γατομέοντες at Apoll. Rhod. 2,1005 does not adequately describe the mining activities of the Chalybes and is incompatible with the fact that elsewhere Apollonius only employs compounds with γειο-, γεω-, γη- and γαιη-. Moreover, the use of a Doric form lacks a convincing parallel in the “Argonautika”. Contrary to what has been claimed in the past, Apollonius does not use Doric forms to render his language more artificial, but only employs seemingly Doric forms that have a precedent in the Homeric (...) epics. In view of these semantic and morphological problems, it is well to revive O. Schneider’s conjecture λατομέοντες. (shrink)

Pacuvius is generally regarded as the first Roman playwright who only wrote tragedies; fragments transmitted without an indication of title or context are commonly attributed to tragedies, and ancient references to comedies are discarded as unreliable. The present paper questions this consensus. It first raises several methodological objections (section 1) and then examines two quotations preserved by Fulgentius, demonstrating that these comic fragments are unlikely to be forgeries because they comply with the rules of early Latin metre and the motivic (...) and linguistic conventions of Roman comedy (section 2). Section 3 shows that several fragments which have previously been attributed to tragedies do not fit the contexts to which they have been assigned; they have much closer parallels in New Comedy and are likely to come from comoediae palliatae. The observations in sections 1-3 corroborate each other and have three wider consequences which are discussed in section 4: first, Pacuvius was probably more faithful to his Greek models than is currently thought; secondly, the ‘specialization’ in serious drama started one generation later with Accius and Titius; thirdly, the common practice of organizing the fragments of early Roman poetry according to genre is problematic because many fragments would suit both a tragic and a comic context. (shrink)

For about 200 years, the opening verses of the final scene of Plautus’s “Bacchides” have been commonly edited in such a fashion that the speaker assignations produce a contradictory and dramatically weak dialogue. By a few minor modifications, a coherent dialogue can be restored. The two Bacchis sisters are consistently characterized and their contrasting attitudes and temperaments correspond to those of the two old men, who, too, are presented as two opposites. Since the corresponding scene in Menander’s “Dis Exapaton” must (...) have been designed quite differently, the symmetrical composition is entirely Plautus’s own work and is witness to his careful composition and aesthetic judgement. (shrink)