Comparative Studies in Republican Latin Imagery 0802052623, 0802001300, 1487596847, 9781487596842

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COMPARATIVE STUDIES IN REPUBLICAN LATIN IMAGERY Of all stylistic devices, imagery has the greatest appeal to the imagination, but is also the most likely to offend, either by staleness or by tasteless excess. This volume establishes some of the limitations which govern figurative language in Latin speech and prose by exploring such questions as these: From what physical or social contexts is Latin imagery derived? To what extent is it influenced by the primacy of Greek as a cultural language and the derivation of the earliest Latin literature from Greek models? How are the metaphors expressed in terms of syntax, through verb, noun, adjective, or a combination of syntactical forms? How are the form and content of imagery related to the literary genre? In this study Professor Fantham analyses in detail the conservative imagery of Terence and of Cicero's letters, contrasting this naturalistic language with the fantasies of Plautus and the formalization of Cicero's speeches. A separate chapter on the de Oratore shows how the thematic and structural use of metaphor and analogy provide balance and continuity, giving Latin prose imagery its full role in a mature classical work of art. Numerous illustrative passages from Greek New Comedy, Terence, Plautus, and Cicero are reproduced in the text. ELAINE FANTHAM is Assistant Professor of Classics at Trinity College, University of Toronto.

PHOENIX JOURNAL OP THE CLASSICAL ASSOCIATION OF CANADA REVUE DE LA SOCIETE CANADIENNE DBS ETUDES CLASSIQUES SUPPLEMENTARY VOLUME X TOME SUPPLEMENTAL X

Comparative Studies in Republican Latin Imagery ELAINE FANTHAM

UNIVERSITY OF TORONTO PRESS

5 University of Toronto Press 1972 Toronto and Buffalo Printed in Canada ISBN 0-8020-5262-3 Microfiche ISBN 0-8020-0130-0 1C 77-185710

DIS MANIBUS PHSSIMAB MATRIS ROSAMUND CROSTHWAITE

REFERENCES AND ABBREVIATIONS The abbreviations used in the text are, for Latin authors, those of the Oxford Latin Dictionary. Greek authors are abbreviated as in Liddell and Scott (gth ed.). Quotations are taken from the Oxford Classical Texts, where not otherwise specified. I have cited Menander from Koerte-Thierfelder (vol. i, ed. 3; Leipzig 1957) andKoerte (vol. n,ed. 2; Leipzig 1953), and the Oxford Classical text of Dyskolos; the fragments of Middle and New Comedy are cited from Kock (indicated as KH or on), whom I have found more convenient for use and verification than Meineke. Since I have referred often to modern works for minor points, and have made repeated use only of well-known studies, it seemed superfluous to add to the bulk of the book by a misleadingly large bibliography. I have therefore omitted a bibliography, giving full references in the first citation of each work or article consulted.

Contents

Preface

IX

PART I The imagery of Terence

Introduction: Metaphor and imagery in Terence

3

1 The main categories of metaphorical allusion

7

2 Individual usages

42

3 A comparison of imagery in Pkutus and Terence

72

Appendix i The imagery of love in Terence and sermo amatorius

82

PART n Artistic deviation and development

4 Pkutus and the imagery of fantasy

95

5 Beyond sermo familiarls: the imagery of rhetoric

115

6 Imagery in the literary dialogue: Cicero's de Oratore

137

Appendix n Criticial comments on the use of metaphor in de Oratore 3.155-68 7 Some conclusions

176 181

INDEXES i n ra iv

Latin words used in imagery Greek words used in imagery Passages quoted or discussed Topics and terminology

191 197 199 214

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Preface

The title of this monograph calls for an apology, which may perhaps serve as an explanation of the book itself. I have used the word "Republican" merely as a time-indicator in the hope that students of Augustan and Silver Latin will not reach for the book and be disappointed. My interest is prose - spoken and written - and I believe that Latin prose can be said to have reached maturity by the end of the Republic; this is the reason for my time-limit. The word "imagery" can also be misleading; readers familiar with studies of imagery in English literature or Latin epic may be led to expect a discussion of image as symbol or leit-motif; but prose-imagery is more limited in intent and application, and my sights must be set lower than either C. Day Lewis's in The Poetic Image or Viktor Poschl's in Virgils Poetische Dichtkunst. Like others I have resorted to' 'imagery'' as a shorthand for all forms of figurative language which arise in my chosen field. These are predominantly metaphor, in which a word or words from another sphere of activity are substituted for the literal word of the context, and analogy, in which statements drawn from another sphere are used comparatively to explain and animate the literal statement of the writer. These overlap in the form of the metaphor Kara TOV avaXoyov: we can say either "in the race of life the old man has run his last lap and is approaching the finishing post," or "as a runner when he races his last lap draws near to the finishing post, so the old man draws near to the end of life." The former is a metaphor, the latter a comparison or analogy. Simile is rare in Latin prose; the simplest form, Aristotle's "he rushed like a lion," is too weak to be effective, and is used in Latin chiefly where the identification implied by metaphor is felt to be too bold or embarrassing: the full Homeric form, which adds decorative context to the simile, is inappropriate to prose. The only common form of simile is the formal comparison illustrated above. I could not call this work "Studies in Prose Imagery," since

X

PREFACE

the comic dramatists wrote in verse: yet they are the only extensive evidence for the figurative language of good colloquial Latin. For this reason I have attempted to relate the practice of Terence, and to some extent Plautus, to that of Cicero in familiar, rhetorical, and literary prose. The questions I want to ask are: From what physical or social contexts is Latin imagery commonly derived? To what extent is the choice of context influenced by the primacy of Greek as a cultural language and the derivation of the earliest Latin drama from Greek models? How are the metaphors expressed in terms of syntax, through verb, noun, adjective, or a combination of syntactical forms? How is the choice of imagery and its content related to the literary genre? How is the form of imagery - the development of its expression - rekted to the literary genre? I hope to establish by this approach some of the limitations which govern figurative language in Latin speech and prose. I have read and benefited from several studies of metaphor as an element of English style, but their value to me has been chiefly indirect, in suggesting questions to be asked. I hope the authors will forgive a lack of specific acknowledgment. I am conscious of an immense debt to scholars in my own field. From Eduard Fraenkel I learned, as an undergraduate, how to read and appreciate Latin, although I know how far I must fall short of the standards he required. Gordon Williams taught me when I was a nai've new graduate, and has helped and sustained me ever since with a generosity that only his colleagues and pupils can fully appreciate. In particular, he has patiently read and advised on the manuscript at two different stages in its growth. I have also profited greatly from helpful and stimulating discussions with Neville Collinge and George Grube, and would like to thank them, as much for their patience as for their erudition. Any errors or perversities in the text are my own. Since I approached Alexander Dalzell with my manuscript he has constantly shown the greatest kindness in giving his advice and technical assistance. Finally, Miss Jean Jamieson and the stafFof the University of Toronto Press have made it a pleasure for an inexperienced author to work with them. This book was published with the help of grants from the Humanities Research Council, using funds provided by the Canada Council, and from the Publications Fund of the University of Toronto Press, to whom I wish to express my thanks. B.F. Toronto, 1971

PART i The imagery of Terence

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Introduction Metaphor and imagery in Terence

A student of the use of imagery in Latin authors might be excused if he considered the plays of Terence scarcely relevant to his interest: fully developed imagery of beauty and artistry will be found in lyric and epic poetry; exuberant and colourful imagery at the popular level, in the uninhibited language of Plautus and Petronius; the elaborate imagery of rhetoric in the speeches, rhetorical and philosophical works of Cicero and in Seneca. By comparison one would expect the naturalistic purus sermo1 of Terence's dramas to reveal only the simplest and most conventional similes and metaphors, as restricted in range as those admitted in the relatively unadorned prose of Cicero's correspondence or the narrative passages of his speeches and other works. Paradoxically the very restriction of range is one feature which makes the investigation of imagery and figurative language in Terence rewarding: he is the first source for those who are interested in sermo familiaris, and who J Terence's Elocutio in the light of Republican rhetorical theory. It is still disputed whether Terence's claim in the prologue to Hautontimorumenos (46) "in hac estpura oratio," is moral or stylistic; but no doubt attaches to Caesar's description ''puri sermonis amator" (Don. Vita Terenti). In this context purus brings Terence into line with the genus attenuatum of e.g. Rhet. Her. 4.11; "attenuata (sc. oratio) est quae demissa est usque ad usitatissimum puri sermonis consuetudinetn"; from a plain stylist such as Caesar, then, purus sermo is praise of the highest order. For Cicero, purus is associated, at a level of relative praise, with the good spoken Latin of the aristocrat (cf. Brut. 213; patrio fuisse institute puro sermone adsuefactam domum), characterized by elegantia (cf. Brut. 211, and 252, referring back to 211, 213) and with the plain style of Caesar; cf. Brut. 261, on Caesar's speeches; consuetudinem vitiosam et corruptam pura et incorrupta consuetudine emendat ... ad hanc elegantiam verborum Latinorum ... adiungit ilia oratoria ornamenta (etc.) and 262 on the commentarii; nihil est enim in historia pwra et inlustri brevitate dulcius. The elegantia which Cicero praises in Caesar and other exponents of the plain style expresses the same standards as the word which Cicero applies in verse (where elegant! sermone would be impossible) to Terence's language; "lectus sermo." This then is naturalistic writing; an artistic representation of natural educated speech.

4

REPUBLICAN LATIN IMAGERY

wish to form an idea of the imagery and metaphor acceptable in the daily speech of the educated Roman. From this point of view the comparison of metaphorical language in Terence with that found in Cicero's correspondence is illuminating, since the categories of metaphor at home both in Terence and in the considerably larger body of Cicero's letters may be considered as characteristic of educated Roman speech and thought, although the level of their treatment naturally reveals artistry beyond the reach of the average educated Roman. With this in mind I have tried to combine with the Terentian examples a comprehensive account of the figurative use of the same words or concepts in Cicero's correspondence. Some of these images are also attested in another genre nearer to prose than to poetic usage, that is in satire: both the fragments of Lucilius, who wrote for the same public a generation after Terence, and Horace's Satires and Epistles illustrate the metaphorical practice of familiar writing. But if the main interest of this analysis is a study ofsermofamiliaris, two objections seem to arise: first, why not base such an investigation on the far richer material available in Pkutus? This seemed less profitable as a focus for inquiry because Plautus' special genius produced too many images which are purely comic or "scurrilous," verbal exuberance for its own sake, for the sake of its sound, or for sheer absurdity; comic exaggeration or abuse, as well as mock-tragic pomp far removed from normal speech. Plautus' figurative language must often have been alien to the vocabulary and thought of the educated Roman, and deliberately so: countless colourful and splendid images, especially in the mouths of slaves and parasites, have been created for their comic power, not their naturalism. It would be short-sighted to exclude the figurative language of Plautus altogether, since much of it, particularly in the dialogue of young men or their respectable fathers, is clearly comparable to the language of Terence's citizens and Cicero's acquaintances, but I have felt justified in selecting from Pkutus' Cornucopia only the material which is closest to everyday speech: this involves a measure of a priori discrimination and selection, but most cases chosen are confirmed by parallel usage in both Terence and Cicero.2 2 In this respect it will be seen that my approach differs from that of one of the most recent articles touching on the imagery of Terence (P.B. Corbett, "Vis Comica," Eranos, vol. 62, 1964, 52-69), which concentrates on an important category of imagery in Plautus and Terence, imagery expressing violence (vis) through the syntactical medium which is most common in both writers and dominant in Terence, i.e. the verb. Corbett states (52) that "while Plautus and Terence, especially the former, are poets of sufficient creative power and originality to be able to devise imagery of their own, nor is there any doubt

INTRODUCTION

5

The second objection to the study of Terence as a source for the imagery of educated Roman speech lies in the word Roman. Terence was famed for his fidelity to the ethos of Menander, in characterization and hence in the representation of his dialogue. How can we call Terence's imagery Roman? Or in what sense is it Roman, and not Greek? I have assumed that Terence's figurative use of language often represents similar figures in the Greek of Menander and Apollodorus. How far this is true can be gauged partly by comparing surviving examples of imagery from Menander and New Comedy as a whole; but since this material is so limited in quantity, and since its survival has been prejudiced by the specialist interests of those who quote the fragments grammarians, glossarists, collectors of KaK&v/xpóvos

718 782

vócrciiv "x.a\eKOnkvi]V earn a me non libenter videt; 9.10.3, ut aegroto dum anima est, spes esse dicitur.

CATEGORIES OF METAPHORICAL ALLUSION

17

are common; cf. Fam. 4.6.2, hoc tarn gravi vulnere etiam ilia quae consanuisse videbantur recrudescunt; 15.4.14: ad sanandum vulnus iniuriae; Alt. 1.17.3: ut nihil a domestids vulneris factum sit, illud quidem quod erat, eos certe sanare potuisse; and 5.17.6: in sancmdis vulneribus quae sunt imposita provinciae. Perhaps the point of vulnus rather than tnorbus is that the harm has been deliberately inflicted by enemies. Thus in Cicero's political life the metaphor is essential, but it has no natural place in Terence's comedies. The one more specific metaphor at Ter. Ph. 690, hoc ulcus tangere, finds an approximate equivalent in Cicero's vulnus refricare, Alt. 5.15.2,12.18.1 or at Alt. 3.15.2, sed non faciam ut... meis vulneribus saepius manus adferam. How far does Terence differ from Plautus in his use of medical metaphor? I have mentioned Plautus' use o(medicus, but in both Cistellaria and Mercator the point of the metaphor lies in the person who is to heal the illness, and to have eliminated medicus would have destroyed the meaning required. Plautus' vocabulary is different: he does not use either mederi or sanare, or even remedium, but has several similar metaphors based on meditina and mederi. These are, however, rektively fewer than in Terence. We may compare with Cist. 74-5 above,

Cur. 160 Men. 98-9 Mer. 951 Mos. 3 87

viden ut anu'tremula meditinam facit? eapse merum condidicit bibere, foribus dat aquam quam bibant. homines non alit, verum educat recreatque. nullus melius meditinam facit. hie homo non sanust: : medicari amicus quin properas mihi? istum lepide medicabo metum.

In Cicero the metaphors based on remedium and medicina can be distinguished. He uses remedium only in the context of personal grief: Fain. 5.15.1, illius tanti vulneris quae remedia esse debebant... Att. 12.21.5, ab his me remediis noli in istam turbam vocare. Medicina is more general, of national and personal ills: important are temporis medicina Fam. 5.16.6 (cf. iarpds xpovos) and the combination of medicina with morbus in Fam. 9.3.2, gravitas morbi facit ut medicinae egeamus, Att. 2.20.3, novo quodam morbo civitas moritur ... tamen nulla

18

REPUBLICAN LATIN IMAGERY

tnedicina adferatur; 10.14.2, nescioquo modo imbecillior est medicina quam morbus.* Plautus' use of morbus, aegrotus, and aegrotare is similar to that of Terence. Add to Cist. 74-5: Trin. 28-30

Trin. 75-6

nam hie nimium morbus mores invasit bonos ita plerique omnes iam sunt intermortui sed dum illi aegrotant... omnibus amicis morbum tu incuties gravem ut te videre audireque aegroti sient

True. 465-6 male quod mulier facere incepit nisi id ecficere perpetrat, id illi morbo, id illi seniost... The abundant medical metaphors in the surviving fragments of Philemon suggest that Trin. 28 ff. and 75 ff. are a close transktion of the Greek (cf. also Diphilus fr. 24, cu Kpia-tis 8' rj^Civ voaovaiv), but the word play on mores/morbum is clearly Roman, both in Plautus and Terence Hec. 239. Both Plautus (Cist. 74-5) and Terence associate morbus with the sickness of love, but what is exceptional in Plautus (add perhaps Mer. 489, 951, but here the keynote is madness, not sickness) is very common in Terence and will become more so in the elegiac poets. Aegrotus (An. 193, 557, Hau. 100) is used only of the lovesick; so also morbus, Eu. 225; medicari, An. 831, 944; mederi, Ph. 821-2. This probably reflects Menander's treatment of love as a sickness which appears at fr. 200 (cf. Euboulus fr. 4IK) although Terence gives no parallel for love as a wound, a clich£ which is to become dominant in the elegists. Terence is most attracted to the noun remedium (six instances) and in his kter plays uses it with some boldness, at Ph. 824 in combination with another metaphor (ex turbis evolvere) and at Ad. 294 applied to an actual person - the man, who alone has power to cure Sostrata's troubles. As in Cicero, remedium is not associated with morbus but with misfortunes and grief; its medical origin is already forgotten and the figurative sense has become its normal use. 9 Medicina; cf. also Fam. 5.15.4; Q.fr. 2.16.2; Alt. 2.1.7; 2.23.2; 3.7.2; 12.21.5; 16.15.5. For mederi; cf. Alt. 1.17.1 (suspiciones) quibus ego mederi cum cuperem ... 3.12.2, cui vulneri ut scribis medere si quid potes, lo.u.i, ea tempora nostra sunt ut ego eis mederi non possim, 13.9.2 haec res mederi potest.

