INDEXES - Cambridge University...
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INDEXES
PASSAGES DISCUSSED
AcciusPraet. – R – R
Scaen. R R – R – R R R – R – R – R
Acta fratrum Arualium (Henzen).
AeschylusAgam. – –
Pers. – ff. –
Prom. Anthologia Latina (Riese).–
Anthologia Palatina. . . .
AristophanesThesm. – –
AristotlePoet. (b) (a) (a)
BoethiusCons. .. .m. ..
.m. ..– .. ..
CaeciliusInc. – R
Carmina Epigraphica (CE ).–
Cassius Dio (Boissevain)Hist. Rom.. , .. .. .. .. , . , , ,
..a .. . .. , , ,
. –.. .. ..
fr. CatullusCarm. .– ,
CiceroAcad. . De Rep. .. Fam. .. Phil. . .
Tusc. . Codex Iustinianus...
Cornelius Seuerusfr. . Courtney
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PASSAGES DISCUSSED
Corpus Inscriptionum Latinarum (CIL)... . . –,
–
Digesta Iustiniani (Mommsen-Krueger)...
Donatus (Wessner)ad Ter. Ad. ad Ter. Ad. ad Ter. An. praef.
. ad Ter. An. ad Ter. Phorm.
praef. .
EnniusScaen. R
EpictetusDiss. ..–
Eubulus (Hunter)fr.
Eugraphius (Wessner)ad Ter. Heaut.
EuripidesAlc. –
Andr. – –Ba. – –
El. – Hec. ff. – –
Hel. – – – –
Herc. – – –
Hipp.
– – – –
Ion I.A. – – –
I.T. – – –
Med. ff. – –
Or. Phaeth. –
Diggle
Phoe. – –
Troad. – –
fr. – N N
EutropiusBreu. . –
Florus. (.).
Fronto N.
GelliusNoct. Att. .
Grammatici Latini (GLK )Charisius,
..– Diomedes, . Donatus,
..– Marius Victorinus,.. ..– ..–
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INDEXES
HerodianHist. ..
HomerIl. .–
HoraceArs – –
Epist. ..– ,
Inscriptiones Latinae Selectae (Dessau)., ll. –
JosephusAnt. . , .
Bell. Iud. .–Niese
JuvenalSat. .– . .– .–
Laberius– R
Laeuius Courtney
Liuius AndronicusTrag. – R
Livy.. .. .. .. .
LucanBell. Ciu. . . .– .–
LucianDeor. Dial. ().
LucretiusD.R.N. . ff. .–
MartialEpigr. .
MenanderAspis Dysk. – Epitr. Sam.
Musonius Rufusp. Hense
OvidAm. .. .. ff.
Ars .– .
Her. . Met. .– , ,
.– . .– .– .– . .– . . .– .– .– .– .– . .– .–
Pont. .. ff. ..–
Trist. ..– ..– ..–
PapyriPBerl
POxy CPIud
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PASSAGES DISCUSSED
PetrarcaFam. ..
PetroniusSat. .
PhilostratusVita Apoll. . , , .–
PlautusMerc. Rud. – ,
Stichus, – Pliny (the Elder)Nat. .
Pliny (the Younger)Pan. .
PlutarchAmat. a b
Galba . . –,
Otho . . –
Pomponius SecundusInc. fab. – R
PrudentiusHamart. Peristeph. ,
QuintilianInst. .. .. .. .. ..–
SallustIug. Cat.
SalutatiEpist. . Novati
l.
Scaeuus MemorInc. fab. – R ,
Seneca (the Elder)Contr. ..
.– Suas. . . .
Seneca (the Younger)Apocol. .. .
Breu. uit. . Clem. .. , .. , ..
Cons. Helu. . Cons.Marc. .– –Cons. Pol. ff. Epist. . N.Q. .. fr. – Haase Agam. – ,
Hf. – , H.O. – , – – – – –
Med. ff. , – – – – – , – –
Oed. – ff. –
Phae. – –
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INDEXES
Seneca (the Younger) (cont.)–
Phoe. – – ff. , ,
Thy. – – – – –
Troad. – – –
Sidonius ApollinarisCarm. .–
Silius ItalicusPun. .– . .
SophoclesAi. – – – –
Ant. – – – , – – – – – , – , , –
El. ff. , – , , , – – – –
– – – – –
O.T. – –
fr. R . R
StatiusSilu. ..– , ..– ..– ..– , ..– ..– . ..– ..–
Theb. .– SuetoniusCal. –,
–Dom. .
