The study of the republican Roman Senate was revolutionized by Professor Broughton's Magistrates, and to a lesser extent more recently by Professor Lily Ross Taylor's Voting Districts of the Roman Republic. Naturally, neither of these two great works rounded up all the available evidence without exception, and a considerable amount of mopping-up has been carried out. More remains to be done, however, and this article aims at providing some further information on republican senators, their tribes, and their origins, as an addendum to (in the first section) M.R.R. and its Supplement, and (in the second) the prosopogra- phical chapter of Professor Taylor's book.

This is one of the Horatian passages most tormented by the critics. Four points, I think, may now be safely regarded as established.

First of all, the lectio tradita can hardly be sound : those who have tried to defend it—their Nestor is Porphyrio himself—have encountered insuperable difficulties. Magnum—to use Kiessling—Heinze's word—is patently ‘sinnlos’. Secondly, none of the proposed conjectures really satisfies. Maga non, as Kiessling-Heinze rightly note, is excluded by metrical reasons alone, not to mention its stylistic harshness ; magica, favoured by Kiessling-Heinze, is scarcely better : the epithet is tautological after venena, and if we accept the emendation we are compelled to postulate a very awkward zeugma (cf. Kiessling-Heinze and Wickham ad loc.). Thirdly, the corruption is pre-medieval, because Porphyrio already read magnum : if we have to apply palaeographical methods for the solution of the problem, we must reason in terms of Roman cursive.

In this scene Oedipus receives the delegation of suppliants who have come, under the leadership of the priest of Zeus, to entreat Oedipus to deliver them from the blight and the plague. The issue with which I propose to deal concerns the composition of this delegation.

One would expect venditabat to imply that the rustic is attempting to sell the tunic in a fairly aggressive manner: he is not merely ‘offering it for sale’ (Loeb trans.), but ‘crying it up’. Yet he is doing so fastidiose and tamquam mendici spolium. These two latter notions do not cohere at all well with the former; and in any case, we are not particularly concerned with the vehemence of the rustic's salesmanship, but rather with how much he has manhandled the tunic. I therefore propose to read ventilabat for venditabat: ‘was waving it about’, an expression which gives an intelligible picture of the scene. The corruption, which is easy enough in itself, may have received an additional stimulus from vendentis two lines below.

Plutarch concludes his chapter on the Rhetra (Lye. 6) with six lines of Tyrtaios:

φο⋯βου ⋯κο⋯ςσαντες Πυθων⋯θεν οἴκαδ' ἔνεικαν1

μαντε⋯ας τε θεο⋯ κα⋯ τελ⋯εντ' ἔπεα

ἄρχειν μ⋯ν βουλῦς θεοτιμ⋯τους βασιλ⋯ας

οἷσι μ⋯λει Σπ⋯ρτας ἱμερ⋯εσσα π⋯λις

πρεσβ⋯τας τε γ⋯ροντας, ἔπειτα δ⋯ δημ⋯τας ἄνδρας

πὐθε⋯αις ῥ⋯τραις ⋯ντααπαμειβομ⋯νους.

These lines are quoted to confirm Plutarch's statement, that the Kings who added the last clause to the Rhetra (what I have called Clause III, α⋯ δ⋯ οκολι⋯ν, etc.) ‘persuaded the city [to accept this addition] on the grounds that it was part of the God's command'. On Plutarch's view, the two Kings added an extra clause to an oracle, and justified their action by alleging that Delphi had authorized the clause. It is not immediately obvious how Tyrtaios’ lines confirm this view. The Delphic utterance whose substance is given in lines 3–6 approximately paraphrases parts of Clauses I and I I (γερωσἰαν σὺρχαγ⋯ταις … τοὺτως εἰσφ⋯ρειν … δ⋯μω δ' ⋯ντααγορ⋯ααν ἦμεν), but where is Clause III ? The burden has to be borne by the one word εὐθε⋯αις: ‘the Kings and gerontes shall initiate business, the demos shall reply with undistorted rhetrai’ or ‘shall respond to the rhetrai without distorting them’ (according as we take the dative ῥ⋯τραις as instrumental or as a true dative). If εὐθε⋯αις is given enough weight, the oracle which Tyrtaios quotes may be held to forbid the ‘excessive amendment’ against which Clause III was (in Plutarch's view) aimed.