CATEGORIES OP METAPHORICAL ALLUSION

m NAUTICAL METAPHORS: WIND AND STORMS An. 446

animum ad uxorem appulit (Donatus: quasi ab iactatione fluctuum et aestus marini.) mine huius periclo fit, ego in portu navigo. dehinc facile ex illis sese emersurum malis omni' res est iam in vado.

480 562 845 Eu. 1046 an fortunara conlaudem, qazegubernatrix fuit. *P/i. 689 huic mandes, qui te ad scopulum e tranquillo auferat. (Reading of F2 and E only.) Hec. 311 qui eos gubernat animus eum infirmum gerunt. Ad. 302 tot res repente circumvaliant se ... unde emergí non potest.

This group is very common in Menander and later Greek comedy. Menander Epit. 396 Pk. 380

Dysk. 398 KII

fr-59

fr. 205

19

20

REPUBLICAN LATIN IMAGERY

417

616 656

Greek Middle and New Comedy Anaxandrides

KH, p. 137 fr.4 Euboulus KH, p. 192

fir. 76 Xenarchus KH, p. 468 fr.2

Theophilus KEt, p. 475 fir. 6

Philemon Kn, p. 533 fir. 213

CATEGORIES OF METAPHORICAL ALLUSION

21

(With this developed analogy, compare Philemon fir. 28 below, and perhaps Plautus, Mer. 875-880 (p. 25 below).)

STORMS

Menander Sam. 210-11

Flor. 58 fr. 162

335 656

(There follows the separate nautical image of the crvjK\vcrn6s quoted above.) Middle and New Comedy Alexis KH, p. 364

fir. 178 Philemon Kn, p. 485 fr. 28

22

REPUBLICAN LATIN IMAGERY

I have considered nautical and meteorological imagery together, because in Menander and in Cicero's letters metaphors of wind, hurricane, and storm are either combined or associated with distress at sea. As in our examination of medical metaphors, we see that those used by Terence are more simple and less technical than the Greek imagery. In particular, there are no extended analogies. No doubt such terms as éaytiv, Antiphanes KH, p. 16.239, Alexis KH, p. 340.123; Anaxippus KH, p. 297.32, and Men. Epitr. 707%., Ka.Ta4>a.ytiv TT\V irpot/cd. JIOM, fr. 325, Ska ToXavra Ka.Taay&v. The more vivid KaTa/?i/3pco(r/cw occurs in Hegesippus Kin, p. 313.30, ol KarafitppUKacr' even' £juou rets ovvlas. Concludere. Ph. 744 Conclusam hie habeo uxorem saevam; here the image of the wife as a wild beast is suggested partly by saevus, but more effectively by the verb concludere, which is shown for example by Pi. Cur. 449-50, in cavea si £oient/conclusi, itidem ut pulli gallinacei ... to be the vox propria for caging animals. The concept of woman as a wild beast is Menandrian; cf. fir. 422K, Kama-Top tariBripiov yvvi), but the form of thejoke mPhormio is more suggestive of a Roman origin. On An. 386 and Hec. 702, tot nunc me rebu' miserum concludit pater, Donatus also suggests that the image is derived from the caging or hunting down of wild beasts but the contexts are neutral; see s.v. claudere above. Conflare. An. 650 quantasque ... mihi conflavit sollicitudines; Eun. 874-5, magna familiaritas/con/fataf. This verb is found in Plautus only in its literal sense of kindling a fire: Ru. 765, dabo ignem, si quidem in capite tuo conflandi copiast. The usage is close to the Greek av^wav, at e.g., Ar. Eq. 468, TO.VT' kip ' olffiv eon quoniam ... studium dicendi, nisi accessit os, nullum potest esse, docebo vos, discipuli, id quod ipse non didici. Here there is probably a pun: the figurative sense of "effrontery" is primary; the rhetorical sense of "style" or "delivery" (as in de Or. 3.221, in ore sunt omnia) is latent. Palaestra. Ph. 484 eccum ab sua palaestra exit foras. Just as the pimp's establishment is Phaedria's daily exercise ground, so in Pi. Bac. 66 fF., Pistoclerus calls the house of the hetaerae, huiusmodi... palaestram/ubi damnis desudascitur ... and extends the comparison to the equipment of the brothel and that of the wrestling ground.12 Elsewhere in Plautus, Aul. 410, me iste habuit senex gymnasium, and As. 297, gymnasiumflagri, the beaten slave is the exercise 12 For metaphors based on the palaestra and gymnasium in amatory contexts, see Preston, op. at., pp. 51-3; he establishes that these were current in Greek erotic literature, and that the analogy of Bac. 66 ff. almost certainly had a similar form in the Menandrian original. He quotes as parallels for palaestra in Ph. 484, A.P. 5.259, Theocr. 7.125, and from New Comedy, Antiphanes, HI, p. 135, fr. 332, ytpovreiai iraXaurrpai, but acknowledges that "in all these cases the word is apparently somewhat more drastic than the Phormio passage." In fact, neither in Ph. 484 nor Bac. 66 S. is there any emphasis on physical sexual activity, but merely an intended contrast between the palaestra as the proper place for a young man to spend his time, and its improper substitute - a point illustrated by Philolaches' regrets in Mas. 149-55.

64

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ground of the ksh or the lasher. Terence's image is found also in Cicero, Alt. 5.13.1, utemur ea palaestra auamate diditimus, but in the more abstract sense of training, which palaestra often represents in the philosophical works; e.g. de Orat. 1.73, didicerintne palaestram an nesdant. Pascere. Ph. 85 restabat aliud nil nisi oculos pascere. Pascere is not metaphorical inPlautus: for oculos pascere, cf. Cic. Ven. 2.5.65, eius cruciatuatquesupplicio pascere oculos; Phil, n.8, ut in eius corpore kcerando ... oculos paverit suos. The use of pascere is striking, with a more vivid physical impact than the comparable oculos explere, Ven. 2.4.47, or satiare, Mil. 58. Peneptare. Ad. 715 peneptavi usque omne oppidum. While the verb graphically expresses Demea's elderly gait, it also follows the Plautine use of the same image in Am. ion, omnis plateas peneptavi (with an enumeration of pkces searched) and Rud. 233, omnia iam circumcursavi atque omnibu' ktebris perrepíafi/quaerere conservam. One may perhaps compare the use of in Aristophanes, Ran. 129, 485, but it should be noted that the only use of 'ipirav (Kadepireiv is not found) in Menander, fir. 6795, is a simple equivalent of Ikvai, parodying tragic diction. Praesens deus. Ph. 345 ea qui praebet, non tu hunc habeas praesentem deutri? In presenting the parasite's patron as a Otos «rt^acijs Terence goes further than anything in Plautus, who limits himself to Men. 138, teneo dextera genium meum, or the conventional meus rex of As. 919, Capt. 92, St. 455. The Greek debs kv avdpuwois, applied in all seriousness by Aristotle (Pol. 3.8.1) to the ideally good and wise man, seems to have become a cliché of eulogy in New Comedy, and is freely bestowed by Antiphanes (fr. 2O9K) on the successful poet. This is probably the reason for the surprising frequency of such ckims in Terence (see Appendix, p. 90 for its occurrence in amatory contexts). Men. fr. IK, TO jap rpkov /¿e TOUT eyui KpLva Beov, quoted by McGlynn, refers to the speaker's native land, and is not really comparable. In proclivi esse. An. 701 id faciam, in proclivi quod est. The same force of proclivis in the sense of sloping downhill, and hence easy, is found in Pi. Capt. 336 (cf. Lindsay, ed. maior, ad loc.], "tarn hoc quidem tibi in proclivi quam imber est quando pluit," whereas in Mil. 1018, Rud. 1132, ex proclivi planam faceré,13 Plautus contrasts the easy level ground with the difficult 13 The declension of the adjective appears to be still indeterminate in Plautus; at Mil.

INDIVIDUAL USAGES

65

uphill slope. The latter sense of the adjective is not attested in Cicero. For prodive "easy" cf. Off. 2.69, dictu quidem est proclive, and Fam. 6.10.6, in a context of prolonged metaphor of falling and sloping: et ipse ... cotidie delabi ad aequitatem, et ipsa causa ea est ut iam simul cum re publica quae in perpetuum iacere non potest necessario reviviscat ... quae quoniam in temporum inclinationibus saepe parvis posita sunt, omnia momenta observabimus neque ullum praetermittemus tui iuvandi et levandi locum, itaque illud alterum, quod dixi, litterarum genus cotidie mihi ut spero fiet proclivius. Profundere. Ad. 133; see s.v. effundere. Protelare. Ph. 213 ne te iratus suis saevidicis dictis proteiet. Dziatzko-Hauler, ad loc., see the whole phrase as a parody of tragic style. On their interpretation protelare here as at Turpilius pOR, indignissime patria protelatum esse saevitia patris, implies driving out; cf. Festus, p. 2671.., protelare: longe propellere. Although the verb, like the adverb protelo, probably derived from the protelum (e^a^irpov), a rope to which oxen were harnessed one behind the other, Walde-Hofmann,3 n. 376, believe Terence's use here assumes an original derivation from telum. If so, the underlying metaphor is military, not agricultural. Provincia. Ht. 516 idcirco huic nostro traditast provinda', Ph. 72, O Geta, provindam/cepisti duram. These examples merely continue the Plautine tradition by which provinda was applied in grandiose language to any task, particularly that of a skve. Compare Pi. Ps. 158, te cum securi caudicali praeficio provindae; St. 698, cape provindam/ : : quid istuc est provindae'? : : utrum Fontine an Libero/impen'wm te inhibere mavis; Trin. 189-90, nunc ego te quaeso ut me opera et consilio iuves./communicesque hanc mecum meam provindam (here addressed to a free citizen by another citizen). The related and equally common use of imperium in Plautus is confined to serious use (especially of the patria potestas) in Terence. Rabies. En. 301 ludum iocumque dices fuisse ilium alterum/praeut huius rabies quae dabit. Rabies is not used elsewhere in Plautus or Terence for the 1018 the second declension form proclivo is attested; in Rud. 1132 the text is damaged and the form due to a supplement.

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frenzy of love. (In Plaut\israbies,rabiosus, denote real madness, or are associated with dogs as a symbol of savage anger; cf. Men. 936.) The coarse word here is probably chosen to fit the speaker's character; he is the rascally slave Parmeno. The use ofrabies for sexual passion in Lucretius, 4.1083, 1117, is not intended as a metaphor, but as a true description, but cf. Hor. Epod. 12.9 (perhaps the most savagely coarse of the iambi}, dum pene soluto/indomitam properat rabiem sedare. (See Appendix, for the use of words denoting madness to describe love and the lover in Elegy and Lyric.) Reflectere. Ad. 306-7 quern neque fides neque iusiurandum ... /repressit neque reflexit. Although flectere may occur once in Plautus (if Ussing's conjecture flexi ingenium meum is retained at Mer. 668 for the meaningless fed of the Mss) with a personal subject and the mind as object, Terence's use of abstract subject and personal object here makes the image original. For the conventional usage cf. Cicero, ad Brut. 24.11, siflexerit ad versus alios iudicium suum; Alt. 11.18.2, ut earn (sc. iram Antom) flectas te rogo. The metaphor, derived from chariot racing, is common at least in Plato of bending the will, persuading to relent, etc., cf. Prot. 320, Resp. 4946, Menex. 2446, dXX' /cdi epoyBrjae, Laches I92C, et TIS ... jui) Ka^itrono ciAXd /caprepoT.14 Retrahere. See s.v.fugitivus. Retundere. Hau. 945 ut eius animum qui nunc luxuria et lascivia/diffluit retundam redigam ... One thing is clear about this, the only use ofretundere in Terence: the imagery of beating or blunting (as in obtundere, q.v.) is incompatible with the liquid implications ofdiffluere. Since the speaker is the pompous Chremes, the absurdity is no doubt intentional. A similar use of retundere occurs in Cic. Fam. 12.14.3 (from Lentulus Spinther), quorum improbitatem aliquando retundere utile est rei publicae; cf. also Caelius, Fam. 8.6.1, Appius rettudit sermones. Revolvers. See s.v. evolvere. Rima. Eu. 105 plenus rimarum sum, hac atque iliac perfluo, developing the imagery suggested by contineo in 103. The metaphor is completed in 121, utrumque hoc falsumst, effluet. McGlynn compares Hor. Sat. 2.6.46, rimosa ... 14 For a different metaphorical use ofjtectere implying deviation from the right course, compare Ennius, W2O2-3V, quo vobis mentes, rectae quae stare solebant/antehac dementes sese flexere viai.

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aure.16 The leaky vessel in Pkutus is merely a symbol of wasted labour: Ps. 369, in pertussum ingerimus dicta dolium, a proverbial form which recurs in Lucr. 3.936, pertusum congesta quasi in vas/perfluxere. Only in Terence and Horace is the image associated with indiscretion. Since Horace in Sat. 2.3.259 f., gives a vivid paraphrase of this scene from Eunuchus, we may perhaps assume that 2.6.46, is a reminiscence of Eu. 105, and not an independent usage. Ringi. Ph. 341 dum tibi fit quod placeat, ille ringitur; tu rideas. On this Donatus interprets stomachari taciturn; est enim translatio a canibus ktratoriis. The verb is rare but classical; cf. Cic. Att. 4.5.2, et ii subringentur qui villam me moleste ferunt habere; Hor. Ep. 2.2.128, sapere et ringi - to suffer and grit the teeth. See Dziatzko-Hauler, Phormio, ad loc., p. 311, and s.v.gannire above. Saxutn. See s.v. lapis. Sepelire. Ph. 943 sepultus sum: "I'm as good as dead"; "I'm ruined." So also Caecil. fr. IIR, depositus modo sum anima, vita sepultus. This is interesting chiefly because the image is carried through into the final scene, where in 1015, verbafiunt mortuo, Phormio sees in Demipho's attempts to excuse his father the funeral laudatio, and in 1026, exsequias Chremeti quibus est commodum ire, em tempus est, proclaims the funeral procession; in itself, sepultus sum is merely a more drastic equivalent of the cliches peril, intern. The different allusions of the imagery occur in an absurd, reverse order - burial - laudatio announcement of procession. In the final scene ofAsinaria the parasite indulges in the same joke; 910, ecquis currit pollinctorem accersere, explained by 911, mortuos est Demaenetus. The dramatic situation is identical, as he announces the ruin of the faithless husband whom he has exposed. This is probably a traditional motif older than Apollodorus or Demophilus. Somnium. Ph. 494, 874 (as an exclamation "nonsense"), Ad. 394-5 tu quantu' quantu's, nil nisi sapientia es/ill' somnium. Micio's alleged folly and Demea's good sense are dramatized by the identification. The phrase vigilantiam tuam 15 According to Donatus on An. 609, servon fortunas mcas me commississe^HM'/i, and Ph. 745-6, ne vos forte imprudentes foiis/effuttiretis, the same image of a leaky container underlies the adjective/Mtfife, and the verb effuttire: translatio est a vase futili nomine, quod patulo ore, fundo acuto instabile nihil per se contineat, undios is so common in Greek that they need not imply any financial imagery, but from Menander, cf. Sam. 274-5, ws Se /¿aAA[o]i' 'évvo[vs yl]vo^ai/Kon Xa/j/Sápcc \oyiffnov (\oyianov \a.fj.(3ávfi,v, to hold an audit; cf. rationem subducere], and Penh. 173, Kol TO KíáXcuo!' oú5éirco Xo7Ífojuovcnv. Antonius has just mentioned his knowledge of Aristotle's rhetorical works, (160) in quibus ipse sua quaedam de eadem arte dixit. Is this metaphor a reminiscence of the Tópica which Cicero adapts in the following sections? 12 The basic image here is that of the acies ingenii; cf. acie mentis in 2.160 above. Both intellect and tongue are conceived as weapons or tools of oratory to be sharpened by training, and the hack rhetoricians are the smiths who beat out the blade on the anvil. With tundo the emphasis is placed on the monotony of the process; more usual is play on the concepts of sharpening and blunting. Compare de Orat. 3.93, non quo ... acui ingenia adutescentium nollem, sed contra ingenia obtundi nolui, and 121, non enint so/urn acuenda nobis ñeque procudenda lingua est, or Tuse. 1.73, mentis acies ... hebescit, and 80, multa quae acuant mentem, multa quae obtundant. Tacitus in Dial. 20, iuvenes ... studiomm in incude positi, is imitating de Or atore 2.162, as he does many other metaphors of this book. In An. 304-5 Horace offers a variant to express the critic's role, Jungar vice cotis, acutum/ reddere quaeferrum valet. The metaphor occurs in comedy also; cf. Plaut. Pi. 614, haec mihi incus est; procudam ego hodie hiñe mullos dolos. The dupe is himself the anvil on which the slave will beat out the weapon of his wiles.

