azonosítás mellett foglalnak állást. Tanulmányunkban a kutatásban eleddig figyelmen kívül hagyott irodalmi párhuzamok vizsgálatával amellett érvelünk, hogy a leírás üstököst kíván ábrázolni. Megvizsgáljuk Tito Vespasiano Strozzi Borsias című eposzának hasonló tárgyú leírását, s kimutatjuk, hogy a kedvező hatású üstökösökről vallott asztrológiai fölfogása azonos volt Januséval. Ezt erősítik meg a Matteo Maria Boiardo eclogáiban föllelhető, Janustól származó kölcsönzések is. Úgyszintén figyelmen kívül hagyta a kutatás T. Calpurnius Siculus 1. eclogájának jótékony hatású üstökösét. A szövegszerű megfelelések vizsgálatával megkíséreljük igazolni, hogy ez az...

In a song exchange in his second Eclogue, Calpurnius presents the canales through which water is piped to a garden as equivalent to a pastoral singer's pipe, anticipating his innovative use of canales to denote musical pipes at Ecl. 4.76. Calpurnius's choice of the term suggests a metaphorical reading of Virgil's two references to canales in the Georgics as conduits for water and honey. Calpurnius makes explicit Virgil's implicit association of irrigation through canales with the nourishing value of song. This double sense of canales dramatizes a productive relationship between human song and the natural landscape in Calp. Ecl. 2.

In this paper, I analyze the way men and animals interact in the Ancient Greek and Roman Bucolic. First, I enter the bucolic matrix (generic concept and functionnement), I then explain how humanity, bestiality and divinity mingle and, finally I show how the writer shapes an ideal of life and a political vision of society as well, while playing upon intertextuallity.
This paper has been published in P. Guisard, C. Laizé, A. Contensou (éd.), L’homme et l’animal, Paris, Ellipses, 2021, p. 461-489.

Mindmáig nem jutott nyugvópontra a kutatás azon kérdésben, hogy milyen égitest tűnik föl Janus Pannonius De stella aestivo meridie visa című elégiájában. Bollók János az égitestet az 1462 nyarán Kínában megfi gyelt üstökössel azonosította. Álláspontját azonban kétkedés fogadta, s az elégiát elemző újabb tanulmányok a Venus bolygóval való azonosítás mellett foglalnak állást. Tanulmányunkban a kutatásban eleddig fi gyelmen kívül hagyott irodalmi párhuzamok vizsgálatával amellett érvelünk, hogy a leírás üstököst kíván ábrázolni. Megvizsgáljuk Tito Vespasiano Strozzi Borsias című eposzának hasonló tárgyú leírását, s kimutatjuk, hogy a kedvező hatású üstökösökről vallott asztrológiai fölfogása azonos volt Januséval. Ezt erősítik meg a Matteo Maria Boiardo eclogáiban föllelhető, Janustól származó kölcsönzések is. Úgyszintén fi gyelmen kívül hagyta a kutatás T. Calpurnius Siculus 1. eclogájának jótékony hatású üstökösét. A szövegszerű megfelelések vizsgálatával megkíséreljük igazolni, hogy ez az ecloga Janus elégiájának egyik fontos előképe volt, s hatása nemcsak az üstökös leírásában, hanem az elégia aranykori motívumokat megidéző fohászkodásában is kimutatható.

A note of warning to the casual reader: this material is definitely not for everyone. The CP (Priapic Poems) provide interesting insights into Roman notions of gender (esp. masculinity), honor, human sexuality, and other topics. They also shed light on the nature of Roman epigram and can be quite witty in their play with various tropes and genres. But much of what follows can be extremely crude and offensive, as are the explications provided by some of my notes.

