This paper seeks to bridge two aspects of Fronto's letters, erotics and rhetoric, by demonstrating that Fronto himself merges the two areas in his discourse with Marcus Aurelius about their relationship. Whereas some letters suggest an unequal relationship based on power, others encourage the identification of Fronto with Marcus. Fronto achieves this identification by structuring their relationship itself as a metaphor in which he and Marcus are equated and linked by epistolary bonds. I close by discussing why the epistolary genre (...) in particular is an apt site for the merger of metaphor and love. (shrink)

This article considers Catullus’ reaction to his brother’s death and argues that the poet, having found the masculine vocabulary of grief inadequate, turns to the more expansive emotions and prolonged dedication offered by mythological examples of feminine mourning. I begin by showing how Catullus complicates his graveside speech to his brother in poem 101 by invoking poems 65, 68a, and 68b. In these compositions, Catullus likens himself to figures such as Procne and Laodamia, and their feminine modes of grief become (...) associated with the poet. While these women’s grief brings them to a dreadful end, in my second reading of poem 101 I show how Catullus incorporates their emotional intensity and devoted attention into a masculine performance of mourning. Connecting his voyage to his brother’s grave with Odysseus’ journey, Catullus valorizes his single-minded remembrance of his sibling, even as he acknowledges that he will never overcome the distance between them. (shrink)

Patientia, the virtue of enduring physiological pain, poses a problem for Roman elite masculinities. The male body is supposed to be unpenetrated, but when pain is inflicted the body is often cut and pierced. This paper looks at literary and philosophical representations of the moral exemplar Mucius Scaevola to see how Roman writers and philosophers deal with this dilemma.

Considers the paradox of demonstrative retreat from public life, as illustrated by scenes like Sen. Ep. 78.20f. and Epict. 3.22.23 with ailing philosophers almost scurrilously eager to display their heroism. Why would a philosopher want to withdraw and, at the same time, make a show of his withdrawal? How can this kind of exemplarity fulfill its therapeutic function? And how is this kind of communication, with one’s back turned to the audience, as it were, supposed to work? Tacitus’ narrative of (...) Thrasea Paetus’ end in the Annales (16.22ff.) is analyzed as illustrating this form of communication and compared with a similar communication strategy of Seneca’s Epistulae morales as a document of exemplary withdrawal. Concentric circles of audiences and interactors are layered around the role model, and he reader is pulled into the center of the circle, into direct contact with the exemplum. The way in which this happens determines the reader’s role in the story and thus the import the role model. (shrink)