Nero . . – ,
Otho –. –
Titus Vit. –
TacitusAgr. . , . , .
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MODERN AUTHORS
Ann. . . . . . , .– . . . . . . . , . . , ,
. , .– , .– –.– , , ,
Hist. . . –. –.
TerenceAd. Hec. –
Tragicorum Graecorum Fragmenta (Snell)adesp. **Fh?,
fr. , col. .
Velleius Paterculus.. –
VergilAen. .– . .– . . .– .– .
Buc. . .
Georg. .– , .
Vincentius BellovacensisSpeculum historiale
.
VulgateLuke .–
Zonaras.
MODERN AUTHORS
Ackermann, E. , Adams, J. N. , , , ,, , ,
Ageno, F. Alenius, M. Alföldi, G. , Amundsen, L. , , , André, J. Andresen, G. Arias, P. E. , Ascensius, Iodocus Badius , ,, , , , ,
Audollent, A. Austin, R. ,
Avantius, Hieronymus , , ,, , , , ,
Axelson, B. , , , , ,, , , , , , ,,
Babelon, J. Baden, T. , , , , Baehrens, E. , , , , ,, , , , , , ,
Baehrens, W. , Bailey, C. Bain, D.
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INDEXES
Ballaira, G. , , , ,, , , , , ,, , , , , ,, , –, , ,, , , , , ,,
Balsdon, J. P. V. D. Barbera, E. , , , , ,,
Barchiesi, A. , , Barner, W. , , Barnes, T. D. , , , Barrett, A. , Barrett, W. S. , , Barsby, J. A. Battezzato, L. Beare, W. Beaujeu, P. , Beck, J. W. Bednara, E. , Belfortis, Andreas Bellandi, F. Benner, M. , Bennett, C. E. Béranger, J. Berlinger, L. Bers, V. , Billerbeck, M. –, , , ,,
Binns, J. W. , Birt, Th. , , , , Blümner, H. , , , Bömer, F. , , , , ,, , , , , , ,, , , , ,
Bond, G. W. , Bonhöffer, A. Bonner, S. F. Borgo, A. Bothe, F. H. , , , , ,, , , , , , ,, , , , , , ,, , ,
Bragington, M. V. Braun, W. Brink, C. O. , –
Bruckner, F. , , , ,, , , , , , ,, , ,
Bruns, C. G. , Brunt, P. A. Buecheler, F. , , , ,, , , , , , ,, , , , , , ,, ,
Burian, P.
Cagnat, R. Caietanus, Daniel , , Cairns, F. Calboli, G. Calcante, C. M. , , Canter, H. V. , , , Capponi, F. Carbone, M. E. , , , Carlsson, G. , , , Carson, R. A. G. Casson, L. Cazzaniga, I. Charlesworth, M. P. , , , Chaumartin, F.-R. , , ,, , , , , , ,, , ,
Ciani, M. G. , Citroni, M. Citroni-Marchetti, S. , Claridge, A. Coarelli, F. Coleman, K. M. Coleman, R. G. G. Commelinus, Heinricus , Conington, J. , , , ,,
Conte, G. B. , Cortius, G. , , Courtney, E. J. , , , ,, , ,
Crinitus, Petrus Cristiani, E. , Crusius, O. Csapo, E. Cumont, F. ,
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MODERN AUTHORS
Dale, A. M. , Damsté, P. H. , , De Marchi, A. Della Corte, F. Delrius, Martinus Antonius , ,, , , , , , ,
Delz, J. Desideri, P. Devine, A. M. , , , ,
Di Benedetto, V. , , , ,,
Di Marco, M. , , Diggle, J. , , Dingel, J. , Dodds, E. R. Duckworth, G. E. , , Düring, Th. , , , , ,
Durry, M. Dyck, A. R.
Easterling, P. E. , , ,
Eden, P. T. Eitrem, S. , , , ,
Enk, P. J. Erasmus, Desiderius , Ettig, G. E.