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Passing to the more educated student, Antonius describes him as aliquo iam imbutus usu; in this case imbutus (literally dipped; the metaphorical association with learning goes back to Plaut. Trin. 293-4, neve imbuas ingenium (artibus)) is in harmony with the succeeding, developed, image based on the traditional theme of drinking from the springs of knowledge. The contrast is made between the inferior sedusa acula and unde universumjlumen erumpat. Wilkins (ad. loc.} interprets acula as a pool, contrasted with the flowing river, but there is no reason why acula should not be a stream here as in 1.28 (applied to the Ilissus). The antithesis is between a small remote stream and, not the fumen, but thefans unde ...fumen erumpat - the source of all knowledge; thus this allusion offers no conflict with 2.117 (tardi ingénu est rivulos consectari, fontis rerum non videre; et iam aetatis est usque nostri a capite quod velimus arcessere et unde omnia manent videre) or typical Hellenistic literary symbolism, as in Prop. 2.10.25-6, where Ascraei fontes are superior to Pertnessi fumen. But how is the transition made from the source of knowledge to the next metaphor? There is no masculine antecedent to supply the subject of qui ... commonstret, nor can we derive an antecedent from the previous phrase logically reconcilable with showing the seat of all the orator's argumenta as a man would show another the way.13 Instead the imagery itself ensures that the reader will follow the argument. Both illuc and unde must refer to Aristotle, who was praised in 160 as the possessor and source of universal knowledge - the universumjlumen of 162. Similarly the image of showing the way recalls the first reference to Aristotle by Catulus in 152: sed Aristóteles posuit ... quosdam locos ex quibus omnis argumenti via ... inveniretur, a quo quidem homine ... non aberrat oratio tua, sive tu similitudine illius divini ingeni eadem incurrís vestigia, and its resumption by Antonius in 160: a cuius inventis tibi ego videor non longe aberrare. Inventio, which Cicero traces back to Aristotle, is indicated by the imagery of finding a path; the recurrence of the metaphor in 152,160, and 162 enables the reader to follow the thread of discussion without any need for specification of the masculine pronoun qui. 13 Of the two elements in this image the nouns sedes et quasi domicilia are less significant than the verb commonstrare, since domicilium is most often metaphorical in Cicero; cf. 1.105, domicilium imperi etgloriae; Balb. 13, gloriae domicilium; Prov. Cos. 34, numquam haec urbs summo imperio domicilium ac sedem praebuisset. Commonstrare (monstrare, demonstrare) are the voces propriae for showing a person the way (cf. Plaut. As. 381, Cur. 404, 467; Enn. Sc. 3217, 3987; Ter. Ph. 305-6), and so the verb revives the original physical force of the nouns dimmed by the traditional metaphor.

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For the combination of images, cf. 1.203, equidem vobis, quoniam ita voluistis, fonds unie hauriretis atque itinera ipsa ita putavi esse demonstranda, non ut ipse dux essem ... sed ut commonstrem tantum viam, et, ut fieri solet, digitum ad fontes intenderem. Here Crassus is speaking of the sources of the orator's general education; in book n, Antonius' dominant theme from 116 to 176 is inventio, and the technical sources of argument (TTÍOTÉIS 'évTfX"oi) provided by Aristotle's Tópica. These are summarized in the ten chapters introduced by our passage (163-73). But from the beginning Antonius keeps the Tópica before the reader by a sequence of jetties-imagery; 117, rivulos contrasted withfontes;1* 130, aperiamus autetn capita ea, unde omnis ... disputatio ducitur, 142, argumentorumyótttó, and the final allusion here in 162. At the same time, the second image, that of showing the way, serves as a marker for the opening of the ten chapters of Tópica, matched, at their close, by a modified version of the same image in the analogy of 174: si aurum cui ... commonstrare vellem, satis esse deberet si signa et notas ostenderem locorum, quibus cognitis ipse sibi foderet et id quod vellet parvo labore, nullo errare, inveniret; sic ego has argumentorum notavi notas, quae quaerenti demonstrant ubi sint. Here locorum too performs a double function, for Cicero, wishing to refer to the TÓTTOÍ. of Aristotle, returns to the literal meaning of their Latin equivalent (the genitive is common to abstract loci and physical loco) as the focus of his analogy. A whole network of thematic and structural relationships can be traced from the one sentence of 2.162. A more obvious pattern of thematic imagery runs through my third example, the section from 2.188-205, illustrating the inflammatory power of moveré from Antonius' great defence speech for Norbanus. We have already examined the two chapters (186^7) of general introduction to the theme; in these Cicero drops no hint of fire-imagery, drawing instead from racing, medicine, hunting, sailing, and military tactics. This must be a conscious artistic decision to reserve the basic fire-motif, for with the trial narrative in 188, there begins a series of allusions to inflaming the audience which is continued through 14 For the contrast of inferior, derivative rivuti and original creative/OHiei, cf. Gael. 19; ... ex quo iste fonte senator etnanet. nam si ipse orietur et nascetur ex sese, fortasse, ut soleo, commovebor; sin autem est rivolus arcessitus et âuctus ab ipso capite ... and Acact. Post. 8 (Varro is speaking) meos amicos... ad Graecos ire iubeo, ut exfontibus potius hauriant quant rivolos consectentur.

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seventeen paragraphs; cf. 188, ut mihi non solum tu incendere iudicem sed ipse arderé videaris; 190, nisi te ipsumflagrantem odio ante viderit ... ut enim nulla materies tam facilis ad exardescendutn est quae nisi admoto igni ignem conclure possit, sic nulla mens est tam ad comprehendendam vim oratoris parata, quae possit incendi, nisi ipse inflammatus ad earn et ardens accesserit; 193, ut ex persona mihi arderé oculos hominis histrionis viderentur; 194 poetam bonum neminem ... sine inftammatione animorum exsistere posse et sine quodam adflatu quasi furoris (the wind to fan the flames); 197, qui in accusando sodali meo tantum incendium non oratione solum sed etiam ... vi et dolore et ardore animi concitaras, ut ego ad id restinguendum vix conarer accederé. This is recalled by Sulpicius in 202, tibi ego non iudicium sed incendium tradidissem and leads to a new variation in 205, nam ñeque parvis in rebus adhibendae sunt hae dicendifaces ... Even after the main sequence, there is a late echo; 209, quae si inflammanda sunt. At the same time the dominant motif is diversified by other figurative knguage: 199, dolorem ... refricabam (rubbing a sore or wound); 203, quam tibi ... munisti ad te audiendum viam, serpere occulte coepisti; 205, ad eorum mentes oratione flectendas ... si aut tragoedias agamus in nugis aut conveliere adoriamur ea quae non possint commoveri. Within the fire imagery itself there is great variety. Cicero plays on a range of five "fire"-verbs and four nouns16 and three related metaphors - the mind as materies (fuel or timber), furor as a fanning wind, and the more common restinguere of calming inflamed emotions. Such imagery can be found in Greek prose, but it is far more at home in Latin; see Imagery in Terence p. n. The fourth and last example illustrates Cicero's use of imagery as an element of structure in the social framework of book 2 - imagery as part of the sermo 15 These often occur in combination elsewhere in de Oratore. I list usages of single words also: 1.15, flagrare; 6o, inflammare and exstinguere; 97, incendere; 134,flagrare and ardor; 219, inflammare and restinguere. There is a run of such words in the description of civil chaos in 3.4-11; 4,faces and exardescere; 8,flagrare and arderé; and n,flamtna. From Orator compare 26^7 on the vis of Demosthenes: "post sensim incendens iudices, ut vidit ardentis, in reliquis exsultavit audacius ... facile est enim verbum aliquod ardens, ut ita dicam, notare, idque restinctis iam animorum incendiis inridere"; and 132, on Cicero's own emotional response: "nulla me ingeni sed magna vis animi inflatnmat, ut me ipse non teneam; nee unquam is qui audiret incenderetur nisi ardens ad eum perveniret orado." The examples of Van Hook, op. cit., p. 14 suggest that the application of fire imagery to style is very rare in Greek rhetoric, while Demetrius in his section on ôeivoTys praises Demosthenes with the imagery of close combat, 274, tyyWev irXriTTOvaiv 'éoiKtv (with which compare p. 156 below). Longinus comments on TO oiairvpov (12.3).

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facetus of this aristocratic houseparty. This involves two related sections, 2.233-4 and 2.290. In introducing the wit Caesar Strabo to discuss the nature of humour and its place in oratory, Cicero permits himself an exchange of metaphorical fantasy, which is resumed as neatly at the end of his excursus. Strabo begins with an urbane allusion to the Greek-style subscription dinner quoniam conlectam a conviva ... exigís ... He then modestly deprecates himself by an adaptation of the proverb "sus Minervam docet" docebo sus, ut aiunt, oratoretn eum quern cum Catulus nuper audisset, fenum alias aiebat esse oportere, which is take up by Crassus, with a deft compliment to Catulus, cum ita dicat ipse, ut ambrosia alendus esse videatur. Antonius, in turn, coins the motif of the deversorium, the rich man's travelling lodge, to describe Strabo's excursus: defessus iam labore atque itinere disputationis meae requiescam in Caesaris sermone quasi in aliquo peropportuno deversorio. "Atqui," inquit Iulius, "non nimis libérale hospitium meum dices, nam te in viam simulac perpaulum gustaris, extrudam et eiciam." Antonius then is to content himself with a light meal; gustare, appropriate to the metaphorical context, coincides happily with the frequent use of the verb for drawing intellectual nourishment. When Strabo ends his discourse, the motif is resumed: (290) sed iam tu, Antoni, qui hoc deversorio sermonis mei libenter acquieturum te esse dixisti, tamquam in Pomptinum deverteris, ñeque amoenum ñeque salubrem locum, censeo ut satis diu te putes requiesse et iter reliquum conficere pergas. ego vero, atque hilare quidem a te acceptus. Thus the dialogue is again set in motion, and the image of the deversorium given a new and tactful twist by a Roman allusion; Antonius is to set out again after a brief pause, as if the lodge were in a malarial region; Strabo again combines implied modesty with courtesy in his reason for suggesting that his guest should now depart. But the Roman dress conceals a Greek motif. From Plato Politicus 2oya onwards, a digression within a work could be called é/crpoir^,16 Latin devertkulum (cf. Livy 9.17.2; Quint. 10.1.29, depulsa recta via necessario ad eloquendi quaedam deverticula confugiat); literally this was a side turning from the road (Ter. Eu. 635), or an inn. Deversorium does not have this metaphorical application, but from a fragment of Varro's Menippea 418 Buecheler (quoted by Nonius as from irepÎTTÂovs, book n irepl $(.Xcxroía,s), 16 Compare Van Hook, op. cit., p. 34.

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et ne erraremus, ectropas esse multas, omnino tututn esse sed spissutn iter, and from the metaphor in Demetr. de Elocutione 47, KoBairfp yàp ras (¿aupas àôovs al a corresponds to Cicero's nolo esse (aut) maius quam res postulet (164), and this section of the Rhetorica gives examples of metaphors more dignified and more trivial than their application, ÜTL de où 2 See F. Solmsen, C.P. 33, 1939, 401-2. (He favours belief in Cicero's direct acquaintance with the Rhetorica.) From de Orat. 2.160, Aristotelem, cuius ilium legi librum, in quo exposuit dicendi artes omnium superiorum, et tilos, in quibus if se sua quaedam de eadem arte dixit, it is usually assumed that Cicero, for whom Antonius is speaking here, had read the rexyGw cvvayuyi) and the Tópica (source of Cicero's Tópica), but not necessarily the Rhetorica.

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iroppuBev Stl, áXX' ÍK rSiv avyyevâv (3.2.12), apparently making the same point as ne longe simile sit âuctum (de Oral. 163) in fact serves to introduce the topic of catachresis - the necessary metaphor of de Orat. 3.155-6. In 3.2.13, where Cicero has given the negative counsel fugienda est omnis turpitudo, Aristotle expresses his ideal positively: ras 5¿ /iera^opàs evTtWtv ounkov, âirà KO\Û>V r¡ rrj ifiwvfl rj TU ovvá/jiei r¡ TT¡ 6i//ei f¡ aXXjj TIVÏ aiadijati. (like Cicero, he gives priority to sight). Finally in 3.3.4 on TO \ffv\pov, Aristotle produces examples of tasteless simile which illustrate these prescriptions, and reflect the same standards as Cicero's briefer treatment of metaphor in de Orat. 3.162-5. But it is significant that Aristotle gives special attention to the simile after his comments on metaphor, whereas Cicero ignores it. This section of de Oratore is the most extensive treatment of figurative language in Cicero's rhetorical works, and allusions in the works of his later phase - Brutus, Orator, de Optimo Genere Oratorum - arefrustratinglyscanty. Speaking of the Atticist Orator, Cicero in Orator 81 recommends that he be "in transferendis verecundus et parcus" ... and 82: "hoc ornamento liberius paulo quam ceteris utitur hie summissus, nee tarn licenter tamen quam si genere dicendi uteretur amplissimo. itaque illud indecorum (TO ÔTrpeTrés!) hic quoque apparet, cum verbum aliquid altius transfertur, idque in oratione humili ponitur quod idem in altera deceret." But if the criticism of too lofty metaphor applies here only to the tenais orator of 81, the recommendation of verecundia is more general in, e.g., de Opt. Gen. 4: perficiendum est ... in translatis (verbis) ut similitudinem secuti verecunde utamur alienis. As in de Orat. 3.155, Cicero classifies figurative language as (Orator 92) translata ... quae per similitudinem ab alia re aut suavitatis aut inopiae causa transferuntur. Later in Orator 134, he recommends that translationes should be the most frequently used of all forms of singulorum verlorum ... lumina, "quod eae propter similitudinem transferunt ánimos et referunt ac movent hue et illuc, qui motus cogitationis celeriter agitatus per se délectât." Again, this recalls his psychological analysis of the pleasures of metaphor in de Orat. 3.159-61. But such comments neither add to, nor modify, the critical account of de Oratore, and one must regret its brevity. It is even more to be regretted that Cicero was limited by Crassus' official topic of metaphor in oratory, and prevented from discussing the far freer use of imagery in the genre in which he himself was writing - the work of literary and rhetorical criticism for the educated layman. For this genre, his principles can only be deduced from his practice, and this I have sought to do in chap. 6.

