During the British occupation of the western extremity of the Gallipoli Peninsula, a brief Greek inscription was discovered by Sergt.-Major R. S. Jones, 136 Company, Royal Engineers. A copy of this he sent to his relatives in Cardiff, and it was by them put before the Western Mail for explanation. Ultimately it came into my hands. I at once wrote asking what had become of the stone, and what was its position—whether above or below ground—when discovered But Sergt.-Major Jones (...) had been killed by a shell on December 27, 1915, eleven days after writing his letter, and only two days after he had been recommended for the Distinguished Conduct Medal. Further information, therefore, was not obtainable; but the inscription appears to have been hitherto unknown. It is a splendid thought that we owe this new historical information to the interest and care of a soldier in the midst of perilous and toilsome duties. His commanding officer wrote that he was ‘my right-hand man ever since the company was formed at Buxton.’. (shrink)

In 130 ce, Hadrian and Sabina traveled to Egyptian Thebes. Inscriptions on the Memnon colossus document the royal visit, including fifty-four lines of Greek verse by Julia Balbilla, an elite Roman woman of Syrian heritage. The poet's style and dialect have been compared to those of Sappho, although the poems' meter and content are quite different from those of her archaic predecessor. This paper explores Balbilla's Memnon inscriptions and their social context. Balbilla's archaic forms and obscure mythological variants showcase (...) her erudition and allegiance to a Greek past, but while many of the Memnon inscriptions allude to Homer, Balbilla aligns herself closely with Sappho as a literary model. The main question raised here is what it means for Julia Balbilla to imitate Sappho while simultaneously honoring her royal patrons in the public context of dedicatory inscriptions. (shrink)

The Greek inscription set up by the Epicurean philosopher Diogenes of Oinoanda, probably in the first half of the second century AD, is a document of extraordinary interest and importance. It is the longest inscription known from the ancient world, perhaps running to about 25,000 words, and the only one to give a detailed exposition of a philosophical system. Since 1884 a total of 299 pieces of the inscription have been found scattered about the ruins of Oinoanda in the (...) mountains of southwest Turkey - substantial finds, but still not even a third of the complete work. Of these fragments 76 were found in the ten years 2003-2012, all but one of them during a new epigraphical and architectural survey of Oinoanda directed by Martin Bachmann in 2007-2012. Jürgen Hammerstaedt and Martin Ferguson Smith recorded and edited the new finds. The present volume brings together all the articles in which they presented the new texts and revisions of "old" ones and described the survey. It contains also three new sections, including indices of Greek names and words. (shrink)

Hellenistic and Roman acrostich inscriptions are usually full of verbal and visual clues, which point the reader in the direction of the ‘hidden message’ contained in the vertical lines of the text. The authors of such inscriptions want their audiences to appreciate the skill that has gone into their composition. There are several complementary ways in which the presence of an acrostich might be signalled to the reader or viewer and their attention directed towards it. These include direct verbal statements, (...) or more subtle allusions, within the text of the inscription. But, even without having read its text, the viewer of an inscription containing a ‘hidden message’ is often immediately aware that some kind of wordplay is at work. Acrostichs, palindromes and various kinds of word square are all graphically striking, or their appearance may be enhanced to make them more so. Regular spacing, the repetition of the acrostich in a separate column and the use of painted or incised grids are all ways in which the layout of the text on the stone can invite the viewer to play a word game. In some cases, as I will argue in this paper, acrostich makers envisaged—even intended—the participants in this game to include the illiterate as well as the literate. (shrink)

SummaryStarting from late Classical-early Hellenistic age a series of witty, lighthearted and irreverent funerary verse-inscriptions aiming to produce some effect of amusement or laughter appeared on a number of monuments, reaching their apogee during Greek-Roman era. Most of them originated in Asia Minor and Rome. Some earliest examples were related to widespread hedonistic exhortations on tombs. Their later ramifications, consisting of ironical or playful expressions, amusing puns and instances of black humour, were written in a more satirical vein, except (...) with inscriptions dedicated for animals that were rife with sentimental motifs. Remarkably diverse as they were, such verse-inscriptions cannot be defined in terms of a distinctly separate, continuous tradition, but they shared some common features. Lacking – for the most part – conventional and formulaic elements, they struck us as heavily individualised, which sets them apart from the mainstream tradition of funerary poetry. This in turn might shed some light on social standing or/and mentality of individuals who opted for such expressive ways of remembering the dead. (shrink)