Fabricius, Georgius , Faider, P. Fairweather, J. Fantham, R. E. , , Faraone, Ch. –Farnabius, Thomas , , ,, ,
Farnell, L. R. –Ferrill, A. Fincke, A. Fink, R. O. Fitch, J. G. , , , , ,, , , , , , ,
Flinck, E. , , , , ,, ,
Flobert, P. Flower, H. I. , , Fordyce, C. J. Fraenkel, E. , , , , ,, , –, , , ,
Frassinetti, P. , , , ,
Fridh, Å. J. Friedländer, L. , , , Friedrich, G. Frost, K. B. , Fuchs, H. , , Fürbringer, F. Furneaux, H. , , , , ,
Fürtner, J.
Gabba, E. , Gagé, J. Gager, J. –Galasso, L. , , Galimberti, A. Garrod, H. W. Garvie, A. F. Gatz, B. Gentili, B. Gercke, A. , Gerth, B. Giacomoni, A. Giancotti, F. , , , , ,, ,
Giardina, G. C. , , , ,, , , , , ,, , , , , ,
Goldberg, S. M. Gomme, A. W. , , Goodyear, F. R. D. , ,
Görler, W. Gow, A. S. F. Gradenwitz, O. Gratwick, A.
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INDEXES
Griffin, M. T. , , , , , ,, , , , , , ,, , ,
Griffith, M. Gronovius, Ioannes Fredericus ,, , , , , , ,, , , , , , ,, , , , , , ,, , , ,
Gross, O. , , Grotius, Hugo , , , ,, ,
Gruterus, Ianus , , , ,, ,
Gumbert, J. P. Gummere, J. F.
Hahlbrock, P. , , Hand, F. Handley, E. Harms, K. Harrison, G. W. , Harrison, S. J. , Haupt, M. , Heinsius, Daniel Heinsius, Nicolaus , , ,, , , , , , ,, , , , , , ,, , , , , , ,,
Heinze, R. Helm, R. , , , –, , ,, , , , , , ,,
Henderson, B. W. Henzen, W. , Herington, C. J. , , , ,, , –, , , ,, ,
Herrmann, L. , , ,
Hertz, M. Herzog, O. Herzog-Hauser, G. , Hillen, M. , , , ,
Hoenigswald, H. M. Hoffa, W. , , Hofmann, J. B. , , , ,
Hornblower, S. Hosius, K. , , , ,, , , , , ,
Housman, A. E. , , , ,, , , , , , ,,
Hoy, A. S. Hubbard, M. , , , Husner, F. Hutchinson, G. O. –,
Instinski, H. U.
Jebb, R. W. , , Jens, W. , , , Jocelyn, H. D. , , , , ,, ,
Jones, H. S. Jones, R. M. Junge, R. –
Kaibel, G. , , Kaimio, M. Kalb, W. , Kelly, H. A. Kenney, E. J. –, , ,, , , , , ,
Kershaw, A. Keulen, A. J. Kienitz, O. Klimer-Winter, R. Klotz, A. , , Knox, P. E. –Koch, W. Kockel, V. Körte, A. Korzeniewski, D. Kragelund, P. , , , , ,, , , , , , ,, , , ,
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MODERN AUTHORS
Kranz, W. Kremer, G. Kroll, J. Kroll, W. , , , , ,, , ,
Kühner, R. Kurfess, A. ,
La Penna, A. , , ,
Lachmann, K. , Ladek, F. –, –, , ,, , , , , –,, ,
Landgraf, G. , Langen, P. Lanza, D. Lausberg, H. , , , ,,
Lease, E. B. Leeman, A. D. , Lefèvre, E. Lejay, P. Leo, F. , , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , ,, , , , , , ,, , , , , ,, , , , , ,
Leonardi, C. Leonhardt, J. , , , Leumann, M. , , ,
Levene, D. S. Liberman, G. , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,,
Liddell, H. G. Lieberg, G. Lindgren, E.
Lindsay, W. M. , , , ,, , , , , , ,
Lipsius, Iustus , , , ,, , , , , , ,, ,
Livrea, E. Lloyd, M. Löfstedt, E. –Lunelli, A. Lyghounis, M.