7 Some conclusions

In these studies it has been my aim to examine the role of imagery in Latin sermo and the formal prose-writing which developed from it. Terence's plays are the first body of evidence for a spoken Latin that was discriminating yet unaffected. Although he presents naturalistic rather than natural utterance and speech disciplined by art, metaphor, since it is primarily a figure of thought, will be less affected by the formalizing tendency of composed dialogue than pure "Klangfiguren," figures of diction. Yet a lover of paradox might delight in the fact that the first evidence for the style of Latin sermo is neither wholly Latin nor sermo, since it is in a verse form and adapted from Hellenistic drama by an author praised for his fidelity to the spirit and values of his Greek originals. So Terence's Latinity has to be seen as a reconciliation of good Latin speech in its quest for urbanitas, and the slightly over-ripe sophistication of third-century Athenian idiom. No aspect of language is quicker to offend against taste than metaphor; hence the insistence of Theophrastus, and Cicero following him, on verecunda tralatio (Fam. 16.17.1). Taste in both the sources and the application of imagery must have differed between the two civilizations. When Terence came upon an effective metaphor in Menander's Greek, how did he decide whether to translate, replace, or omit the figurative element in the knguage? Under the influence of Euripidean tragedy, of Platonic and then Peripatetic philosophy, the Attic playwrights had inherited a tradition of imagery drawn from certain aspects of Greek social life, primarily those of navigation and medicine. In Terence the proportion of medical and nautical metaphor is highest in the early Anana, relatively low in the last play, Adelphoe, yet simple metaphors relying on the basic concepts of these activities persist throughout his plays. Many other metaphors are demonstrably Greek in origin : In Adelphoe we can recognize analogies familiar from New Comedy in Micio's use of defervisse

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(Ad. 152) for the maturing of a young man like a new wine; the comparison is made formally in Alexis KH fr. 45. Micio's comparison of life to a game of dice (Ad. 739-41) is found in Alexis KH fr. 34 and before Alexis in Pkto. Demea's allusion to the home stretch in life's race (Ad. 860) has precedents in the same authors. All these metaphors presuppose the existence of a Hellenized urban class in Rome which would appreciate such analogies. Because of their way of life, Romans up to this time would have tended to draw imagery from agriculture, warfare, or the magistracies and rituals of the state. In Terence, agricultural metaphors are almost absent and allusions to Roman institutions are confined to the most obvious (cf. p. 77). Of the major categories of metaphor which I have distinguished - fire, heat and cold; sickness and cure; navigation and storm; imagery of combat; imagery from the drama, from teaching and training, and from hunting, fowling, and fishing - only the first group seems to be favoured in Latin, while rare in Greek, and this category is free of such "local colour" as would impair the presentation of a neutral, non-national bourgeois world to the audience. But in drama imagery should reflect characterization in terms of age, sex, and class; an important element in Terence's intrigues is provided by the parasites and slaves. Their roles account for other more colloquial figurative language. Vigorous metaphors come naturally and frequently to the uninhibited lower classes. Thus, particularly in Eunuchus and Phormio we find a greater abundance and variety of metaphor because of the many slave and parasite roles; in Eunuchus more is contributed by the hyperbolic idiom of young Chacrea. It is the deceptions and malice of slaves which chiefly give rise to the metaphors of hunting and attack. Yet there are more colourful idioms of deception in Plautus - detondere, oblinere, emungere, barely to be found in Terence; only emungere occurs once, at Ph. 862. In general, we saw (pp. 42, 77) that Terence in comparison with Plautus plays down animal metaphors, whether in description or abuse; Gnatho's ain vero, canis (Eu. 803 ) is quite exceptional, to express exceptional vulgarity. Terence also avoids the specific sociological or technical image comparing a character with a craftsman. But in contrast with Menander or Philemon he excluded the personification of abstractions (cf. pp. 16, 35, 37) by which poverty is called a disease, or time a healer. The typical ¿ÍKUV, a developed simile or analogy, is found only once in Terence (Ad. 739-41 above). Both Greek and Roman traditions of imagery, then, are to some extent muted by Terence, in his search for an idiom that is neutral in time and place, but expressive of individual psychology. Considerations of taste

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combine with his psychological orientation to produce a usage that is restrained both in allusive content and form. Terence's success in achieving this harmony of style is confirmed by the recurrence of the same vocabulary and categories of imagery in Cicero's correspondence a century later. The metaphors of Terence's citizens are frequent in Cicero's letters and I have illustrated their occurrence and variations upon them from the correspondence. It is worth pointing out here the complement of this relationship, that only a tiny minority of metaphors found in Cicero's letters are of new types not represented in Terence's plays. In the Appendix to Part i, I attempted a different approach to Terence's practice. Given one common theme - love and the lover - by what metaphors did Terence express the condition? Again it was possible to compare his usage with both his Greek predecessors and the re-emergence of the tradition in Latin, in Catullus and Augustan elegy and lyric. Elegy, like comedy, was regarded as a genre less elevated in diction than tragedy or epic, and the same stylistic level is found in Horace's symposiastic or amatory lyrics. Catullan hendecasyllables are more down to earth, and Syrus' colloquial deperire (Han. 525) is echoed in Cat. 35.12; cf. 45.5. But Catullus in his elegiac love poems and Tibullus and Propertius provide a body of poetry whose systems of erotic imagery can be matched against the elements found in Terence, and which shares with him the strong emphasis on passion as fire or heat, and a relative indifference to the Hellenistic cliché of wounds from Cupid's bow. Fire, fever, sickness, madness, torture, and battle are used to depict the suffering lover from Phaedria to Propertius. Only in Ovid's self-conscious exploitation of the tradition for humour and paradox does elegy take imagery beyond the practice of comedy. The parallel Plautine material given in Part i showed how many metaphors were common to Pkutus and Terence, because they had the same task of blending Greek and Roman idiom, but also pointed to a freer treatment by Plautus of the inherited imagery. In chap. 4 an attempt has been made to isolate certain features of Plautus' exploitation of metaphor for humour and fantasy. His images give life to the inanimate, personalities and purposes to the impersonal, and physical violence to almost everything. His handling of metaphor takes it far beyond its prosaic function of making vivid or psychologically clear motives and actions. The images themselves become points of departure for imaginative word-flights which seldom return to earth. Syntactically too the metaphor in verbo simpliá based on a transferred verb or noun develops towards allegory in the accumulation of terms transferred from

184

REPUBLICAN LATIN IMAGERY

the same field, or generates a cksh of words drawn from deliberately incongruous sources. One point of similarity - say a confused or twisted manner of speech - leads to complete identification of the speaker with a twisted creature, the caterpillar of Cist. 728-30. Hyperbole, mythology, and neologisms are drafted to reinforce the verbal onslaught, and in Plautus imagery performs as it never did on either the Greek stage of Menander, or the Roman street. The remaining sections are concerned with Cicero, and his use of figurative language at different levels of prose. Certain of his letters are distinguished from the body of his correspondence by their formality of diction and publicist intent. The letter to Lucceius (Fam. 5.12) and the great manual of provincial administration sent to Quintus (Qfr. i.i) reflect their preoccupation with a wider public in style and imagery. The self-vindication addressed to Lentulus Spinther (Fam. 1.9) was chosen to illustrate the role of imagery when sermo has to be reconciled with formal apologetics; comparison with pro Balbo, a contemporary speech dealing with technical problems of citizenship, showed that the genus tenue applied a similar range of metaphors. The need for clarity of explanation accounts for a relatively low frequency in this speech, and innovative development of imagery is confined to the patriotic passages recording the military achievements of Pompey (13 and 16) and the past heroism of the Scipiones (34). In post reditum in Senatu and ad Quirites, we have contemporaneous speeches on a common theme of gratitude for restoration and condemnation of Cicero's enemies. Only the audiences differ. The stylistic level of these, especially the speech ad Quirites, is achieved by other means as well as by imagery, by audible effects of alliteration, accumulation, and antithesis. But the coincidences of imagery (see pp. 122-3) are as interesting as the divergences, reflecting both political tact, and, in the ad Quirites, a conscious suppression of intellectual or aesthetic metaphors in favour of simple analogies from sickness (Red. Pop. 4) and the world of debt and credit (ibid., 23). The brevity of these speeches prevents any organization of metaphor for structural effects, beyond one interesting pattern of repetition observable in both: in Red. Sen. 9, consulare vulnus is deliberately recalled by consularis ictus in 17; the use of reportare in 28 is similarly recalled at 34 and 39. In the ad Quirites the repetition is more conspicuous; two phrases, me nudum a propinquis, nulla cognatione munitum, are repeated verbatim from 7 to 16. Pro Sestio has to cover many of the same themes, but the stylistic level is consistently the genus grande. Cicero was not only defending an ally on a capital charge that called for all the resources of emotive rhetoric, but he

SOME CONCLUSIONS

185

converted the speech into a partisan record of Roman political life and a personal manifesto of principle. The scale of the speech gave scope for variations and elaborations of each class of image. Two formal analogies (24 and 45-6) stand out from the context of the speech in a thematic role: the first expressing the wanton destruction of the state by the Consuls of 58 B.C.; the second the noble self-sacrifice of Cicero for the boni. This prolonged shipanalogy (45-6) marks Cicero's moment of decision and gives it a special intensity. Other metaphors of aggression and navigation resume the themes of these analogies and help to associate Cicero's personal fate with that of his country. The difference in development in the high style can be measured by juxtaposing Red. Sen. 17: ne unam quidem horam intéresse paterere inter meam pestem et tuam praedam, and Sest. 54: ne noctem quidem cónsules inter meum{interitum) et suam praedam intéresse passi sunt; statim me perculso ad meum sanguinem hauriendum et spirante etiam re publica ad eius spolia detrahenda advolaverunt. At the same time the violence of the imagery reflects acts of violence in contemporary politics. While the main categories of allusion are familiar from Terence and the correspondence, two new elements are the imagery of pollution and darkness (pp. 133-4) and the architectural metaphors related to the imagery of siege-warfare and to the reality of demolition which Cicero had personally suffered. With de Oratore Cicero tackled what was virtually a new genre in Latin. The epideictic and protreptic content related it to the tradition of Greek philosophy with its use of didactic analogy, while the element of conversation related it to the more urbane dialogue in comedy, and in Cicero's conversational interludes, the imagery, like the general atmosphere of courtesy and restraint, recalls that of Terence's gentlemen. But the language of Cicero's interlocutors is carefully related to their interests and social concerns : Scaevola's great allegory of Rhetoric as an illegal occupier prosecuted by the other disciplines (1.41) and Caesar Strabo's jests about his contribution as a conlecta and a deversorium (2.233-4) are examples of socially appropriate imagery. Yet Cicero could take a traditional image of Greek theory, such as fontes for intellectual sources, supellex or ornatus for rhetorical adornment, or the complex of aesthetic values associated with the health and beauty of style, and

186

REPUBLICAN LATIN IMAGERY

adapt them to provide brief metaphors or full analogies for his recommendations on inventio and elocutio, and in all of them display a double concern to respect the imagery of Greek theoreticians and the language of a Roman literary predecessor (as in the case of inhibere, at 1.153) while retaining the naturalism of dialogue. A dead or dying metaphor like cursus could be recalled to life by a discreet reinforcement of words or phrases from one of three contexts - the chariot race, the foot-race, or the voyage. Greek analogies are sometimes kept unchanged, elsewhere given a Roman colouring, as in the transference of palaestra images to military drill, or the illustration of beauty deriving from utility by the gable of the Capitoline temple (3.180). But Cicero shows a more positive attitude than Terence towards imagery with a distinct national colouring; his landowning aristocrats draw analogies from agriculture (pp. 145-6), and as wealthy connoisseurs are permitted allusions to the fine arts and specific Greek artists. The latter would have been inappropriate to the bourgeois world of Greek or Roman comedy, but is legitimate in characterization of these noblemen, and desirable as ornament and diversion from technical subject matter. Besides the constant use of imagery for local, decorative purposes, the two special developments are the thematic image (fontes, regio, ornatus, and their derivatives) and the structural image. Scaevola's trespass motif (1.41) is the challenge to oratory in book i which is finally answered by Crassus in 3.122 with a modification of the same analogy. The comparison between the orator ignorant of jurisprudence and the would-be pilot unable to handle a small boat marks Crassus' argument in 1.174, and Antonius' retort (1.237). Major images with variations define the beginning and end of Antonius' digression on imitatio and Greek oratory (2.88 and 97), his summing up of the Aristotelian Tópica (2.162 and 174), Caesar Strabo's digression (2.234-290), Crassus' alternative analysis oí inventio on Hermagorean principles (3.108 and no; 122), and his catalogue of figures of speech (3.200 and 206). Less conspicuously they help the resumption of argument after dialogue from 2.70 to 73, and 2.294 to 303. Two basic metaphors, that of the orator as combatant, and that of the speech as a body, run through the work and emphasize the role of the orator in the courts, and the physical aspect of oratory as a performance revealing health in action. Syntactically the large scale and formal genre of de Oratore allows imagery more freedom, and a given metaphor is not confined to the medium of a single verb or noun, but allowed to develop its logic through a sequence of words or phrases. It may be sustained through many paragraphs, as the

SOME CONCLUSIONS

187

imagery of fire runs through the illustration of moveré from Antonius' great defence of Norbanus in 2.188-205, maintaining the didactic message parallel to the narrative without the tedium of formal commentary. Throughout this long and brilliantly orchestrated composition, metaphor and analogy are scored to promote the two aims of epideictic prose - to teach with clarity, and to delight with beauty. By their relationship with the argument and with each other the images contribute to the organization and unity of the whole work. In de Oratore Cicero has employed the highest level of artistry which he, and perhaps Latin prose of any period, could achieve, and the easy versatility with which he handles imagery is a fair illustration that Latin had reached the full powers of a mature and classical language.

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Indexes

Latin or Greek words discussed for their figurative usage are listed in Index i (Latin) and n (Greek), including figurative technical terms of rhetoric. These and other technical terms are also listed in the subject Index iv, Topics and Terminology. In Index ra, Passages Quoted or Discussed, it has sometimes proved impossible to reconcile the alphabetical order of the abbreviated references used in my text with that of the full titles of works cited. I have sacrificed consistency of presentation where there is a conflict, listing references in the abbreviated form and the order it implies. In ordering references from Cicero, I have subdivided according to literary genre, listing the works in the alphabetical order of their abbreviations within five categories: i, Letters; n, Speeches; m, Rhetorical works; iv, Philosophical works; v, Poems. Thus the speech post Reditum ad Quirites is listed in n under Red. Pop.; De Officiis is listed in iv under Off. Citations from Donatus' commentary are listed with the reference to the Terence passage upon which Donatus is commenting, but in the order of page sequence in Wessner's Teubner Text, not the alphabetical order of Terence's plays: similarly Menander references follow the page sequence of Koerte's edition, not the alphabetical order of play titles.

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INDEX I LATIN WORDS USED IN IMAGERY abligurrire 47 abradere 48 absorbere 134 accingi 31, 311121 acies 150, 158 acroama 132, 132034 actor 35 acuere 150:112 acula 151 aculeus 100, icono, 157019 addictus 77 adfligere 128, 130 adglutinare 47 admoenire 108 admutilare 104 adoriri 28, 30 adspergere 116 aedificare 159 aegrotare, aegrotus 18 aestus 134, 159 aliptes 119 amplecti 97 amplexari 120 amputare 146011 ancillula 147, 171 anguilla in appellere 42-3 applicare 36, 361124, 42-3 ara 124 arare 77n8 arcus 131 arderé 8, 8nn3~4, 74, 86-7, 153 ardor 8, 87n6, 117, H7n6, 153015 argentarius, argentatus, argénteas 98n2 aridus 173, 173033 arma 85, 155 f arrigere 42 articuli 165 arx 117, 120, 124 attondere 97 auceps, aucupari, aucupium 39 f, 133 avis 112 auspicia 43, 112 auspicate 43, 76

Bacchae, bacchari 49, 78 ballista 106, 109, 109013 bellum 85 belua 133 bolus 43 bos 112 bubulus 80 caecare 135042 caedere (sermones) 44 caenum 59, 133, 133036 calamitas 9, 25016 calefacere, caleré, calescere 12 calidus 12 calor 12 campus 145010, 163 canere, cantare, cantilena 44 canis 42 caput 119, 120, 148, 152, 175 carnificina ioi, 128 carpere 135 censio 77, 80 cibus no circumcidere 146011 circumscribere 162 circumvallare 24 claudere 44 colonia 78, 112 color, colores 167, 168, 168029, 169, 170031, 174 columeo 45-6, 130 columoa 45-6 comburere 102 comedere 46 comes 119, I2i, 147 comitatrix 147 comitia 112 commeatus 107 commonstrare 151 concalescere 12 concenturiare 29, 77 conciliatricula 134 concludere 45, 47 condimentum, condire no, 124, 124016

INDEX I

192

confiare 47 congelare, conglaciare 13 conglutinare 47 conicere 40, loónu conlecta 154 conlustrare 172 conquassare i3on3O conradere 48 conscribere 91 conserere 61 constringere 132 conterere 62, 91 contrucidare 129 contubernalis 97 conveliere Iión4, 153 copiae 30, 108 cornua 112 corpus 165 cruciare 48, 89 crux 48 culmen 45-6 cursus 120, 123, 127, 134, I44nio, 159, 186 custos 123, 147 debacchari 49 deferre 161, Ióin23 defervescere 13 defigere 121, 123, 123014 deflagrare 130 delibare 135, 135039 delibuere 49 delitiscere 116, iióni, 124 demens 86 demori 8 depectere 49 deperire 8, 49 deputare 58 derivare 50, 76 detexere 106, 159 deversorium 154-5 devincire 50, 121 devorare 47 deus 64, 90, 123 dies 62, 62nn, 102 diffluere 66, 175 dilapidare 50 diripere 101 discing! 31 discipulus (-a) 36, 78, 79nn, 97 discruciare 48, 49 dissignare 50

dissolutus 175 distrahere 101 domicilium 151, I5ini3 dos 171 ebibere 101 ecfodere 102, ni effervescere 13 effluere 66 effundere 51 elucere I7in32 eludere 32, 85 eluere 6o, 133 emancupare 77 emergeré 22, 22010, 24, 24ni5 emitiere 157 emungere 51, 103, !O3n8 eructare 52n3 esca 39, 4on29 evolare I44nio evolvere 51 evomere 52, 74 exaedificatio 159 exardescere 10, 87, 121, 153, I53ni5 excarnificare 48 excidere 53 excruciare 48, 84, 102 excutere 53, loo exedere 47, 101 exenterare 101, 105 exercitor 36 exilis, exilitas 172-3 exonerare 62 exordiri 106, io6nio, 159 exornare 49 exornatio 166 exossare 105 expectorare 53 expediré 51 expiscari 41 expugnare 109 expungere 78 exsanguis 172-3 exsecare 128, 128025 exsercire 54 exsorbere 102 exspuere 52, 74 exstinguere 10 f, 108 exsucus I73n34 exsugere 102 exsulare 54