This article presents through selected passages the role played in Imperial Poetry by the theme "venatio" within a panegyrical or satirical discourse. It will offer a brief definition as well as a summary of the historical development of the "venationes", considered as official spectacles in the arena in which wild animals fought with each other or were chased. The difference between "venatio" and cynegetic in poetry will also be discussed. Hence, the political importance of these spectacles will be clarified. The aim is thus an exposition of how different authors deal with this phenomenon in a positive or negative way, and show how poetry that thematizes the "venatio" partly through philosophical concepts proves itself as a suitable medium for this kind of representation. Some passages from Calpurnius Siculus' seventh "Ecloga", and Martial's "Liber spectaculorum" will play a central role, as well as some epigrams from his "liber primus", Statius’ "Silva" 2, 5, and finally, some passage from Juvenal’s fourth and tenth "Saturae"

nicht nur textlicher Quellen, in den sehr detaillierten, philologisch präzisen, textnahen, ausgewogenen und von einem weiten Horizont zeugenden Einzelinterpretationen, und nicht zuletzt in der klar formulierten Grundthese, deren Plausibilität dadurch untermauert wird, dass sie manche bisherige Aporien lösen hilft. Das gilt v. a. für die Deutung der schwierigen Horaz-Ode 3,27: 5 Zielpunkt der Ode ist nach Heldmann die Aussicht auf eine glückliche Eheschließung der angesprochenen Galatea, analog zur auch hier als glücklich angesehenen Verbindung von Europa und Zeus, 6 wodurch eine direkte Verbindung zwischen Galatea-und Europa-Teil hergestellt werden kann und die organische Einheit der Ode erst richtig erkennbar wird. Man merkt beim Durcharbeiten des Buches allenthalben, dass hier ein Routinier am Werk ist, der von der Textkritik über die Beobachtung von Stilistik, inhaltlicher Formung und über Analysen intertextueller Bezüge bis hin zur umfassenden, den unterschiedlichen Autoren, Gattungen und Zeiten gerecht werdenden Interpretation alle Register zieht, die man von einem professionellen Philologen erwarten kann und die das Buch zu einer überaus anregenden und insgesamt sehr empfehlenswerten Lektüre machen. Mit dieser Studie sollten -mit Ausnahme der Darstellung bei Nonnos -die Deutungen der meisten antiken medialen Konkretionen des Zeus-Europa-Stoffes als Ehebruchs-Geschichten ad acta gelegt sein. Nach der Lektüre mag man kaum glauben, dass man diesen Mythos jemals vor allem als Schilderung eines Seitensprungs hat verstehen können. Maßgeblich "schuld" daran ist (wie so oft auch in Hinblick auf andere antike Mythen feststellbar) der die Rezeption so mächtig beeinflussende Ovid (S. 208): "… erst die Leser der Neuzeit haben sich vom erzählerischen Raffinement Ovids dazu verleiten 47 48 lassen, die Geschichte als eine flüchtige Liebesaffäre zu deuten und diese Fehldeutung auch auf alle früheren Europa-Erzählungen zu übertragen." Heldmann hat mit seiner Studie einige antike Bilder und Texte bzw. Textstellen, in denen sich der europäische Gründungsmythos medial manifestiert, neu interpretiert -kein kleines Verdienst, wenn man der wissenschaftlichen Aufarbeitung gemeinsamer Wurzeln ein sinnstiftendes Potential zuerkennen will.

in: A. Junghanß/ B. Kaiser/ D. Pausch (Hrsg.), Zeitmontagen. Formen und Funktionen gezielter Anachronismen, Stuttgart 2019 (Palingenesia 116) 41-57.