Maas, P. , MacGregor, A. P. –, , , ,, , , , ,
Malaspina, E. Malitz, J. Mankin, D. , Mantke, I. , , , Manuwald, G. , , , ,
Marchitelli, S. , Mariotti, S. , , Markus, D. Marmita, Gellius Bernardinus ,–,
Marouzeau, J. –, , , ,,
Marquardt, J. –, , ,,
Martellotti, G. , Martin, R. Martinelli, M. C. Marx, F. Maserius, Aegidius , , ,
Mastandrea, P. , Mastronarde, D. , , , ,
Mattingly, H. Maurach, G. –, , , ,,
Mayer, R. G. , , , , ,,
Mayor, J. E. B. McKeown, J. C. ,
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INDEXES
Medda, E. , , , ,
Meise, E. , , Mette, H. J. , Millar, F. Miller, F. J. , , , , ,, , , ,
Mitford, T. B. Momigliano, A. D. , –, ,, ,
Mommsen, T. , , ,, , –, , ,
Moore, J. M. Mueller, L. , , , ,, , , , , ,
Muller, F. Müller, H. J. Müller, M. , , , , ,, –, ,
Munk Olsen, B. Münscher, K. , , , Musurillo, H. A. ,
Nestle, W. Nettleship, H. Neue, F. Nipperdey, K. Nisbet, R. G. M. , , , ,, , ,
Nock, A. D. , Norden, E. –, , ,, , , , , ,
Nordmeyer, G. , –, ,–, , ,
Oakley, S. Obbink, D. –Ogilvie, R. M. , , O’Sullivan, N. Overbeck, J.
Page, D. L. , , , , ,,
Palmer, A. , Panizza, L. , Pantzerhielm Thomas, S. Parker, R. Pearce, T. E. V. Pease, A. S. , Pedroli, L. , , , , ,, , , , ,
Peek, W. , Peiper, R. , , , , , ,, , , , , , ,, , , ,
Penney, J. H. W. Perusino, F. Petersmann, H. Philologus, Benedictus Pickard-Cambridge, A. ,
Pinkster, H. Pittet, A. Platnauer , Poe, J. P. Pratt, N. T. Preller, L. , Premerstein, A. v. , Price, S. R. F. Pye, D. W.
Questa, C. ,
Radt, S. Ramelli, L. Raphelengius, Franciscus , ,, , ,
Reeve, M. D. , , –,
Rehm, R. Reitzenstein, R. Renehan, R. Ribbeck, O. , , , , ,
Richter, G. –, , , ,, , , , , , ,, , , , , , ,, , , , , , ,
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MODERN AUTHORS
Ricottilli, L. Riese, A. Riewald, P. Ritchie, W. , Ritter, F. , , , , ,, , ,
Rizza, P. , , Robert, L. , Rohde, E. Ronconi, A. , Roscher, W. H. Rosati, G. Rose, C. B. –Rose, H. J. Rosén, H. –, , , ,
Rossbach, G. A. W. , Rossberg, K. Rostovzeff, M. Rouse, R. H. , , Rouse, W. H. D. –Runchina, G.
Sabbadini, R. Sandbach, F. H. , , Santoro, A. , , , , ,, , –,
Scaliger, Ioseph Iustus , , ,,
Scarcia, R. Schanz, M. Schepss, G. Schmidt, B. , , , ,, , , , , , ,
Schmidt, P. L. , , , , ,
Schoonhoven, H. Schröderus, Joannes Casparus ,, ,
Schwender, G. Scott, R. Scriverius, Petrus , Seaford, R. Segurado e Campos, J. A. , ,
Seidensticker, B. , , Shackleton Bailey, D. R. ,
Sherwin-White, A. N. Siegmund, A. , , , ,,
Sittl, K. Sjögren, H. Skard, E. Skutsch, O. , Slater, W. J. Sluiter, T. H. , Smith, K. Smith, M. S. Smith, R. R. R. –Snell, B. , , Snyder, W. F. Solin, H. –, Sommer, F. , Soubiran, J. , , , , ,, , , , , , ,,
Spawforth, A. Staehlin, R. , Starr, C. G. Jr. Steele, R. B. Stegmann, C. Stephens, L. D. , , , ,
Stephens, S. A. Stevens, E. B. Stevens, Ph.T. Stewart, Z. Stier, H. E. Stinton,T. C. W. Stoessl, F. Stotz, P. , Strack, P. L. , , , Strzelecki, W. , , , , ,, , , , , , ,
Stuart, C. E. , , , Sutherland, C. H. V. Sutton, D. F. , , , , ,
Svennung, J.
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INDEXES
Sydenham, E. Syme, R. , , Szantyr, A.
Taeger, F. Tandoi, V. –, , , ,,
Taplin, O. , , , , ,–,
Tarrant, R. J. , –, , , ,, , , , , , , ,, , , , , , ,, , , , , , ,, , , , , ,
Temporini, H. Theiler, W. Thielmann, Ph. , , Thomann, Th. , , Timpanaro, S. , Timpe, D. Torrini, M. Townend, G. B. , , Treggiari, S. , , , , ,
Trillitzsch, W. , ,
Ullman, B. L.
