This chapter contains sections titled: A Living Oxymoron: Homo, the Meat‐Eating Herbivore Food Safety, Weapons, and the Birth of Ethics Thinking and Acting with Spears Ride 'em Cowboy? Notes.

Paul Barié war Lehrer für Latein, Griechisch und Philosophie sowie Dozent für Hebräisch. Winfried Schindler war Lehrer für Latein, Deutsch und Philosophie. Beide waren Fachberater für Alte Sprachen.

‘Of course laniabor is not a name.’ Thus very recently Cristiano Castelletti in a discussion of this notorious acrostic, which he associates with Aratean ἄρρητον and Virgilian MA VE PV. If, however, laniabor is itself ‘not a name’, the aim of the present annotatiuncula is to argue that it is an etymological play on a ‘name’. Laniabor spans the description of Amycus’ cave, which is adorned with the dismembered limbs of his victims: Amycus himself will shortly suffer the same fate (...) at Pollux’ hands. The name ‘Amycus’ was etymologized from ἀμύσσω, which exactly matches lanio. Hence by a cutely etymological jeu onomastique ‘Tearer’ says ‘I'll be torn’. (shrink)

Valerius Maximus’ Facta et dicta memorabilia provide an opportunity of seeing how an undistinguished talent responded to the demise of the republic and the establishment of an imperial system. Fergus Millar has argued that we should view Valerius as a contemporary of Ovid, that is as an author influenced by the last years of Augustus and writing in the early years of Tiberius’ reign, but the internal evidence of Facta et dicta memorabilia better fits publication in the early (...) 30s a.d. in the aftermath of Sejanus’ unsuccessful conspiracy. Although this does distance Valerius further from the key years of transition, he is not remote—and because of the relative paucity of prose authors of the period his presentation of the domus Augusta and of Augustus and Tiberius repays attention. (shrink)

The paper is a preface to F. Bacon’s «Valerius Terminus» treatise. The article deals with basic facts of the treatise’s history, as well as the history of its study and the links between it and the other philosophical writings by F. Bacon.

In the Res Gestae Alexandri of Julius Valerius, the manuscripts at 1.36 read Tyrum enim proteri mox pedibus haberi principis respondere. The use of habeo with infinitive as a virtual equivalent of the future tense is common in late Latin. Thielmann emended our text to read habere and is followed by the standard critical edition and by TLL. “Can haberi be defended? We ought to remember that auxiliary verbs are often ‘attracted’ into the passive when the dependent infinitive is (...) passive, in the case of some verbs regularly, with others occasionally .b It is not impossible to believe that the text at hand reflects the same phenomenon. (shrink)

As he draws toward the conclusion of a lengthy string of Romanexemplaon the topic ofmoderatio, a virtue highly regarded by the reigning Emperor Tiberius, Valerius introduces a brief discussion on the challenges he faces in producing the kind of account he wants to create. Unfortunately, for a rare passage in which Valerius speaks about his own work, the text is uncertain: various problems have been identified and different solutions have been proposed, but not, I will argue, ones that (...) satisfactorily recognize the prominence of Valerius’ authorial role here or understand his meaning or pay appropriate attention to the immediate context in which he makes his remarks. I propose a new emendation which helps clarify that the primary challenge concerns the scale and the style of coverage of individualexemplarequired by theFacta et dicta memorabilia. I will show that Valerius deliberately alludes to his own programmatic remarks in the work's preface, which then illuminate his purpose and practice, both broadly in relation to his mission to record and praise outstanding individuals and more narrowly in providing a transition to a specificexemplum. (shrink)

Artykuł stanowi zrekonstruowany życiorys jednego z wybitnych Rzymian o imieniu M. V. Maximianus, który wsławił się licznymi bohaterskimi czynami w okresie tzw. wojen markomańskich. Podstawą dla dokonania tej rekonstrukcji były dwa źródła o kapitalnym znaczeniu, oba mające postać inskrypcji. Pierwszą z tych inskrypcji odkryto w dzisiejszym słowackim Trenczynie, drugą w Zanie na terenie Algierii. Co istotne ich treść wzajemnie się wzbogaca i uzupełnia. Pretekstem do podjęcia tematu była dawno odbyta rozmowa autora z Jubilatem, w której obaj zastanawiali się nad autentycznością (...) kreowanej przez Russella Crove postaci Maximusa bohatera filmu „Gladiator”, który w artykule został skonfrontowany z postacią wymienionego wyżej historycznego Maximianusa. (shrink)

Details of poetical expression have received only incidental mention in my earlier articles on Valerius Flaccus. The purpose now is to fill this gap by outlining what has struck me most forcibly about Valerius' use of language and metre. This is offered not as a final assessment, were such a thing ever possible, but rather as a supplement or epilogue to what has already been published, with the emphasis on aspects unnoticed or not elaborated by others.

‘[Valerius'] Argonautica is a story of high adventure, not a poème à thèse’: so stated Garson in 1965. Strand later added that the essential nature of this poem and the choice of subject-matter was determined by poetic inability; he describes the prooemium to Valerius' Argonautica as ‘a recusatio: the theme of the fall of Jerusalem is beyond his powers, and it would instead be treated by Domitian who was fit for such an arduous task; Valerius had to (...) content himself with the theme of an old myth’. It is these two opinions that I wish to question in this article. Indeed, alarm bells immediately sound at Strand's interpretation of the poet's recusatio. It has long been recognized that the original Callimachean recusatio was twisted by the Augustan poets. Gordon Williams analyses their practice thus: ‘They sadly regret that their poor talents will not rise to great subjects – and the subjects to which they will not rise are not the old mythological tales but the great affairs of contemporary Roman history and, in particular, the deeds of Augustus. It is clear, however, that they are using this form of poem to enumerate and praise the great deeds of Augustus, under the guise of proposing their own inability.’ No-one hesitates to agree that Valerius was well versed in the Augustan poets. It is dangerous, therefore, to assume without question that he was deceived by their insincerity. There is in fact good reason to examine the alternative possibility, namely that Valerius understood well the practice of his literary predecessors, that he dared to tread in their footsteps and that he succeeded in the supreme duty of a poet, that is to say, the business of ensuring that ars celavit artem. (shrink)