LATIN WORDS USED IN IMAGERY exterminare 123 extcxere 106 fábula 44 faenerato, faenus 71 fax 88, I53ni5 fenestra 54 ferire 311120, 101, 157 fervere 13, 13 no fictor 78, ?8ng figura 168 filum 160, i6on22, I73n35 fines 162 flagrare Qn¡, 88, 130 flamma 88, 1531115 flectere 66, 66ni4, 116, 153 flexus I43U7 flores 170 flos 54, 117 Sosculi 135, 170 fluctus 127, 128 fluctúan 175 fluere 174 flumen 122, 151, 174-5 fodere, fodicare 100 foedus 77, 90 fons 148, 151-2, 161 forma 1691130 forum 55 frigere, frigescere 13 fructus 119 fucus, fucatus 168, 172 fugitivus 55 fulcire 46, 116, Ii6n2, 118, 125, !30n3O fulmen 118 fundamentum 117, 120, 159, 159:121 funus 129 furere, furor 86, 86n5 futtilis Ó7UI5 gannire 56 (rem bene) gerere 39017 gestare 56 gestus 159030 gladiator, gladiatorius 28-29, 157. I57ni8 gladius 30, 30019 grex 56, 148 gubernaculum 22-24, 241114, 126-7, 127022, 158 gubernare, gubernator 22-24, 24014, 126-7, 158

193

gubernatrix 22, 147 gurges 131 gustare 154, 161 gymnasium 33, 63 gyrus 163, i63n25 habitus 168 haerere 59, 123, I23UI4, 157 hamus 41 hasta 157 haurire 161 histrio 34 horridus 171-2 iacEre 13, 128 ieiunus 172 igniculus 10 ignis 9, 87, 8707 imbutus 151, 162, 162024 imminere 118 immortalis 90 impeliere 143, I43n8 imperator 144, 156 imperium 65, 78, 113, 156 impingare 56-7 implicare 116, n6n3, 120 imprimere 118, 11807 incendere 8, 86, 153 inceodium 9, 130, 153 incidere 52 incitatus 144010 inclinare I43n8, 144 incomptus 171 incultus 171 incus in, 149-50, 150012 indotatus 171 inescare 40 infans 150 inficere 162024 infigere 123, 123014 inflammare 10, 130, 153, 153013 infringere 117 ingerere 57 inhibere 141-2, 186 inicere 106 inlaqueare 132 inluminare 169 inlustrare 169 inoroatus 171 iorepere 116, 11601 inretire 11603, !32> r48

194 inrigare 96 inrumpere 96, 148-9 insanire 86 insérera 145, 1461111, 150 insidiae, insidiari 30, 3oni8, 86 insignia 169, 170 instruere 29, 124, I24ni6 iustrumentum 144, 14409 integimentum 112, 124 intendere 40, loonii intercludere 45 intexere I59H22 involvulus in inurere 120, I2onio iter 117, 152 iugulare 30, 74 iunceus 80, 801113 labascere 57 labefactare 57, 130, J3On3O labes 117, II7U5, 133 lacessere 28-29, 120, 155 lacerti 157, 173, 174, 174^37 laedere 28, 120 laetus 141, 172 lanista 31 lapis 57, loo latrare 56 látus 30 lavere, lautus 60, 172 lex 57 libare 161 linea 58 loci, loca 152 lucerna in lucrum 58 ludius 78, 114, 132 ludere, ludus 35, 58, 58n7, 89-90, 158 lumen 125, 169, 178 lumina 169, 169^0 lupus 59 lutum 59 macerare 59, 59n9, 89, 8gn8 machina 131 macula, maculare 59, 117, H7n5, 133 magister, magistra 37-8, 7907, 147 mater 147 materies 153 mederi 16-18, iSng, 83-4

INDEX I medicari 16 medicina 16-18, i8n9, 84, 88-9, 122 medicus 16-17, 84, 119 membrum 165 mercator 120, 122 messis, messor, meteré 77n8, 114, H4ni9 ministratrix 147 morbus 16-18, 84, 88 morderé 31, 60, 6onio naufragium 23-4, iignS, 126-7, 127022 navis, navigium 23-4, 126-7, ^5% nervi 166, 173, 175 nitedula 133 nitidus, nitor 49, 172 nudus 171 nutricula 134, I34H28 nutrix 78, 150 oblatratrix 56 obruere 24 obsaturare 61 obserere 61, 76 obsessor 113 obsidere, obsidium, obsidio 30 obtundere 61, 99, 150, I5OHI2 occludere 62 odor !7On3i odorari 4in3i, 124, 143 oggannire 56 olfacere 62 onerare, onus 62-3, 106 oppidum 109 opprimere 28 oppugnare 28 ornamenta 166-7, i66n27, 1671128 ornare 44, 171 ornatus 166-7, l66n27, I07n28, 171 os (oris) 63 ossa 173 paedagogus 36, 79nn palaestra 33, 63, 63ni2, 141, 186 palma, palmarius 34, 85, 160, 161023 par (noun: a pair) 31 parens 122, 123, 147 partes 33, 33H23, 160 pascere 64, 133^5 patere 311122, 117 patronus (-a) 78, 113

LATIN WORDS USED IN IMAGERY pax 85 pectere 49, 96 penderé 101 percellere 131 perire 88 perlucere 1711132 permanere 116 perreptare 64 persona 34 pertexere 159 pertundere 67 pestis 133, 133036 pictor 170 pignus 133, 133037 pigmenta, pingere 98, 168 pirática 125 plaga (net) 40, 113 plaga (blow) 129, 129026 plebs 77 plenus 174 polluctura 77 portentum 133, 133036 portus 22, 22nio, 24, 124, 1241118, 130, 159 possessio 148-9 postulatio 76 potestas 78 praedo 126, I27n22 praeire 148 praesens (deus) 64, 90 praesidium 30, 156 praetervehi 116, 135, i35n4O precator 113 primae 160-1 procella 128 proclivis/-us 64, 04ni3 procreatrix 147 procudere in, 150012 prodigium 133 profluere 174 profundere 51 promus 113 protelare 65 provehi 135, 13^40 provocare 28, 155 pugneus 98 pungere 31, 100, 121

quassare 130, I3on3o rabies 65

195

redundare lió, 158 refercire 145 reflectere 66 refricare 17, 153 regio 162 regnum 148, 163 remedium 17-18, 128 remorderé 6o, 89 reportare 124 repungere 120 restinguere lof, 153, 153015 rete 40 retrahere 55 retundere 66, 102 revolvere 51 rima, rimosus 66 ringi 67 rivolus, rivus 151-2, I52ni4, 161 rodere 116, n6ni rota 84, in rotundus I74n36 ruina 125 saepire 117, 162 saginare 129027 sagitta, sagittatus 85, 101 Sagittarius 131 salsura no sanare 17 sanguis loi, 122,129, 129027, 165, 167-9, 172 sanus 173,173033 sapor 170031 sarcire 119 sator 114 sauciare 100 saucius 31 saxum 57 scaena 35, 160 schema 169030 scintilla 10 scopulum 23017, 43, 158020 sedes 151, 151013 seges 97 senatus 112 sentus 61 sepeliré 67 sepulcrum in, 111018 siccus 173033 sinceras 173 somniare, somnium 67

196 sorberé roí sordes 125, 133, 134 spatium 68, 1441110, 159 spectaculum, spectare 35 speculum 68 splendor 125, 134 stellae 169, 170 stimulate, stimulus 100, icono, 120 strigosus 173 subducere 69, 120 subtilis 160, I73n35 subolere 62 succenturiare 29 succidaneus 96 sucus 160, i68n29, 169, 172 sudare, sudor 69, 135 suere 69 supellex 166, i66n27 sustinere 142 sutor 69 symbola 97 tabescere 60, 89, 8gn8 tangere 31, 8504 tela (loom) 105, loonio telum 30, 156-7 tempestas 25ni6, 26, 117, 127-8, 134 tenebrae 125, 134 tenuis, tenuitas 172-3, 173^5 terminus 162 tesserae 70 testis 118, 121, 147 theatrum 34 thesaurus 147 tinguere 162 tondere 103 torquere 89 torrere 88 torus 174, I74H37

INDEX I tractatio 156-7 tragoediae 153, 160 tragula 106 tranquillus 23UI3 transenna 39 tricae 40 tundere 60, 102, 150 turbo 128 tutor 122 vadare 84 vades 133, I33U37 vadum 22, 22012 vagari 162-3, !75 valetudo 166 f, 174 variare, varietas 170, 172 varius 98 vela dare 143 velum vortere 25 venari, venator 113 venditor 122 ver-(jce vor-) vesanus 86 vestiré, vestís 171, I7in32 via 70, 151-2 vires 174 virgidemia 98 viscera 165 ulcus 17 ulmeus 98 volturius 133 vorago 131 vorsare, vortere 84, 105, III vorsoria 25 vorsura 71 vorsutus in urere 9, 74, 87 vulnus 17, 122, 129, 129026

INDEX II

GREEK WORDS USED IN IMAGERY

174 40 II 105

55 104 po

174 71

60

47 8401 47 68 100005-6, 157019

52

20, 23013

7809

58

8401

170

45-6

II

54

146011 44 166, 166027,J7I 166, 166027

I58112O

55

13

142

45 64

62

103118 53 179

52 1601122 70-1

2O

22011

70 56

19, 22

43-4 2O, 85

160, 160022, 173035

I65

I73n35 177

58

57 2O, 22OIO

37

34

61, 100115 40 40029 II, 12, 1531115

68

37-8, 113, 147 37K25 55 68

69

64, 99

69

12

40, 47 51

38

46

20 2O

15-16, 113, 147 16-17, 147 164, 173, 173035

20

I2ÓI12I 19, 22

15, 18, 128023

8401 159022

51 1591121

I5-I6, 85, I28D23

32 48

177

47

II

155 44, 62 20 II 14409, 166,

50 19, 22nio 53

154, 155, 1661127 51-2

16

66 14307

166027

I73I133 7O-I 20

13

68

20, 42

ip8

INDEX H

391127 59

164026 59

24

37-8 37, 141,

177 II

174

8514 150

21, 251116, 118 118

iiiniS iiiniS

21, 25tll6

631112

174130

1601122

45

1591122 I29!126

15

21

15-16, 85114

48

15, 85, I53ni5

48 1591122 1591122

19 21

70-1 1661127, 170

15

63

1601122 21, 1741136 156, 1571118, 164, 166, 169, 1691130 1641126 1641126

158 I56ni7 161, 1611123

84111 46 150 71

14 21, I58D2O 21, 25 18O 174

15, 85

II

7718

47

170 142

69,76 174

44

45

Ip, 20

INDEX HI PASSAGES QUOTED OR DISCUSSED

AESCHYLUS 898/45

ARISTOPHANES Equites

AFRANIUS

468/47 715-8/150

61-38/173033

LysistraM

7ÓR/I6903O 229R/29 CAESAR

(Donatas Vita Ter. 7)/3m (Gell.i.io.4)/I58n20

34/70, 182

221/84111 372/mni8 Nubes 446/48

98/32, 69, 76

Ranae

2.9/8706 7.10/86

"3/47 178/21 219/70 235/68 289/38

129/64 485/64 Vfspae 1041/48

15.16/86 17-14/54 25.15/87

ALEXIS HI ft. 25/68

ARISTOTLE AMPHIS HI fr. 17/34

33/12 ANAXANDRIDES

ra fr. 3/5505 4/20, 22 53/63 61/38 ANAXIPPUS HI ft. 32/47 ANT1PHANBS HI ft. 86/15

107/15 209/64 239/47 259/16 294/37, 38 329/63 332/63I1I2 APOLLODORUS

Km fr. 10/58

Poetics 1/1641126 22/1661127 Politics

3.8.1/64 Rhetoric 3.1/160 3.2.2/1661127 3.2.5/179 3.2.8/179 3.2.11/180 3.2.12/180 3.2.13/180 3.3.4/180 3.7.2/1661127 3.11.16/75 3.4.12/1561117 ATHBNAEUS 3-103/56 8.278/55 14.629/164026 BATON

Kin fr. 328/55 CAECILIUS

17/63

IIR/67

2O/IÓ

57»/i69n3°

CATULLUS

15.14/86

35.12/8, 49, 88 45-3/50. 88 45-16/87 51.1-2/90 52.2/1281125 57.3-5/60 61.170/87 61.203-5/89 64.26/46 64.54/86 64.91-3/88 64.94/86 64.119/49 64.197/86 66.76/48, 89 68.55/89 68.129/86 68.156/90 72.5/87 76.10/48, 89 76.25/88 77-3/87 83.6/87 85.2/48 99-4/89 99.11-12/48, 89 100.2/49, 88 100.6/125 100.7/86, 88 104.3/50

2OO CICERO

i Letters, H Speeches, in Rhetorical Works, iv Philosophical Works, V Poems i Letters ad Brutum

2-3/9 17-2/35 22.2/241114 23.4/8, 26, 133 24.11/26, 66 26.3/1331137 ad Atticum

1.16.1/30 1.16.2/311119 1-16.3/31 1.16.7/1201110, 1291126 1.16.9/129026 I.i6.ii/i6n8 1.16.12/34 1.17.1/1809 I.I7-3/I7 1.17.5/161023 1.17.10/48 1.19.8/44 1.20.2/30 2.1.1/172 2.1.6/26 2.1.7/1608 2.7.4/23, 127 2.7.7/128024 2.15.2/35 2.16.1/31, 50 2.17.3/41 2.19.1/31,40 2.20.3/17 2.21.2/26 3.12.2/1809 3.15.2/17 4.2.4/44 4.3.2/50 4.3.3/1608 4-5-2/67 4.13.2/13701 4.17.2/9 4-I7.3/I3 4.18.2/168 4.19-2/24

INDEX III 5.I.2&5/7I 5.2.14/11602 5.8.1/24 5.10.3/24 5.13.1/63 5.I5-I&2/I7, 71 5.17.6/17 5.21.11/69 6.1.2/1608, 24 6.1.6/57 6.1.10/56 6.1.25/47 6.2.1/50

ad Familiares

6.2.2/8

I.9.I8/I2O

6.2.4/24 6.2.8/31, 60

6.6.3/31 7-3-5/24 7.8.1/48

7.13.2/26

7.15.3/128026

8.1.4/62

8.11.1/24014 9.10.3/16118 io, 8A & 10.2/33

10.11.1/1809 10.14.2/18 10.15.2/30 10.15.3/34 11.7.8/31, 60 II.18.2/66

12.18.1/17, 6l 12.21.5/17 13.9.2/1809 13.12.1/31, 60 13.12.3/159022 13.19.4/172 13.20.4/61 13.21.3/142 13.22.1/159022 13.23.2/159022 13.28.2/8 I3-34-I/44 I3-45.3/3I 13.47.1/38 14.6.1/48 15.6.2/12 15.9.2/26

15.26.2/9, io i6.i3b.2/8 16.5.3/44

1.1.4/1608 1.7.3/50 1.9 passim/n8-i2l, 184 1.9.2/119 1.9.5/54, "9 1.9.8/120, 124 I.9.IO/68, 120 I-9.II/I20 I.9.I2/I2O I.9.I3/I23 I.9.I5/I6, 119 I.9.I7/I20 1.9.19/29, 31, 120 I.9.2O/29, I20-I2I I.9.2I/23, 50, 119 I.9.22/II9, 121 1.9.23/13701 2.6.4/24DI4, 26 2.8.1/130029 2.I3-3/I3, 31

3.1.1/54, 119 3.10.7/62 3.12.3/69 4.3.1/26 4.6.2/17 4.13.6/44 5-3.I./62 5-5-3/51 5.8.3/135041 5.103.2/63 5.12.2/35 5.13.2/31 5.13.3/1608 5.14.3/62 5.16.2/30 6.10.6/64 6.12.4/9 7.I5.I/3I 7.24.1/58 7.25.1/38 7.33-2/34 8.1.2/12 8.3.1/48

8.6.1/66 8.6.4/12, 13 8.6.5/12, 13 8.8.2/13, 26 8.8.3/31 8.8.9/57

PASSAGES QUOTED OR DISCUSSED 8.11.3/35 8.14.4/35 8.17.2/31 9.2.5/130029 9.3-2/I7 9-7.2/38 9.8.1/63 9-14-4/8 9-I5-3/23 9.16.7/38 9-17-1/58 9.19.1/41 9.20.1/30, 62 io.i.2/24ni4 H.2I.2&5/47 11.27.2/48 12.14.3/66 12.22.1/29 12.25.4/40 12.25.5/23 12.30.1/29 13.21.3/67 13.62/54,119 15.4-14/21 15.20.2/10 16.17.1/181 16.27.1/23, 24nT4, I27D22

ad Quintumfratrem I.i.4&5/24ni4, 26 1.1.10/44 1.1.16/143 1.1.42/34 1.1.46/35 1.2.13/24 2.3.2/10 2.H-3/35 2.i2.i/3in2i, 44 3.1.18/8 3-2-2/30 3.2.3/12 3-4.2/3I 3-4-4/33 u Speeches Arch. 10/116

Ban. passim/ii 5-18 4/116, !35n4O 5/«6

13 f./n8 I3/I5IUI3, 182 15/117 16/118, 182 29/117

31/117 34/118, 182 35/116, 118 39/116-7, 124 40/117 43/"7 49/117, 11706 57/1I7n6 56/116 57/116

59/117 60/116 61/116, 117 62/116 Gael 5/120 19/152014 28/241115 38/13 43/13 51/135040 75/24015 76/145011

Cat. 1.16/123014 2.IO/52D3

Clu.

