Papers of the Liverpool Latin Seminar [5]

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PAPERS OF THE LIVERPOOL LATIN SEMINAR FIFTH VOLUME 1985 Edited by FRANCIS CAIRNS Composite Indexes to Volumes I - V compiled by NEIL ADKIN

FRANCIS CAIRNS

PAPERS OF THE LIVERPOOL LATIN SEMINAR FIFTH VOLUME 1985

ARCA Classical and Medieval Texts, Papers and Monographs, 19 General Editors Francis Cairns * Robin Seager Assistant Editors Neil Adkin * Sandra Cairns • Frederick Williams

The Liverpool Latin Seminar is grateful to the Grants Committee of the University of Liverpool for a contribution towards the production of the present volume

PAPERS OF THE LIVERPOOL LATIN SEMINAR

FIFTH VOLUME 1985 Edited by

FRANCIS CAIRNS

with the assistance of Frederick Williams and Sandra Cairns including Composite Indexes to Volumes I to V compiled by NEIL ADKIN

X

FRANCIS CAIRNS

Published by Francis Cairns (Publications) Ltd c/o The University, P.O. Box 147, Liverpool L69 3BX Great Britain

First published 1986 Copyright © Francis Cairns, 1986 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the Publisher.

British Library Cataloguing in Publication Data Papers of the Liverpool Latin Seminar.— (Area, ISSN 0309-5541; 19) 1985 1. Latin literature—History and criticism—Congresses 2. Greek literature —History and criticism—Congresses I. Liverpool Latin Seminar II. Series 870.9 PA23 ISBN 0-905205-28-6

Printed in Great Britain by Redwood Burn Ltd, Trowbridge, Wiltshire

CONTENTS W. GEOFFREY ARNOTT (University of Leeds) Terence's Prologues 1 G. M. PAUL (McMaster University, Hamilton) Sallust's Sempronia: The Portrait of a Lady 9 GODO LIEBERG (Universita di Siena, sede di Arezzo) Poeta Creator: Some 'Religious' Aspects 23 JOHN MOLES (University College of North Wales, Bangor) Cynicism in Horace Epistles 1 33 RICHARD F. THOMAS (University of Cincinnati) From Recusatio to Commitment: The Evolution of the Vergilian Programme 61 ANTON IE WLOSOK (Johannes Gutenberg Universitat Mainz) Gemina Doctrina: On Allegorical Interpretation 75 P.R. HARDIE (Sarah Lawrence College, New York) Cosmological Patterns in the Aeneid 85 STEPHEN HARRISON (Balliol College, Oxford) Vergilian Similes: Some Connections 99 MICHAEL PASCHALIS (University of Ioannina) Atlas and the Mission of Mercury (Aeneid 4,238-258) 109 E.L. HARRISON (University of Leeds) Foundation Prodigies in the Aeneid 131 MATTHEW DICKIE (University of Illinois at Chicago Circle) The Speech of Numanus Remulus {Aeneid 9,598-620) 165 HEINZ HOFMANN (Rijksuniversiteit Groningen) Ovid's Metamorphoses'. Carmen Perpetuum, Carmen Deductum 223 R.E. FANTHAM (University of Toronto) Ovid, Germanicus and the Composition of the Fasti 243 A.M. WILSON (Queen's University, Belfast) The Prologue to Manilius 1 283 H. D.Universe JOCELYN (University oftoGreek Manchester) Meetings Composite Contents Fronde The J.M. GABRIELE Some N.J. Stasimon MARGARETHE Aspects Pindar Heracles' STEPHEN fT.C.W. HERMANN Four General Latin New RICHARDSON BREMER Similes Further Words, and ofVerecunda: Index, STINTON ofChapters of Homecoming Stoicism Indexes HARRISON Later PLLS the Sophocles' BURZACCHINI FUNKE in437; ofObservations 473; (Universiteit Iliad Liverpool Claudian: Literary Greek BILLERBECK volumes of Corrigenda toin(Wadham Statius 22 (Merton PLLS the (Universitat Flavian and Trachiniae Words, (Balliol Ninth Latin Criticism Its I-V on Related I-V Silvae van (Universita College, College, 442; Epic Alcaeus volumes Seminar, Book (1976-1985), College, Amsterdam) (University Mannheim) 1,5,14 Passages, inTopics: Sources ofAntiquity Oxford) Fr. I-IV, Celsus' Oxford) 1975-1985 di130b 444; The Bologna) of484 compiled Fribourg) Modern Artes Second Voigt byScholars, Neil Adkin 457; 488 491 403 383 299 357 341 367 373337