Abstract:
Die vorgestellten Überlegungen zielen darauf, das semantische Potential lateinischer Zeitbestimmungen und seine Bedeutung für das Textverständnis an einem Beispiel deutlich zu machen. Dabei geht es primär um die nicht-temporalen Implikationen der Zeitangaben, d.h. darum, was diese Zeitbestimmungen als mit zu bedenkendes ‚Surplus‘ in sich tragen. Voraussetzung einer derartigen Überlegung ist das Vorhandensein einer Vielfalt von Zeitbestimmungen mit unterschiedlichen, literarisch, historisch, sozial etc. geprägten Konnotationen, d.h. ein kulturell ausdifferenziertes Vokabular, aus dem sich ein Autor bedienen kann, wie man es im Lateinischen findet: Stunden können in Rom z.B. numerisch, nach Witterungserscheinungen oder nach den ihnen zugeordneten charakteristischen Tätigkeiten benannt werden; Tagesdaten kalendarisch, nach Fest- oder Gedenktagen oder nach Bezugspunkten im natürlichen Jahresgang; Jahre schließlich numerisch, eponym, nach regionalem, römischem oder griechischem Modell. Die vielen unterschiedlichen Verfahren, ‚Zeit‘ im Lateinischen zu benennen, gaben historischen Sprechern Instrumente an die Hand, um die Hörer zu lenken und die Glaubwürdigkeit oder Überzeugungskraft ihrer Texte zu verstärken.
Die primäre und oft als einzige angenommene Funktion der Zeitangabe als Fixierung eines Ereignisses innerhalb einer berichteten Folge kann mit einem semantischen Überschuss verbunden sein. Daher ist es möglich, von den Texten ausgehend danach zu fragen, wie unterschiedliche Verfahren, das Vergehen von Zeit zu beschreiben, eingesetzt werden und welches nicht-chronologische Potential in ihnen jeweils aktualisiert wird. Diese Fragestellung ist eher kulturwissenschaftlich und textpsychologisch als narratologisch geprägt, da sie primär die aus der textexternen Welt gespeiste Semantik der Zeitangaben in den Blick nimmt und nach ihrer Funktion fragt.
Zeitangaben sind an vielfach bestimmte literarische Gattungen gebunden und fungieren als zentrale Gattungsmarker (erinnert sei nur an die eponyme Jahresdatierung des historiographischen Schrifttums oder die ‚rosenfingrige Eos‘ des epischen Ductus). Die Integration spezifischer Zeitperiphrasen in zuvor anders konditionierte Kontexte ist vor diesem Hintergrund als bedeutungstragende Ausstellung differenter Zeitqualitäten und ihrer semantischen Implikationen zu bestimmen. Dabei entstehen bedeutungsrelevante Differenzen, Grenzmarkierungen, Bruchlinien. Parodien wiederum sind aufgrund der ihnen immanenten Überzeichnung gute Hilfsmittel, um zu erkennen, wie semantische Profile angelegt sind und was mit der Gattungsmarkierung jeweils verbunden ist. Daher konzentrieren sich die folgenden Überlegungen mit der Apokolocyntosis auf einen Text, der parodistische Schreibweisen nutzt, und arbeiten das spezifische Surplus der dort so überreich positionierten Zeitangaben heraus. Die Relevanz der Überlegungen nicht nur auf grundsätzlicher Ebene, sondern auch für das gewählte Beispiel erweist sich darin, dass sie ein neues und bislang ungesehenes Argument für die umstrittene Datierung des Textes liefern.
Inhalt:
I. Der Text und sein historischer Hintergrund
II. Historiographisches Proöm und eponyme Datierung
III. Die epische Zeitperiphrase im Vergleich mit Calpurnius
IV. Der Uhrenvergleich
V. "Eines natürlichen Todes"
VI: Zusammenfassung und Ausblick

„ut pictura poeta. Author images as literary, historical-biographical and medial concepts and their influence on the reading of ancient literature“

A conference at the Karl-Franzens-Universität Graz, May 9-11.

Organizers: Ursula Gärtner ([email protected]), Ute Tischer ([email protected]) and Alexandra Forst ([email protected])

In der literarischen Diskussion nach ihrem Tod erscheinen Nero und Domitian als größenwahnsinnige Tyrannen, in der Panegyrik zu ihren Lebzeiten werden sie überschwänglich gepriesen. Angesichts dieser Diskrepanz hat man in den Übersteigerungen des Herrscherlobs versteckte Kritik am Kaiser vermutet. Der Band betrachtet das disparate Bild mit einem neuen, kommunikationstheoretischen Ansatz als Resultat von Prozessen der Kodierung und Umkodierung von Herrscherrepräsentation. Während das Motiv der Transgression in der Panegyrik für Nero und Domitian eine zentrale Rolle spielt, wird in der Selbstdarstellung ihrer Nachfolger darauf verzichtet. Mit dem Wechsel der Macht geht also ein Wechsel der Codes einher, mittels derer diese Macht beschrieben wird. So erfahren Aspekte, die in der panegyrischen Kodierung der Repräsentation als positiv konnotierte Grenzerweiterung gedeutet wurden, gemäß den Codes der jeweils neuen Dynastie eine Umkodierung als negativ konnotierte Grenzverletzung. Die Arbeit analysiert die sprachlichen Mechanismen, die diesen Prozessen zugrunde liegen. Damit eröffnet sie neue Perspektiven auf die literarische Repräsentation der beiden mali principes und auf Modi politischer Kommunikation im frühen Prinzipat.