2OI

137/127 and 022 143/117114 146/1291126 Place.

41/46 Har. 2/io6nn 7/40, 1061111, Ii6ti3, 132 22/132 39/49 46/1331136 5O-55/Il6ni, 120 57/I23tlI4

59/131 and 033 60/130030 Mil. 3/133025, 148 5/II7 37/io6nn 40/1i6n3 58/64 67/io6nu 78/52 99/i2Onio Mar. 14/120 36/26 Phil. 2.58/n8n7 2.64/123014 11.8/64 13.26/46

7I-2/I24ni6

Pis.

72/135 116/124

45/1331135 52/117114 71/68 Prov. Cos. 2/133036 7/127022 13/133036

Dom. 24/127022, 134

27/131 32/135

42/I29D28

47/133036 53/130032 54/133036

60/135042

72/133036 92/120

107/133036 113/132 121/116

124/129027,130

16/129026

34/151013

43/130030 45/129028 Red. Pop. passim/i2i-5 I/I2I, 123, I23OI3 2/I2O, 123 4/123,182 5/I23

INDEX m

202

7/I22DI2, 184 8/123, 123013 10/12), 123013, I25nl9 11/122, Il6n3 12/123 14/54, 122, 123 I6/I22DI2, 123013, 184 17/124 19/123 2I/I2O, 122, 123 23/123, J82 24/123 25/123

Rea. Sen.

passim/121-125 1/124 3/123, 124 4/122 5/125 6/122,123

8/125 9/122, I22ni2, 182 IO/I2O, 122, 124, 125 11/124 12/123 15/124 16/124 17/122, I22OI2, 182, 185 I8/II6, 130 19/124 23/125 24/125 25/125

28/124,I25, 182 34/123-4, 182 39/123, 182

S. Rose. 5/51 Sest. passim/125-36 1/128 4/130, 131 5/117, 130 7/127, 134 9/134 I2/I2O I3/II8H7, 134

i5/io6nn, 127, 131, 133 16/132, 133 17/120, 128,135

18/124, 130 19/46, 130, 133 20/127, 133. 134 21/133 24/31, 128, 132, 136, 185 25/127, 129027 28/130 31/128, 129 33/133, 135 35/130 38/133 42/106011 43/128 44/130, 136 45-6/126, 185 48/135 49/130029 51/128, 136 52-3/129 54/129027, 136, 185 55/128,136 56/11705, 130,133 60/133, 134, 135 61/128 63/130029, 133, 135 65/133 67/135 68/135 70/135 71/133, 135 72/11601,133 73/127, 130 78/129,136 79/136043 80/129026, 132,136 82/130 83/133 88/132 97 F./I27, 130, 136 98/133 99/130 101/36 108/133 i10/129 111/130 112/133 114/133, 135 116/130, 132 119/132, 135, 170 121/130, 136

123/129, 135 131/129 133/131 135/128 139/135 140/128, 130 141/132 145/129 146/133

Vatin. 2/11603 4/134038 11/134 13/134 19/130030 20/129026 21/130030 25/120, 133 33/128, 133036 36/129026 39/128025 Ven.

2.2.10/52 2.4.47/64 2.4.49/132034 2.4.148/11706 2.5.65/64.133035 2.5.87/135040 2.5.151/5202 2.5.161/11706 m Rhetorical Works Brutus 35/125020 36/168, 172 38/157019 64/173, 173034 66/170 68/173 69/169030 70-71/14105, 164 84/160023 117/172 139/155, 158 141/169030 171-2/170031 173/156 184-200/160 202/173032 211-3/301

PASSAGES QUOTED OR DISCUSSED 218-9/139 233/1441110, 170 252/3111 258/1591121 261-2/3111 262/171 272/174036 273/1441110 274f./i7in32 275/1691130, 170 282/134 307/1441110 3I6/I3 317/160 327/1711132 330/122 331-2/144010 de Inventions 1.1.1/155 1.2.2/147 1.2.3/147 1.3.4/126, 146 1.5.6-7/146 1.30.47/146 1.38.68/146 1.41.76/147 2.2.4/162 2.2.7/161 2.15.49/126 de Optimo Genere 4/180 8/168, 1731133 12/1731133 17/32, 158 de Oratore

1.1/143117 1.3/158 1.5/13702 I-9/I47 1.12/161 1.15/1531115 I.I7/IÓO 1.18/147 1.28/138 1.30/159 1.32/147, 155 1.38/147 1.40/157 1.41/148, 162, 185-6 1.50/172

1.52/162 I.57/I72 1.60/153015 1.65/1461111 1.70/162 I.72/I42n6

1.73/64, 141, 164 1.74/141 I-75/I47 1.81/141, 172 1.83/172 1.87/161 1.97/153015 1.105/151013 1.113-14/145 1.134/153015 1.147/143117, 158 1.150/147 1.153/141, 186 1.157/158 1.159/162 1.161/134, I44HIO 1.i6if./i44, 166027 1.164/159 1.172/156 1.174/158, 186 I-I77/43 1.202/157 1.203/152 1.204/54 1.208/13702 1.209/162 1.214/162 1.218/162 1.219/153015 1.234-6/147, 171 1.237/159, 186 1.242/157 I-255/I59 I.257/I47 1.264/162 2.5/162 2.23/144 2.25/14206 2.29/63 2.36/147, I?0 2.54/170, 170031 2.60/168 2.62/174 2.63-4/159

203

2.64/1571119 2.68/1591122, 163 2.69-73/I43, 186 2.72/157 2.75/162 2.84/158 2.85/162 2.88/145, 168, 186 2.94/160 2-97/145, 186 2.117/151, 152, 161 2.120/169 2.123/171 2.130/152, 161 2.131/145 2.142/152 2.145/159 2.147/160, 163 2.152/151 2.154/231113, 43, 1581120 2.158/159 2.I59/I73, 174 2.160/150, 179112 2.I62/I49Í., 161, 162, 186 2.174/152, 186 2.186/1241115, 143 2.187/25, 143, 158 2.188-205/152-153, 187 2.188/168, 174 2.199/153 2.203/153 2.205/153 2.209/153 2.214/157 2.219/157 2.222/1571119 2.224/139 2.227/160 2.233-4/154, 185-6 2.253/142116 2.263/142116 2.289/162 2.290/154, 186 2.292f./I56

2.293/157 2.294/186 2.303/156, 186 2.310/168 2.316/156 2.317/157

204

2.318/165 2.324/14308 2.325/165 2.338/160 2.34I/I7I 2.358/165 3-3/«2 3.4/I53DI5 3-7/144, 159 3.8/153015 3.11/1531115 3-I6/I74 3.19-20/169 3.23/161 3.24/163 3.25/169 3-5I/I72 3-55/143 3-57/3» 3-58/145 3.61/148 3.69/146 3 -70/163 3-74/147 3.86/14206 3-93/i5oni2 3-96/135, I35n39, I6?f3.97/172 3.98/144 3.101/168 3.108/149, 186 3.110/149, 186 3.I2I/I5OQI2

3.122-3/149, 186 3.124/163 3.126/163 3.138/1571119 3.143/160 3.145/134, 159 3.151-2/159 3.155/171 3.155-168/176-180 3.157/14004, 17601 3.161/170031 3.162-4/25016, 95f. 3.163/131033 3.164/25016 3.166/149 3.170/170 3.171/14206

INDEX m 3.178/144 3.180/186 3.190/175 3.199/167-8, 173-4 3.200/157, 186 3.206/157, 169, 186 3.213/160 3.217/170, 170031 3.220/157 3.226/159 3.228-30/138 Orator 26/125020, 153 27/153 36/172 40/174037 41-2/138, 158 48/146011 53/174 62/138 65/138, 159. 170 66/174 67/169030 76/168 78/172 79/166 80/14409 81/173, 180 82/180 83/164029, 169030 85/169030 92/170, 18o 103/211020 104/125020 107/13 115/172 124/173035 125/169030 132/153015 134/170, 180 136/125020 198/175 199/175 220/175 228/157018 233/175 IV Philosophical Works Ac. Post. 8/152014

Fin. 1.44/146011 1-71/38 3-9/162024 4-7/10 Luc. 94/142

N.D. í-77/133 3.82/48 Off1.21/31022 1.90/163025 1.126-130/165, 180 2.38/125 2.69/64 3.68/40 Rep. 2.69/69 4.4/165 Sen. 44/40029 83/68 Tuse. 1.73, 80/150012 3.27/128024 4-70/165

v Poems Aratea 26, 307/45 [DEMETRIUS] de elocutione 47/155 274/153015 DEMOSTHENIS

de Corona 45/128023 194/126021 242/128023 DIONYSIUS OP HALICARNASSUS

Je Compositione 3/159022 6/159021 11/170 12/170 II, 12, 15, 16, 17, 18, 19, 23/

159022

PASSAGES QUOTED OR DISCUSSED

Isocrates 2/166027, I74n36 3/141, 173035 II, 12/174036

P/i. 382.W449/4I Ph. 575.W4Ó3/I6 PA. 746,^472/671115 PA. 856.W476/49 PA. 973,W48o/6o

DIPHILUS

in fr. 24/15 43/52 88/16 105/15 117/16 DONATOS

Vita Terenti 7, Wessner 1.9/3111 de Comoedia 5, w .1.22/68 Commentum (Wessner Vol. i) An. Praef. I.2.W3 5/72112 An. 348,wi3i/6i An. 386^140/87 An. 423.WI48/53 An. 446.WI53/I9, 42 An. 6o9,wi89/67ni5 An. 64O.WI97/57 An. 733,w2i6/40 An. 959.W258/9O E«. Praef. 1.2^265/7202 EH. 54~5,W28o/32 EM. 236,W317/61 EH. 274^326/9 EH. 3i8,W339/i68n29 EH. 590.W397/53D4 EH. 64O.W4O5-6/58 EM. 8o6,W445/63 Wessner Vol. n Ad. Praef. 1.2,^3/7202 Ad. 556.WII5/56 Ad. 86o,wi65/33 Ad. 88o,wi67/68 Hec. Praef. I.2,wi89/72n2 Hec. 2I4.W229/57 Hec. 286.W244/58 Ph. Praef. 1.2^345/7202 Ph. 287.W42O-I/45, 46 Ph. 3i8,W427/75 Pfc. 327^429/75 PA. 345.W434/64 PA. 346^434/27

BNNIUS Ármales 2O2-3V/66ni4 24IV/53&04 308V/I3 51139 335-6v/6on9 348V/46 Scaenica 23V/53 32iv/i5ini3 395V/I65 398v/i5ini3 BPHttPUS

Kn fr.7/59 BUBOULUS KB ÍT.4I/I5

fr.76/20 fr. 104/60 EXWOIIS

KI fr.94/ioon5, 157019 EURÍPIDES Heracleidae i67/nini8 Iphigenia in Tauris 57/45 Medea 576/1661127 Troadej 489/46 &.IÓ9N/58

205

238/51 241/69 304-5/150012 Carmina 1.6.17-18/85 1.13.4/1306 1.13.8/5909 1.27.11-12/88 1.27.15-16/87 1.27.20/88 1.33.5-6/88 1.35.13-14/46 2.17.3-4/76 3-3-55/49 4.3.16/60010 Epistles 1.4.16/56 1.5.16/50 1.9.13/56 1.16.79/58 2.1.168-9/69 2.1.225/173034 2.2.128/67 Epodes 12.9/65 14.9-10/87 14.13/87 14.15-16/59. 5919 Satires 1.10.28/69 2.3.44/56 2.3.259f./66, 82 2.3.200/59 2.6.46/66 2.7.26/59 2.7-99/3in20 ISOCHATES

Antidosis 183/141, 1640266

FBSTUS

EHOforas(9) 5 &9/i66n27

2671/655

Philip (5)

4061/699

27/170

468L/85U4

innr HORACE

2.20.11/143088

/Irs Poética 231/67015

9.17.2/154 22.41.4/40

INDEX m

200

25.7-14/55 38.51.4/46 41.23.8/40 LUCILIUS

IM/45 70M/53

286M/53 530M/47

804111/169030 88IM/43, 51 886-7M/69 8g6M/6o I033M/60 I039M/I39 I24IM/I4306 LUCRETIUS 1.401/48 2.78-9/68

3.827/61 3.936/68

4.1077 f./87n6 1083/65, 86 1090/87 1117/65, 86 1121/89 1135/61 1138/87 MENANDER

Dyskolos I83/II, 12

209-1i/78nio

398/19

535 f./78nio 899/11 950-1/55 Sikjonios 7 Kassel/55 198/12 Korte Vol. i Héros 5/52 Epitrepontes 6/52 383/71 396-7/19 581/14 707/47

Perikeiromene 42-3/11 163/14 173/69 217 Í-/32 282-3/7708 380/19 406-7/32

Sumía 70/62 77/62 141/61 169/61 172/61 2IO-II/2I 252/10107 274-5/69

Kitharistria fr. 2K/I5, 61, 63 Misoumenos fr. 9K/62 Com. Florentina 58/21 83/62 Kôrte Vol. n

fr. 1/64 59/19 79/85 80/15, 85 130/61 162/21, 25 198/71, 85 200/15, 18, 85 205/19 229/38n25 258/85 335/21 338/37, 381125 407/71 416/70

6I6/2O, 23013 628/45 642/15 652/15 656/20, 21, 85 679/64

7I8/I5 782/15 NAEVIUS

fr. 9 K1./I6903O OVID Amores 1.2.9/87 1.2.21/85 1.7.2-3/86 1.8.69/40, 86 2-3.13/89 2.4.12/86 2.16.11-12/87 2.19.15/87

3.2.78/144n9 [Heroides] 19.125/8908 Metamorphoses 4.259/89 Tristia 4.10.45/87 4.10.123-4/60010 5.1.77/89 PHILEMON KII fr. II/IÓ 28/21

72/7809

73/15 79/90 98/16

4I7/2O, 22

I08/IÓ

422/47

2I3/2O, 25016, 42

427/51 538/15-16 550/71 568/15-16, 32, 85

PHILIPPIDES

Km fr. 32/16

570/85

PINDAR

571/85

Olympian n 6 & 82/45

592/56

PASSAGES QUOTED OR DISCUSSED PLATO

Apology 170/1661127 Axiochus 3673/70 Charmides I55d/n Epistle 7-33od/70 34ob/n Ion 53ob-d/i66n27 5360/164026 Laches 1926/66 Leges 66gd/l64n26 776b/68 8023/68 8036/70 905b/6g Menexenus 2446/66 Meno 983/55 Phaedo 9ic/l5?ni9 Phaedrus 2346/1741137 2453/49 247C/22I1II