As his writings tend to prioritize the incorporeal over the corporeal, Plato seems an unlikely authority on medicine. He does not appear to have engaged in any systematic investigation of the body through direct examination of animal anatomy, like his pupil Aristotle. Notwithstanding Plato's apparent lack of interest in anatomical research, modern scholars view his dialogues as valuable witnesses for earlier and contemporary theories about the body. Famously, the Phaedrus (270c–e) mentions Hippocrates’ holistic approach to studying the body. Out of all his dialogues, the Timaeus offers the most extensive comments about the nature of the body and its functions. Many of its physiological ideas, however, seem to derive from earlier medical and philosophical authorities such as Alcmaeon of Croton (fifth century), Empedocles (fifth century) and Philistion of Locri (fourth century) rather than from Plato himself.

In several recent studies we have developed precise statistical methodologies which have demonstrated that the cursus mixtus was the dominant rhythmical system for final clausulae in Latin prose from the third century a.d. to the fifth. The cursus mixtus consisted of four standard metrical forms derived from the richer variety of Cicero's Asiatic tradition – cretic-spondee, dicretic, cretic-tribrach and ditrochee –, which were structured according to three accentual patterns – planus, tardus and velox. The latter are differentiated by the number of unstressed syllables intervening between and following two accented syllables. The planus has two unaccented syllables between two word accents and one after the last accent. The tardus has two between two accents and two after the last accent. The velox has four between two accents and one after the last accent. The four metrical forms are contained within the parameters of the accentual cadences. The planus contains either the cretic-spondee (epistulae nostrae) or the ditrochee (manu ferire); the tardus either the dicretic (carcer includeret) or the cretic-tribrach (estis indigenae); the velox either the ditrochee (experientiam singulorum) or the cretic-spondee (nimium videbatur. Authors who used the cursus mixtus, however, preferred to effect an exact coincidence between the accent and ictus, and as a result evinced primarily the following standard rhythmical forms: planus/cretic-spondee; tardus/dicretic or cretic-tribrach; and velox/ditrochee.

So far now we have examined only the rhythmical properties of final clausulae, but it is appropriate also to investigate for rhythm at internal positions within the sentence.

Caper in his section on the preposition ex cited Ennius, Ann. 309:

nauibus explebant sese terrasque replebant,

and declared that Virgil used the verb with this antique sense in Aen. 6, 545:

discedam; explebo numerum reddarque tenebris,

i.e. ‘minuam vestrum numerum.’

This we are told in Servius' note, which begins: Ut diximus supra, explebo est minuam. Thilo gives no reference to any such previous words of Servius, and I have failed to find them. Can it be that Servius has carelessly transcribed a note of Donatus, and that Donatus had discussed ex minuens at Geo. 2, 65, or 4, 145 ? Donatus' note on Terence, Hec. 755, is Explere exinanire Terentianum est; the passage of Terence is:

eas ad mulieres huc intro atque istuc iusiurandum idem

polliceare illis: exple animum îs teque hoc crimine expedi,

i.e., relieve their mind of suspicion against Pamphilus and free yourself from this charge. The phrase recurs in the next Scene (785; 787):

illis modo explete animum.

i atque exple animum îs, coge ut credant.

Among the most characteristic motifs in Greek mythology is the sexual union of a god with a mortal woman and the resultant birth of a hero. The existence of hexameter poetry listing the women thus favoured – the famous women in the underworld in the eleventh book of the Odyssey, and above all the Eoiai – is evidence of an interest in the women involved, not only in their heroic sons, and suggests that already at an early date the theme was the object not merely of passive reception but of an active consciousness. The Eoiai, indeed, saw such unions as an integral part of an earlier and better age, when mortals and immortals were closer:

ξυναὶ γὰρ τότε δαῖτες ἔσαν, ξυνοὶ δὲ θόωκοι
ἀθανάτων τε θεῶν καταθνητοῖς τ' ἀνθρώπων
(fr. 1 Μ–W)

Delia is being carefully watched and the door is locked to keep her in and her lover out (lines 5–6). It is hardly reasonable to suppose that she has in these circumstances been left in possession of the key; it is presumably in the custody of the ianitor. According to Ovid(A.A. iii. 643), what girls in this situation did was to have a duplicate key (adultera clauis) fabricated for use when occasion offered.

The Delphin Ed. note ‘Par. pro fixo habet fcdso’ may, of course, record what is merely a correction. Falso may, on the other hand, have arisen from a gloss on a reading ficto in a manuscript prior to those extant, which could easily have degenerated to fixo. This reading would sufficiently improve the sense of the passage to merit consideration, for lines 17 ff., while couched in general terms, clearly refer to the situation in which Tibullus and Delia are placed and describe the kind of behaviour by which they are to merit Venus' aid.