Vahlen, J. , , , Venin, P. Vercellanus, Gerardus Viansino, G. , , , ,
Vitale, M. T. Vogt, J. Vollmer, F. Vorlaufen, J. Vürtheim, I. , , , ,,
Wagener, C. Waszink, J. H. Watson, P. A. Watt, W. S. , , Weidauer, F.
Weinstock, S. , , , ,
Weissenborn, W. West, M. L. , , , , ,, ,
Westman, R. , , Whitman, L. Y. , , , ,,
Wilamowitz-Moellendorff, T. v.
Wilamowitz-Moellendorff, U. v., ,
Williams, R. D. , Wills, J. , , , ,
Winkler, J. J. Winter, T. , Winterbottom, M. , Wirszubski, C. Wissowa, G. , , Withof, J. H. , , Witlox, A. , Wölfflin, E. , Woesler, W , , Woodman, A. J. , Wüst, E.
Yavetz, Z. , , –
Zwierlein, O. , , , –,, , , , , , , ,, , , , , , ,, , , , , , ,, –, , , , ,, , , , , , ,, , , , , ,, , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,,
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SUBJECTS
SUBJECTS
-a, short final, in Greek nouns ablativeabsolute, logical subject coincides
with that of the main clause
descriptive, or explicative, orsociative, used as a substitutefor compound nominals,
ablativus prosecutivus after cum, for the ‘accompanying
circumstances’ in –i, with nouns local, without in, poetical ,
rete, corrected by medieval scribes
abscido, confused with abscindo Achilles, romanticized in elegy accusativedouble after verbs of request
Greek act-divisionact-dividing odes , evidence of ancient commentators
on Roman comedy in Greek tragedy in fourteenth-century MSS of
Senecan tragedy in Oct. , in Seneca not demarcated by choral odes
role of Varro in establishing
act-divisions Acta Appiani: see martyr literatureActe, Claudia Aug. l. addressabusive change of personfrom first to second from third to direct address, orvice versa
to daylight to mute characters , to the night –to self , to someone inside see also apostrophe
adice, as a transitional formula adjectivesand nouns, relative position of
–in place of adverbs , interlaced patterns of nouns and
adjectives , polysyllabic, in anapaestic systems
two specifying one noun, Ennian
, used instead of possessives with partitive meaning
adultery, equivalent to high treason,in the imperial household
adynata, in Senecan tragedy aēdōn, in Latin aeterna, domus, for imperial family
aeuum, for ‘the present times’ afflicti, indicating social status Ages, myth oftheir number in Oct. discordant versions
agricultureseen as form of violence inflicted
on the soil as part of a providential design
Agrippinaappearing as a ghost in Oct. damnatio modelled on Vergil’s Juturna
narrative of her death, differs from
Tacitus rehabilitated under Vespasian
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INDEXES
alliteration , , –as epicism
allocation of speakers: see change ofspeaker
allusionwith metaliterary resonances, in
Greek and Senecan tragedy
to minor historical figures,presupposing historical text
see also imitationalumnus (with reference to one’s
native country) ambiguity, intentional, in tragedy
amoibaion: see songAmorbiological drive to reproduction
children likened to Cupid
critique of the anthropomorphic
representation flying god, in Greek and Latin
poetry iconography, with bow and wings
, not a god, in philosophical writers
son of Vulcanus see also erotic poetry, love
an, postponed anaclasis, in heated dialogue anacoluthon, after a relative
pronoun anapaestic songs, of narrative
character, not found infifth-century tragedy
anapaestscolometry of –hiatus and sense-pause asguiding criteria
in Senecan MSS copied in multiple columns, in
MSS ,
dactyl and anapaest, in succession,
delivery of, in Greek tragedy
dimeters as the main unit holospondaic monometers, as independent units
, beginning a new syntacticalunit ,
as clausulae, in imitation ofGreek paroemiacs ,
near-strophic construction of odes
no lengthening at the diaeresis Reeve’s law resolution, avoidance of, in the
second arsis , sense overlappings across
consecutive lines sequences of dactyl and anapaest
split, restrictions , in early Latin drama in Greek tragedy
synaloephe, avoidance trimeters, in the Senecan corpus
, anger, should be avoided by judges
animus, in Seneca Annaei (family of Seneca) , annominatio , see also paronomasia
announcements: see entrance andexit announcements
anticlasis (antanaclasis),characteristically Ovidian
see also syllepsisantithesisdomina/famula , emphasized by phonetic