2O7

Symposium 1756/68 1836/54 2i6b/55 Timaeus 693/40

595/78 600/80 601/77 607/80 626/78, 114 801/47

PLAUTUS

Baahides 50/39, 84 63/100 66 f./33, 63, 77 85/80 92/77, 79 101/84 116/891110 155-6/80 163-4/36 181/50, 77, 84 213/79 214/99 239/106 241-2/79, 103-4 251/79 349/78, 106 350/106 372/79, ioi 375/56, 79 384/59 446/111 470/49 493/79 601/112, 124 693/47, 79 701/51, 103118, 104 709/40, 109 711/103 766-7/80, 105 792/39, 106 797/23 800/56 810/80 814/55, 77 821/79 869/102 875/57, 79 925 f./8o, 109-110 947-8/noni5 972/77 985/44

8o3/22ni2

Amphitruo

H7/i69n30 3I9Í./I05 367/46, 69 472/61 517/49 697/68 703/49 1011/64 1030/13 Asinaria 158/22 215, 220 f./39 280/30

285/50 297/63 386/55

420/8

422/56 850/50 874/77118 881/113 910-11/67 919/9, 64 Aulularia

255d/68 2640/165 27ob/i43 2786-9^138 Politicus 2673/154 Respublica 3433/150 4883/126 4983,0/11 5346/46 5496/44 5566/11 5613/49 6003/70 6oib/54 6040/70

45/97 59/78, 97 73/78 105/48 I5I-2/53. 99 229 f./77H7 230/59 297/80 402/78, 80 408/78 410/33, 63, 78 422/80 447/43 454/97 566/nmi6

6i3b/68

576/77

208

1073/77 1091/79,87 1092/79 1094/79 1095/79 1101/51, 103118

1120-48/104 1125/103 1158/39, 84, 99 1199/79 1205/77 !2o6/3Oni8 Captivi

77 f./«2 84/47 92/64 Il6 f./II2

133-4/59 153 f./in

266-9/104 336/64 369/111 419/53

INDEX HI

118/61, 99 188-9/77 203-8/84, loi, 1281124 2i5/nni7 221-2/84 250/84 291/67 298/84, 85114 300/84 379/78 450/78, III 503/78 541/53 556/62 609-10/99 728-30/111, 182 731/55 769/78 Curculio

656/103118

40/95 150-1/114 152/101 160-1/17 168/90 358/l34n38 449-50/47 559/54

6ÓI/II4

Epidicus

734/56

34/55 49/25 74/23 93/96 121/96 125/97 140/97 159/112

464/62,102 6I5/II3 650-2/97

774/62 841/60 848/68 896/49, 96 907-8/III 9II/25nl6

Casitta

107/49 360-1/99 369/70 414-5/97 436/361118 469/70 536/46 937/9 Cistellaria

59/84 62/80 71-5/84 73-4/16

183/43, 112

185/105

188/46, IO2 191/59

216/391127 256/12, 77n8

265/77 311/97 320-2/105 343/H2 37I/IH 381/112 383/68

493/51, 103118

511/105 555/8 592/36 604/113 609/62 625-6/98 672/105 673-4/12 690/106 718/77118, 114 Menaechmi

98-9/17 107/311121, in 138/64 152, 154/102 184-5/311121 200-1/113 570/H3 604/71 667/53 716-8/56, 57 756/61 854/113 903/51 936/66 1012/77118, 97 1017/96 Mercator

43/54 56-8/51 125/80 i97/22ni3 205/60 303-5/37, 78 361/80 403/57 469-70/101, 113 524-5/103-4 553-4/58 576/53 590-1/10 593/54 600/8 613/30 668/66 689-90/113 695-6/23 845/78

PASSAGES QUOTED OR DISCUSSED 869/78 875-80/23, 25 951/17 959/13 990/39 996/77 1015-6/57 1024/57 Miles Gloriosus 184/97 189/63 2I5-228/IO7 f., 122 216/98 223/45 226/12 266-7/108 605/62 608/II3 681/56 768/105 787/I73n32

811/33 856/49 970/8 990/40 1018/64 1024/57 1040/8 1389-90/30 Mostellaria 12-14/47 32-3/34, 36 137/251116 162/251116 196/61 387/17 413/50 570/106 609/12 677/23 738-42/23 751/23 765/45 778/82/106 799/77n8 918/23 1048/30 1051/55 noo/77n8 1109-1110/51

1126/57

209

1-2/113 24-5/85 28/30 269/56 458/52 463/1691130 535/59 555/54 607/43 634/31 754/10, 291117 796/40 8oia-b/9, 87 829/105 Poenulus 96/49 198-9/60

399-400/106, lognio 412/111 447/36 540/69 54S/98, 9802 571-2/29, 108 579-83/29, 108 584/108 587/109 606/113 614/111, 150012 668/70 747/in 766/9802, 109 807/113 812-3/112 911/9802 933/36 984/59

20I-2/IOÓ

I02I/II2

Persa

275-6/90

I045-6/IO2

358/96

1063-4/98, 104, 110014

434/61

IIOO/II2

754/25 828/30 914/12 1075/49 1289-91/98 1363/48

Pseudolus 21/60 47-8/9802 64-5/891110 75/9802 76/52 100/9802 105/98112 145-7/99 158/65 201/8

300/9802 312/9802 317/51 333/97 347/9802 357/62 359/57 369/67 382/105 384/108

1126/47 1127/12, 47 «93/36 1233/112 1241/30018 1244/104, 110014 1308/31 Rudens 233/64 325/54 426/58, 89 468/5908, 89 488/49 636/98 637/7708, 114 661/49, 96 710/56 721-2/97 730/49 732/97 753-4/99 763/7708, 98 76S/47 816/97 1132/64 1237-8/39 1293/42

210

INDEX in

1394/57 Stiffens 18/61 81/68, 78 92/110 102/113 105/37, 78 312/55 348-9/78 435-6/102 453/102 455/64 459/43 521-2/57 531-2/62 639/801113, 98112 688/77 689/77 698 f./65, 112 724/111 751/55 Trinummus 28-30/18 32/77118 45/70 75-6/18 81/78, 113 132/78, 79 155/79 188/62, 79 189/65 190/77 216/79 222/62 225/59 226/36 236-42/85 237/40 242/101 245/31 247/101

328/78 336/79 350/44 363-5/78 368/110 399/25016 467/78 484/77 512/78 530-1/61 615/62, 79 639/79 649/79 667/78 673/78 675-6/10 678/10 693/79 698/62 699/79 706/34, 77 755/79 797/79 822/77 839/79 851/80

265/79 287/44, 79 293-4/I5I 299/79 300-4/77 313/124 317/54 318/78 323/79

POMPONIUS

1000/100

1002/77, 79 1011/80 1016/36, 78, 80 1026/23 1038/78 1092/79 Truculentas 148-50/77118 465-6/18 563-4/50 737/37 819/112 853/100

I.I8.I5/86 1.20.6/87 2.1.45/85 2.1.58/89 2.2.2/85 2.IO.25-6/I5I 2.13.15/85 2.14.10/90 2.14.18/86 2.14.29-30/221112 2.15.13/88 2.15.21/89 2.15.29/86 2.15.39/90 2.24.8/88 2.25.40/89 2.27.15-6/90 2.32.19-20/86 2.32.29/89 2.340.25/86

3.i.5&8/i73n35 3.3.21/163 3.5.2/85, 89 3.6.39/87 3.8.2-3/86 3-8.34/85 3.8.37/40 3.13.21/87 3.17-3/86 3.17.11/89 3.20.20/86 3.24.13/88 3.25.6/86 4.1.139-40/32, 85 4-3-50/311120 4-4-70/88 4-5-32/85 4.5-44/3in20 4.8.52,60/86 4.8.71-74/58 4-8-81/58 4.8.88/86

15011/1691130 QUINTILIAN PROPERTIUS

8.6.8-9/I76ni

I.I.26/86

10.1.4/1641126

I-4.II/86

10.1.29/154

1.5.28/89

IO.I.33/l66n27, 1741137

1.7.26/71

IO.I.II5/I46niI

I.I3.20/86

I2.io.i-p/i4ini, 164

PASSAGES QUOTED OR DISCUSSED I2.IO.I5/I73H34 12.10.41 &44/I74

294/14, 18 302/19, 22DIO, 27 306-7/66

RHETORICA AD HERENNIUM

310/8

4.4/146

362/56

4.9/146, 161 4.ll/3ni 4.16/170, 174 4.18/166, 167 4-2I/I3 4-27/157 4.32/169 4.57/126, 146 4.58/165 4.59-61/140114, 146 4.60/146

394-5/67

SENECA Phaenissae 44/53 Thyestes 245/53 Troades

396-7/62, 67, 74

403/59

415, 428/68, 81 510/74 534/11, 13, 77, 80, 104 537/59 556/56 563/56 602-3/60, 84 607/44 610/48, 84 614/51-2

TACITUS Dialogus

631/67 639/44 693/67 709/56 715/64 718/27 739-41/70, 73, 80, 182 755/291117 773-5/27 775/43 796/58, 69 807/60 816/58 829/70 849/80

2O/I50DI2

855-58, 69, 120

6/46 124-8/46 «69/53 SUETONIUS

Tiberius 28/54

21/1731133 26/i66n27 2g/i44nio 39/i44nio

TERENCE

Adelphoe 87/50, 77 113/61 133/51 152/11, 182 176/49 184/49 220/39 239/57 242/48

859-60/68, 182 864/63 870/69

880/33 891-2/69 93%o. 74 954/60 958/28, 30 991/51 Andria 1/42 54/36 181/79 190/70, 76 192/35-6, 361124, 76, 84 193/14, 18, 43, 76

211

194/80 308/7, 79, 83 348/61, 99 386/47 423/53, 79 446, 19, 42, 76 468/14, 76 475-7/35-6, 76 480/19, 22tlIO, 76

557/18, 62, 79

559/76,84

561/50, 79 562/19, 221110, 79 573/44, 79 602/39, 76, 79 620/231113, 79 640/57, 79 650/47, 79 667/76, 79 685/59, 79, 84 692/86 701/64 733/39-40, 75 753/103 807/42-3, 76-7 831/14, 18, 76, 84 845/ignio 886/48, 59, 79 913/47, 79 924/43 933/42 944/14, 18, 76, 79, 84

960-61/90, gonii 963/84

Eunuchus 16-18/27 53 f./28, 83, 85 55/31, 85 59 f-/28, 83 67-9/7, 10, 84 72/7, 84 74-5/28 76-8/25 79/9, 48 85/7, 9, ii, 83 105/66, 73 121/66, 151-2 164/44 178/57 187/59, 84

212

225/14, 18 235/47, 61 236/61, 75 245/70 247/39. 70 268/11 274/7, 9 301/65, 86 316/80 318/54, 168029 348/77 354/33 373/58n7, 89 380/11 383/48, 84 394/11, 291117 402/56 406/53, 74 411/60 417/27, 74 420/27 426/80 438/7,9,74, 83 439/14 445/9, 6o 517/11 55i-2/9onn 554/61 584 f./ioin? 586-7/58, 89 610/54 635/154 640/58 712/53 723/51 770/77 803/42, 182 806/63 832/59, 77 874-5/47 887/77 888/84 899/27 920/48 930/33, 75 1024/77 1027/81 1046/19, 22 1060/27, 31 1084/56

INDEX m 1085/51 1087/46

Heauton Timoroumenos 23/361124, 43 36/72112 46/3111, 81 81/48 97/50, 83 100/18, 84 141/48 143/54 167/53 177/48, 84 208/50 223/9006 242/44, 75 245/56 250/53 260/44 294/61, 75, 76 349/n, 75 367/7, 83 394/50 402/33, 75, 160 413/48 462/47 48i/54 513/39-40, 75, 103 516/65, 76, 77 525/8, 49, 75, 84 539/14 669-71/27, 29, 76 673/43-4, 76, 77 677-8/55, 74n5 693/84, 90 709/33, 75, 77 740/75 757/27 813/48, 1281124 831/57 85ia/53 869/61, 99 879/61 899/62 917/57 945/66 950-1/49, 76 968/61 998/57 1035/80

1045/58 1046/58 Hecyra 64 f./28, 77, 83 70/28, 83 73/28, 83 123/61 180/51, 77 203-4/35, 37 214/57 239/14, 19 287/58 288/52 3II/I9, 22, 22nil 414/51 515/52 562/8 691/51 702/45

843/84, 90 852/80, 84, 90

Phormio 11-13/28 40/48 47/28,31, 79 72/65 73/77 79/55 82/7-8, 50, 74, 79 85/64, 79 93-4/63 108/7, 10, 79 144/35 186/7 213/64 229-30/27, 29, 75, 77 233/12 246, 251/58 287/45-6 318/27, 73, 79 321/27, 29, 79 322-3/50, 76, 79 326/70 327/74

330-1/39 333/48 339/49 341/67, 79 345/64 346/75

PASSAGES QUOTED OR DISCUSSED 382/39, 79 439/56, 79 474/6a 484/33, 63 491/69, 79 494/67 495/44 506/59, 77 515/61 543/29117, 77 575/14, 16 628/69 682/51, 79, 103 690/17 695/14 718/58 744/87 780/59, 71, 77 821-2/14, 18, 79, 84 823/52 824/14, 18, 51 834/61 841-3/62, 79 856-7/44, 79 862/51, 182 874/67 897/50 943/67 964/28, 31, 77, 80 973-5/7, 60, 79 994/12, 13-4 1015/67 1026/67 1030/56, 79

TBEOGNIS 994/54 THEOGNOTUS Kill fr. 1/15 THEOPHILUS HI fr. 6/20

TIBULLUS I.2.II/86 1.2.98/88 1.3.64/90 1.4.81/89 1.5.5/89 1.6.4/86

213 8.41/88 10.10/88 10.22/86 10.60/86, 89 Aeneid 1.152/42 1.261/61 2.303/42 2.446, 464/11704 4.4/1231114 4.478/70 5.176/36024 6.353/36024 6.462/61 7.790/61 8.307/61

1.6.74/86 I.I0.53/85 2.1.82/87

XENARCHUS

KH fr. 2/20

2.5.109-10/88 2.6.I7-I8/86

XENOPHON

2.6-51/86

Cynegetica 8.8/51 Memorabilia

VARRO

Menippeae 4188/154 VIRGIL

Eclogues 2.1/804, 87 2.68/86 2.69/86 3.66/87 5.10/87

1.2.22/5!