This research aims to present how one of the most known satirical writers in Brazilian history, Gregório de Matos Guerra, approached satire in his very unusual way. The paper names some of his poems in order to represent how he created and developed his works; moreover, the author himself and his creation development will be analysed here as well. However, it is considered important to give a brief historical panorama of how the satire as a genre was constructed and how Guerra approached not only poetry itself, but the subject in his works, which could be noted in reason of the obscenity, the freedom of speech and yet the morality in his poems.

This paper argues that all the eclogues present the same idealized landscape, and that, since this is called Arcadia in Eclogue 10, it is so in all of them. This was the traditional view, set out by Snell and others, and more recently argued against by Jenkyns. this paper supports the older view, with evidence including the repeated use of names thoughout the eclogues..

The paper offers a detailed examination of the nature and function of catalogues in the Corpus Priapeorum. It is specifically concerned with six catalogues that compare Priapus with various Olympian gods (CP 9, 20, 36, 39, 53, 75), and two enumerating fruits considered to be erotic (CP 16, 51). Following S. Kyriakidis’ (2007) Catalogues of Proper Names in Latin Epic Poetry: Lucretius-Virgil-Ovid, the author discusses issues of ordering, density and pace in catalogue arrangement. He demonstrates that the poet of the CP employs impressive variety in the employment of structural patterns and, in addition, discusses the significance of structural differentiation in poems belonging to the same thematic group.

a complessità dell'epistola 115 di Seneca risiede nella pluralità degli scorci tematici, che in ogni caso si riconducono a quell'"interrelazione stile-moralità" 1 , che era già stata argomento della precedente lettera, la 114. Lo sfarzo delle apparenze, in opposizione all'animus, sede della virtù, si tinge di contorni reali, modellandosi nelle forme delle lussuose architetture contemporanee, che svelano in filigrana il prevedibile modello "visivo" dei fasti edilizi neroniani: la Domus Aurea. Nel corso di questo contributo vorrei offrire una lettura dell'epistola che tenga in considerazione il sostrato antineroniano, declinato nella condanna all'edilizia "che rifulge e colpisce gli occhi", ma che si soffermi più attentamente anche sul contesto della citazione di Ovidio, al § 13, dalle Metamorfosi, 2.1-3 e poi 177-178. La descrizione ovidiana della Regia Solis, da cui prende le mosse il celebre episodio fetonteo, e poi i versi sul carro del Sole, aprirebbero uno scorcio sul tempio di Apollo Palatino, attraverso la mediazione letteraria dell'Elegia 2.31 di Properzio. Se Ovidio, per citare A. Barchiesi, inserisce la "presenza di un dominatore nell'immagine properziana di un tempio romano" 2 , ritengo allora che tale retroterra divenga fondamentale per comprendere la scelta di Seneca di citare i versi del Palazzo del Sole, che, come si osserverà, nel contesto della lettera sono a mio avviso da interpretare in riferimento a Nerone.

This paper recuperates an episode of the modern reception of the first eclogue of Calpurnius Siculus; the classical text has been used by the XVI century poet Antonfrancesco Grazzini, known as Lasca, as a model for the eclogue "Dimmi, Damon, perché sì dolcemente", a poetic celebration for the birth of the first male heir to the Duke of Florence, Cosimo I.

Il saggio ricostruisce un episodio della fortuna moderna della I ecloga di Calpurnio Siculo, utilizzata da parte del poeta del XVI secolo Antonfrancesco Grazzini detto il Lasca come modello per l’egloga "Dimmi, Damon, perché sì dolcemente", composta per festeggiare la nascita del primo erede maschio del duca di Firenze Cosimo I.

The allegorical conception of the bucolic genre that became general in Nero's time led to a simplification compared to Vergil's complex art of creating symbols. Calpurnius overcame the limits of a mere reproductive imitation exactly by making use of the possibilities of pastoral allegory; in Corydon's figure he painted a bitterly self ironic picture of his own efforts to establish himself, of the controversies of patronage and the miserable situation of poets. In Eclogue IV he does not only reverse the lines of allusions from Vergil, Ovid and other poets but also key concepts of the Augustan age such as rusticitas, paupertas, simplicitas, vates and thus confronts his own age with its deficiency in view of the idealised rule of Augustus. The carmen amoebeum exalts the Golden Age of Nero, which has often been analysed separately from the narrative frame as a document of uninhibited adulatio, can gain its full meaning only in this context.