This, the fifth volume of Papers of the Liverpool Latin Seminar, collects some of the papers given at meetings of the Liverpool Latin Seminar during the period 1983-1985, in revised and usually expanded form, together with other papers contributed by members of the Seminar at the editor's request. Pressure of space and time meant that papers given towards the end of the session 1984-85 could be incorporated only if they were then ready for publication. The composite indexes to PLLS 1-5 appended to this volume allow easier access to the Seminar's work in the decade 1975-1985. For completeness corrigenda to PLLS 1-4 are also included, as are lists of the contents of all five volumes of PLLS and programmes of the ten years of Seminar meetings. In PLLS 1-5 certain editorial conventions have been imposed, with a gradual relaxation in favour of authors' individual practices, One convention maintained throughout ("Vergil") has caused several authors grave disquiet. In this case contentment might have been preferable to consistency. Francis Cairns Liverpool, April 1986

TERENCE'S PROLOGUES by W. GEOFFREY ARNOTT Terence's prologues do not provide his audiences with an exposition of the antecedents to the plot, unlike those extant from Euripides and Menander and some of those prefixed to Plautus' comedies. They are totally devoid of the humorous patter with which Aristophanes and Plautus sugar their openings as a lure to their audiences' attention. Instead, they are unremittingly programmatic, referring to previous events in the playwright's career (Andria, Hecyra, Phormio), describing some of his methods in the adaptation of his Greek models (Adelphoe, Andria, Eunuchus, Heautontimorumenos), answering the criticisms of a rival (or rivals) and warning the opposition off (Ad, And., Eun., HT, Ph.), criticizing in turn the failings of the playwright's rival (Eun., HT, Ph.), rejecting any expository function for a prologue (Ad, And.),1 and begging the audience's favourable attention (all six prologues). Is the programmatic prologue then original to Terence, an innovation which owes everything to the imagination of the Roman playwright and the techniques of Roman rhetoric, and owes little or nothing to Terence's Greek predecessors? So it has generally2 seemed, ever since Philippe Fabia wrote in his influential dissertation (Lesprologues de Terence [Paris and Avignon 1888] p. 112), "Terence imitated nobody, he innovated, he found no guide in the past, he boldly blazed his own trail". Ten years after the publication of Fabia's thesis, Friedrich Leo pointed out with exemplary clarity the Papers of the Liverpool Latin Seminar, Fifth Volume, 1985 (ARCA Classical and Medieval Texts, Papers and Monographs, 19) Edited by Francis Cairns Published by Francis Cairns (Publications) Ltd, Liverpool, 1986

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2 W. Geoffrey Arnott rhetorical influences on the style of the prologues (AnalectaPlautina, 2. Iff. = Ausgew. Kleine Schriften 1.13ff.),3 and only last year Sander Goldberg took Leo's arguments a little further by suggesting that Terence's rhetorical model was Cato (CI. Phil. 78 [1983] pp.l98ff.). There is, however, a danger of oversimplification if scholars concentrate their research into the Terentian prologues exclusively on the Roman world.4 It is easy enough to make the claim that no Greek comedy extant as a whole or in fragments contains a prologue resembling those of Terence either in style or in content. Such a claim would be almost true: only two fragments of post-Aristophanic Greek comedy (22 verses almost certainly from the prologue of Antiphanes' Poiesis, Fr. 191 Kock, in which the speaker contrasts the plotting of tragedy and comedy; and 12 mutilated lines from an anonymous expository divine prologue, Fr. 253 Austin, where the concept of expository prologues appears to be examined by the speaker) prevent it from being entirely true. Yet even if that claim were wholly justified, we should still do well to remember how little of later Greek comedy has survived and how much that could have been known to Terence has now perished for us. Virtually all of the identified papyri of later Greek comedy come from the hand of one writer, Menander. It would be absurd to assume unreservedly that all the poets of Greek New Comedy opened their plays in the restricted number of ways that we know from extant Menander. If Sophocles and Euripides differed so widely in their treatment of tragic exposition, is it unlikely that there were at least some mavericks in later Greek comedy who hit on a style of prologue wholly different from any so far preserved by the accidents of discovery? The question is not merely rhetorical. It is based on the recognition of a fact that Terentian scholars have curiously and consistently neglected.5 That fact is this. There exists in extant Athenian comedy one area which mixes together the same types of material as we find in Terence's prologues: references to the writer's past dramatic experiences, descriptions of his methods, criticism of his rivals, and appeals for a successful performance. I refer of course to the parabases of Aristophanes' fifth-century comedies, and especially the first five preserved, from Acharnians to Peace inclusive.6 The evidence can be presented briefly. I shall focus first on the prologue of Terence's first play, the Andria. It begins with the line poeta quom primum animum ad scribendum adpulit (1), 'When the poet first directed his mind to writing'. A similar remark, e£ 06 ys XOpoiowfe(peoxr|KEvTpuytKolq 6 Si8tiaKata)