2.1.4/40, 51 3.11.10/51

INDEX IV TOPICS AND TERMINOLOGY abstractions: personified in New Comedy 37; avoided by Terence, Plautus 37, 37H26; by Cicero in the correspondence 38; characteristic of Epideictic 139; examples of personification from de Inv., Rhet. Her., and de Oral. 147 f. Adelphoe of Terence: frequency of imagery 72; characterized by Donatus as tnaiore ex parte motaría 7202; relative frequency of imagery in Senarii and long-verse 7404 aesthetics: Ciceronian aesthetics and Greek values 163-73; aesthetics and utility; venustas and dignitas based on Militas 144; illustrated from nature and the arts 144; reconciliation of aesthetics and function in combat 157, I57ni8. See also s.v. athletics; deportment; painting; physique; sculpture adjectives: used with comic effect or as a medium of imagery 80, g8n2 actio (delivery): Importance recognized by Aristotle and Cicero 160; by Demosthenes 160; gestures of actio as a source of combat imagery in Latin corresponding to Greek athletic crx^Mara 157. 1571118 agriculture in imagery: rare in Terence 77. See s.v. derivare 50; obserere, 61 - instances in Plautus 77, 77n8; in de orat. 145-6; pruning I46nn allegaría: 179 analogy: formal analogy in Terence 70, 73; in New Comedy 73; in Cic. Balb. 117; Fatn. 1.9, 119; Red Pop. 123; Sest. 126, 132, 185 - role of analogy in Epideictic 139; didactic or decorative 140; Greek or Roman inspiration of examples in de Oral., methods of adaptation 140-6; limited types in Inv., Rhet. Her. 146 animals: comparison of men with animals; through verbs in Terence and Plautus 56; women as bitches 56; as caged wild animals 47; animals in proverb and fable in Terence and Plautus 76-7, 7?n7; sample list of

animals used in imagery 76-7. Animal epithets as abuse; in Terence only Eu. 803 42; old men as sheep in Plautus 103-4, as pack-mules 106; fantasy comparisons in Plautus; snails, hounds, birds, caterpillars IH-I2, animal imagery through verbs in Balb. 116, n6ni; Red. Sen. 124; Clodius as a wild beast in Sest. 132; abusive animal imagery in Sest. 133 Anana: concern with sea-themes and imagery 42, 76; frequency of imagery 72; characterized by Donatus as maiore ex parte motoria 72112; relative frequency of imagery in senarii and long-verse 74n4; Terence's adherence to imagery of original; nautical and medical metaphors 76, 181 Apelles: in analogies in Plautus 98, 98n3; in Cic. Fam. 1.9., 119 architectural imagery: in Terence, s.v. columen 45-6, dilapidare 50; in Cicero Balb.,fundamentum H7,fu!cire 118; in Sest., applied to the state 130, I3onn29, 30, 31; Capitoline temple as example of functional beauty 144, 186; architectural metaphors in de Orat. 159, I59n2i; in Dion. Halic. I59n2i Aristotle: as a model for the form of de Orat. 138, 164; as the source of universal knowledge 151 - the Rhetorica; its precepts on characterization by age, sex, and class 74n5; on hyperbole as typical of young men 75; comments on metaphor compared with those of de Orat., Appendix I76f. - the Tópica as Cicero's source for inventio in de Orat. 150-52; a source for the Tópica of Cicero I7gn2 athletics: the palaestra 33, 63ni2; athletic trainers 36, 80; references to the palaestra in de Orat. 141, 156-7, 157018, 172; Roman disapproval of Greek athletic nudity 165; postures in wrestling, and associated language 164, 1641126; Greek

TOPICS AND TERMINOLOGY

215

barbers: in an image of deception as shaving 104 Baahides of Plautus: an adaptation of Menander 5; frequency of imagery through verbs 79; imagery based on fowling 39, 84 - Chrysalus and the imagery of deception; fleecing 103 f., weaving, cooking, loading a pack-ass 106; the Troy canticum (act iv, sc. 9) 109-10 birds: in imagery associated with escape 112, 144 Blacksmiths: forging implied in Terence by confiare 47, (ob-)tundere 61 (cf. I5oni2); allusions to forging on the anvil, in Plautus in; in de Oral. I5oni2 blood: as symbol of health in speech, associated with vigour and full rich style 167-9; relationship with sucas and other physiological terms 168; bloodlessness a fault of Atticist oratory 172-3 - blood-sucking leeches as symbol of cruel and expensive mistress 101-2; drinking of blood by Clodius' cut-throats, in Sest. 129, I29H27; rivers of blood, in speeches post reditum 122

- Ciceronian criticism of Terence 3ni; theories of metaphor 95, Appendix 176-80; apparent disregard of his own principles I3in33; respect for Greek and Roman literary precedents 142; acknowledged debt to Plato 138, 163; admiration for Demosthenes I25n2o; preference for Hellenic over Hellenistic models 163 - identification of himself with the State in Red. Sen. 123; Scsi. 130, 136 clothing: as a basis of imagery for verbal ornament in de Orat. 166-7, i66n27, I07n28, 171; evidence for style as clothing in other writers I7in32 color (bloom of health, complexion) 167; distinguished from colores, pigments 168, 170, I7OH3I; later rhetorical term calores not evolved in Cicero I7on3i combat: single combat as a source of imagery in Terence, Plautus, Cicero's letters 27, 28, 30-2; specifically gladiatorial 30-2; in Fam. 1.9, I2O-I; in Sest. 129, I29H26, 132-3; in de Orat. 156-8, I57ni8 - applied to lovers in Terence and Propertius 85 crafts, trades and services craft allusions avoided by Terence in comparison with Plautus 78; some instances in Plautus 78. See Barbers, Blacksmiths, Painters, Sculptors, Weaving - named in analogies. See Index I Latin words; craftsmen:jictor, pictor, sutor; entertainers: acroama, ludias; professionals: exercitor, lanista, magister (scholastic, dramatic, gladiatorial) medicus, paedagogus; servants: nutrix, promus; others; venator, auceps

Caecilius Statius: maintains Plautine tradition of slave as general 29 Carneades: as a source of Ciceronian imagery 142 catachresis: 176 Cicero - Letters: their style; continuity of imagery with that of Terence 4, 6, 183 - Fam. i.g, discussed 118-21; Balb., discussed 115-18; the speeches post reditum 121-5; Sest. 125-36; de Orat. chap. 6 138-75

dancing 164, i64n26 darkness: imagery of disaster and political crisis 125; of corruption 125, 134; combined with metaphors of filth or stains 134 debt and credit. See finance deceit: imagery of deceit in Plautus 102-10; less vivid in Terence 103 delectare: as one aim of philosophical writing 139; sole aim of Epideictic 139; as a motive for the use of analogy in de Orat. 140

transference of athletic values to rhetoric 141, 165 - the athlete and athletic torso as an ideal in Greece, criticized in Roman rhetorical writers 172-4, I73nn33~5, 174^136-7. See also Races. Athenaeus: on the crxr¡naTa of early dancing preserved in archaic sculpture and transferred to wrestling 164, IÓ4H26 artists. See painting; sculpture

2l6

Demetrius, Je Elocutions: as evidence for rhetorical terms 164; quoted 1531115, 155 Demosthenes: respected by Cicero 1251120; his de Corona translated by Cicero 125, I25U2O; difference of taste in fullness of style, imagery 125; imagery in de Corona 1261121, I28n23; praised for his Seivorrjs in metaphor of swordsmanship I53ni5; his emphasis on actio 160 deportment: the gentleman's deportment in Cicero's de Cfficiis; the Roman attitude to physical decorum, and its effect on metaphors of aesthetics 165 Dialogas: Cicero's use of the Greek word as equivalent of sermo 138 dialogue: prose dialogue in Latin before Cicero 139; verse dialogues of Lucilius, ludas ac sermones 139 dice: life as a game of dice; history of the Greek image 70, 182; in an analogy of de Orat. 145 dignilas: as a Ciceronian aesthetic value 144, 165, 171, 174; equivalent to ornatos in Rhet. Her. 167, i67n28; combined with venustas as an ideal 144; as the male principle of beaty, opposed to female venustas, in Off. 165 digressions: framed by imagery in de Oral. 140, 145, 186; deversorium (Gk e/crpoiny) as rhetorical image for a digression 154-5 dining: the dinner ticket, conlecta 154; the instructor conviví 124, 124016 Dionysius of Halicarnassus: as a source for rhetorical terms 164, 1661127, 173^5, I74U3Ó; his analogy from the evolution of sculpture and painting to rhetoric 141 Diphilus: his use of medical imagery 15-16 dispositio (arrangement) 165 disputatio: denoting philosophical argument 138 — in utramque partem, the Peripatetic practice 138 docere: one aim of philosophical writing 139 dogs: primarily associated with hunting; implied by odorari in Cicero's letters 4in3i; hounds in Plautus 112; in Cicero, Red. Sen. I24ni5; in de Orat. 143 - Cam's as a vulgar insult 42; women as bitches 56; whimpering, barking, and baring

INDEX IV of teeth 56 Donatus: his assessment of the tempo of Terence's plays 72, 7202; for comments on individual metaphors. See Index m Drama as a source of imagery: in Plautus and Terence 33-5; in de Orat. 160-161; the dramatic répétiteur 36-7 dreams and dreaming: as a metaphor for folly in comedy 67 drinking: as a metaphor for the absorption of knowledge in de Orat. 161; associated with the imagery of sources and streams 160. See also blood dyeing: education as a steeping in dye, in Plautus and Cicero 162, 1621124 eating: as a metaphor for extravagance in comedy and Cicero's letters 46; the spendthrift as glutton 131; feeding as an image of cruelty 133^5, but cf. 64 elegantia: as a critical term 3111; a special virtue of Atticist style 172 elegy: erotic imagery in Roman elegy 82-90; relationship to comedy, direct or indirect 82-3 ; affinities in choice of imagery with Terence, and divergence from Greek erotic poetry 83 elocutio (diction and style) : Cicero on elocutio, critical principles and vocabulary 166-7, I07n28, 171 Ennius: relationship of Ann. 240-17 with Ter. Eu. 401-7, 52; originator of phrase/w/mina belli, applied to Scipiones 118 epagoge 140, 144 Epideictic: Cicero's stylistic principles for the genre 138-9; de Orat. as epideictic writing 138-40, 185; the aims of Epideictic and its greater scope for imagery 138, 187 Eunuchus of Terence: frequency of imagery 72; Donatus' classification as ex magna parte motaría 72, 72112; relative frequency of imagery in senarii and long-verse 74, 7404.; metaphorical language of slaves, parasite, and young Chacrea 75; opening scene quoted in paraphrase by Horace 82; portrayal of jealousy in this scene 83 evolution: evolutionary approach to arthistory and literary criticism in Cicero, Dionysius, and Quintilian 141, 164

TOPICS AND TERMINOLOGY

217

exercitatio (rhetorical exercises) : depicted as military or athletic exercise 158 exile: as image of exclusion in Terence and Plautus 54; Cicero's literal exile as the figurative exile of the State 203 exornationes (figures of speech): as equivalent of (T\r]¡J.O.Ta, in Rhet. Her. 166

- seasoning no; seasoning in Cicero? 124, I24ni6 - the gladiator's diet 129 fowling: erotic associations in comedy, Asinaria, Bacchides 39; Plautine use of aucupari for eavesdropping 40, 113; in Cic. Sest. 133

feminine gender as source of imagery 147; feminine abstract nouns depicted as helpless females in need of protection; orphaned res publica 122; orphaned art of eloquence 122; jurisprudence as a dowerless maiden, doomed to servitude 147, 171; plain style as simple and pleasing as a plainly dressed woman 171 fermentation. See wine filth: as image of corrupt morals in Cicero's speeches 133, 133^6. See also s.v. lutum 59; macula 60 finance: totting up the accounts of life 69, 120; Demea's fondness for financial imagery 69; dividends and secondary loans 71; Piso and Gabinius as hucksters buying and selling 120, 124; debt and credit analogy in Red. Pop. 123 fire: imagery of fire in Terence, Plautus, Cicero's letters 7-11; more rare in Greek comedy, and Plato n, 84; the fire of love, in Terence, and Roman elegy 86-7; the fire of anger, or destruction, in Cicero's speeches 130 - as symbol of the orator's art of rousing emotion (moveré) in de Oral. 152-3; in Orator 153, I53UI5 - as the acid-test of friendship 125 fishing: imagery from fishing in comedy and Cicero's letters 4On29, 41 fleecing: as a metaphor of deception in Plautus 97, 103-5 flos (bloom) : as mark of physical health and beauty in Comedy 54 flores, flosculi: blossoms of rhetorical ornament 135, 170; connection with genus floridum (avdljpov) I7in32 food and cookery: fantasy imagery in Plautus in f.; cooking techniques: boiling or simmering 13, I3n6; filleting 105; marinading 59, 59ng; roasting on the spit 105

gender: influence of gender on imagery. See feminine gender genera eloquentiae (genres): relation of imagery to genre 137 £; the genre of de Ont. 137 £; Genus grande: level of Red. Sen. 14, I22HII; of Sest. 184 - Genus tenue, attenuatum 173; compare 180, on tenais orator, contrasted with amplissimum genus; Balb. us genus tenue 184

gestas (gesture): translation of (rx^fiara, in Cic. Orator IÓ4H26 gladiatorial imagery 129, 148, 156-7, I57ni8. See also combat Gnatho: vulgarity of his idiom and imagery 42, 52, 74 Greek words: used by Terence, where no Latin equivalent 33, 36; Plautus freer 36; Greek in Cicero's letters 24, 60, 119, ngng; for special effect in Sest. 1321134; in de Orat. I03n25 grooming: metaphors based on grooming, in Terence (unguents) 49; (combing and dress) 49; in de Orat. 171-3. See also Index i, s.v. lautas, nitidus

health: physical health as a metaphor of stylistic excellence, inter-relationship of sanguis, sucas and valetudo 167-9; bona valetudo not enough 173 Heauton Timoroumenos of Terence: frequency of imagery 72; described in prologue as stataria 72, 72n2; relative frequency of imagery in senarii and long-verse 74n4; special licence of Syrus 75; high proportion of imagery without Greek precedent 76 Hecyra of Terence: its brevity; low frequency of imagery 72; characterized by Donatus as mixta motoriis actibus et statariis 72n2; relative frequency of imagery in senarii and long-verse 7404. Hercules: as a mythological model 80-1, 113

218

Horace: verbal reminiscence of comedy 51; paraphrase of Eunudius 55 f., 82: erotic imagery in Odes and Epodes 82-90 passim hounds. See dogs hunting: in comedy 39 £ See also snares: in de Oral. 163 imago (simile) 140 insignia (decorations): metaphor for figures of speech 170 inventio (argumentation): in de Oral, derived from Aristotle; associated metaphors of forties (sources) and loci (places) 150-2, 171 Isocrates: respected by Cicero 138, 164; as a representative of Epideictic 138; his parallel between physical and rhetorical training 141, IÓ4H26; style evaluated by Dionysius in terms of sculpture 141; views on KÓÍTJUOS i66n27 Italy: Italia cuneta personified in speeches postreditum 123, I23ni3 legal imagery: rare in Terence 51, 77; consul as guardian of orphaned state 122; indices and litis aestimatio 124, I24ni7; vades and pignus 133 and I33n37; theme of trespass in de Oral. 148-9, 162 f. light: as symbol of political virtue 125, 134; diffused light (lumen) and decorative lights (lumina) as images for ornaments of style 169-70; light and dark in painting 71; light as metaphor for imagery 177 liquid metaphors: in Balb. 116; de Orat. 161-2, 174-5. See also Springs and Streams Lucretius: his sexual "imagery" reflects physical theory 65 Lucilius: as a predecessor of Ciceronian dialogue 139; describes his verse as ludi ac sermones 139; used by Cicero as a precedent for imagery 142; quoted in de Orat, I42n6 medical imagery: sickness and cure as a metaphor in Greek literature 14; list of examples from Menander and New Comedy 15-16; comparison of imagery in Terence, Plautus, and Cicero's letters 16-18; difference of vocabulary between Plautus and Terence 16 f; Terence's avoidance of medicas 16-17; distinction between medicina and more abstract

INDEX IV remedium in Cicero's letters 17; in Terence 18; more technical medical imagery in Cicero's letters i6n8; medicina in elegy 88-9; medical analogies in Fam. 1.9, 119, H9n9; in speeches post reditum 122; Red. Pop. 123; Sest. 128 f.; de Orat. 143 Menander: Terence's modification of fr. 162 = EH. 76-8, 25; military language in Perikeiromene 32; elimination of aggressive roles in comedy 32; his relationship with Alexis 70; his linguistic differentiation of individual characters 73, 73 n3; limited range and development of imagery in Epitrepontes and Dyskolos 78nio; erotic imagery 84-5, Sgnu; disproportionate frequency of imagery in fragments 78010. See Index m for individual references Mercator of Plautus: adapted from Philemon 5; abundance of nautical imagery 23 military imagery. See combat; slaves; warfare mirror: men's lives as a mirror of their hearts; literature as a mirror of life 68 Mostellaria of Plautus: adapted from Philemon 5; abundance of nautical imagery 23 moveré (the art of rousing emotion): its inflammatory power illustrated with fireimagery 152-3, 187; should be diffused through the speech like bloodstream in body 168 mythology: used in comparisons and identifications 80-81, 103, 109 f., 113 nautical imagery in Terence 19, 22 f; examples from Menander and New Comedy 19-21; association of storm-imagery with theme of navigation 22; difference between usage of Terence and Plautus 22; in Cicero's letters 23; abundance of nautical imagery in Plautus' adaptations from Philemon 23 - in Cicero; Fam. 1.9, 119, H9n8; Balb. 119; Sest. 126-7, 136; in de Orat., inhibere misapplied in analogy 141-2; other nautical analogies and images 158-9; rare in Greek rhetorical criticism !58n2O - ships: the ship of state 23; in Greek rhetoric and philosophy 126, 1261121; the basis for imagery in oratory; cf. 119, 126-7, 136; the ship as symbol of the intriguing slave or his plans in Plautus 23 - the statesman at the helm: 23, 119, 126,

TOPICS AND TERMINOLOGY 1261120, 136; Magister as helmsman? 3ori24 - shipwreck 24, ngnS, I2yn22; the young lover shipwrecked 22; love on the rocks 42-3, 84, 85, 91 - storms: in New Comedy 21-2; eliminated by Terence in Eu. 25 ; in Plautus with, or without, sea-associations 2$m6, 26; in Cicero's letters 25, 26; in Sest. 127-8 - pirates 127 - the voyage: of a speech 116, 134-5, I35H4O; of a man's life 123; or career 144, 159

uumeri (gestures): translation of