The aim of these lines seems to be to demonstrate that everyone has his price. Even Jupiter can be bribed. According to the text as printed above (= O.C.T.), the sequence would then continue: ‘What can a wise man do (sc. but submit to bribery) when even foolish ones willingly contract to keep quiet?’

I argued in § II. (Ion and Theseus) that in the lost chapters of the Ἀθηναίων Πολιτεία Aristotle recorded (in connexion with the Synoikisis) the creation by Theseus of the Eupatrid Order, from whom the Archons were chosen: that this tallies with Thuc. II. 15: that Thucydides further suggests that the continuous existence of the Areopagus Council dates from the same time: that finally Council and Order stand to each other as patres and patricii did in Rome.

Shortly before the death of Augustus, Tiberius dedicated the celebrated ara numinis Augusti, thus formally enshrining the numen of Augustus within the Imperial Cult. The step was a radical one, fundamental to the whole development of the emperor's ‘divinity’. Whereas the official cult of the emperor's genius had continued a traditional Republican practice, if with significant differences, to ascribe numen to the princeps was to establish Augustus as a through whom divinity could function as an intermediary. For to pay cult to the numen Augusti was to ascribe to the human emperor the quintessential property of a god.

The twenty-four lines of this poem have been preserved only by the cod. Sangallensis 878 (variously assigned to saec. IX or IX-XI or XI-XII), whence it was edited in 1863 by K. SchenklSitzungsb. d. phil.-hist. Cl. d. kais. Akad. d. Wissensch. (Vienna) XLIII p. 71. A single line, the last, exists also in the cod. Bernensis 108 saec. IX. Fifteen survive in a MS of the 17th century now divided into two parts, Barberinus (or Barberinianus) XXXI 39 and Vaticanus 9135, the former containing the hexameters 3, 5, 15, 17, 19, 21, 23 and a spurious hexameter in lieu of 1, the latter the pentameters 2, 4,14,16,18, 20, 22, 24. The eight consecutive lines 6-13 are therefore missing from both ; and in this imperfect and interpolated form the poem was edited by Mommsen with Haupt's assistance inC.I.L. I p. 411.

The parodos of the Frogs is one of the most controversial passages in Aristophanes. Was it intended to parody the Eleusinian Mystery procession—or some other ritual? A writer wishing to discuss any part of the parodos must first outline his position with regard to this basic problem. I shall therefore as simply and briefly as possible state my own view and the reasons for it before dealing with the specific question posed by the title of the article.

The traditional interpretation of line 149 understands in praecipiti as a metaphor expressing the height that vice has reached in Juvenal's day. Vice is now ‘at its zenith’ (Mayor), ‘at its highest point’ (Hardy), ‘auf demGipfel’ (Friedlaender, Knoche), ‘at its acme’ (Ramsay), ‘a son comble’ (Labriolle and Villeneuve), ‘at a climax’ (Sedgwick), ‘at a dizzy height’ (Highet). Lewis and Short have a special sub-heading, II. B. 3. b. (β), for this example of praeceps (together with Pliny's accedere adpraeceps in Epp. 9. 26. 2) and translate ‘at its point of culmination’.

It has frequently been observed that the Prometheus Vinctus shows certain Sophoclean characteristics of rhythm. In order to vary the rhythm of his iambics and to avoid monotony, Sophocles often knits consecutive trimeters closely together by placing at the end of one line some word which looks forward to the next line, and so precludes the reader from stopping for the natural pause after the sixth foot. Sometimes he uses in this way subordinating words which introduce a dependent clause in the next line (Antig. 311); sometimes proclitics (O.C. 495) or quasi-proclitics (O.R. 267). (Sometimes, too, he even allows elision at the end of the trimeter, but this peculiarly Sophoclean device does not concern us now.)

Heroides 9 takes the form of a letter sent by Deianira to Hercules as a reinforcement to the tunic smeared with Nessus' blood which she has already dispatched in the mistaken belief that it will revive the hero's love for her. In this epistle she tries to persuade her husband to give up his latest girlfriend (Iole) by showing him that she loves him, by arousing pity for herself, and by making him feel ashamed of his philandering and see that he thereby disgraces himself. Obviously there is pathos here, particularly as the deaths of Hercules and Deianira loom in the background, but there is also wit, irony, and (especially dark) humour, creating a piquant tonal mixture which has been almost entirely neglected by critics. They have seen the sadness, and some of the irony (which is taken to be purely tragic), but they have not grasped the facetious aspects, whereby our irreverent poet ensures that the piece does not lapse into mawkishness and engages the head as well as the heart.