resemblance licet/libet
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particularly loved in final sententiae
sua/aliena antonomasia, pastor for Paris apo koinou constructions , ,
, with exclamatory pronouns
(qualis . . . quanta) with a modal verb
apostropheby the chorus, to absent characters
, , as a mannerism in poetic
catalogues appositionsinserted, in Augustan poetry parenthetic
archaismsavoided in Oct. concentrating in exit and entrance
scenes in Senecan tragedy intuor, for intueor quis, for quibus asyndetic dicola ut ne see also asyndeton, line-ending,
long polysyllablesArctous, not found in Latin before
Seneca assimilation, before a voiceless
consonant assonance, in Greek and Latin
tragedy see also parechesis
assuetus, passive Astraea: see Dikéasyndetonas a mark of emotion and pathos
, at the end of a series of cola ,
bimembre, in early and imperial
Latin , , , not frequent in Senecan tragedy
in combination withpolysyndeton, inenumerations
common in anapaests , of infinitival clauses of nouns, in Senecan tragedy
(see also cumulus) representing quickness of action
restrictive practice of, in Augustan
poetry –tot tantis
atque before words beginning with aconsonant
for ‘on the other hand’ postponed
attonitus, use in Silver Latin attraction, of a predicative into the
vocative audience, of Oct., familiar with
Julio-Claudian stories ofcourt intrigue
Augusta, domus, of the imperial family
incorrectly used of Octavia with reference to Agrippina ,
see also titles
Augustus, in reference to Tiberius,Claudius, and Nero ,
aut, postponed , author, of Oct.agrees with the historical tradition
–compositional method –knew little of Octavia his politics –witnessed the events? –,
worked from written sources
autobiography, in ancient tragedy
�, sub-family of AMSS Balbus, L. Cornelius
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INDEXES
Barzizza, Gasparino , Boethius, imitating Oct. , Bracciolini, Poggio brevis in longoin anapaests, between dimeters
, does not entail syntactical break
Britons, living beyond the Ocean
cacozelia: see metaphorsCaesar, designating heir apparent
caesurae missing in Oct. obscuredby monosyllable in the fifthelement ,
by prefix by synaloephe ,
caesus, for ‘slaughtered’, in referenceto human beings , ,
cantica: see songcaput, metonymic use of, for ‘person’
cataloguesof Julian heroines of mythical mourners of women loved by Jupiter ,
Catiline, as a model for Nero
–Ceres, averse to marriage –cesso (quid c.), with an infinitive
ceu change of metredoes not always signal a new
entrance , in Republican tragedy marks the transition from an
emotional to an expositorysection, and vice versa
change of speakerafter first arsis, in iambics faulty, or omitted by MSS ,
, metrical restrictions in Seneca
see also dialogue, interruptions,
synaloephecharacterizationmotives of characters, not
determined by divineintervention
of Nero, as a Senecan tyrant
modelled on Seneca’s Atreus
unexpected show of sensibility
of Octaviaconflicting and contradictoryfeatures , ,
underelaborated motifs of Poppaea , of Seneca, in Oct.
children, are parts of their fathers
choral scenes, in ancienthistoriography
chorusaddressing an absent character,
in Senecan tragedy ,
choral parts, not written inpost-classical drama
confesses its powerlessness tointervene
delivering short final ode, inGreek tragedy
difficult to identify, in Oct. ,
distances itself from rebels againstestablished authority
does not interact with theprotagonist, in Oct.
expresses sympathy or compassionfor main character
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SUBJECTS
forecasts the catastrophe, in Greektragedy
goes on and off stage , , has come after hearing an
alarming rumour is composed of old men, in some
tragedies of Poppaea’s partisans, perhaps
soldiers , secondary and double choruses
, social status, in Oct. speaking in the singular utters prophecy, unawares
–chronology, of historical events, in
Oct.: see timecivil warbattlefield feeds wild beasts with
flesh of unburied corpses
descriptions, in Latin poetry display of mutilated corpses enforced dissimulation of true
feelings ‘the same place twice’, in civil war
narratives universal conflagration, in civil
war narratives see also motifs
ciuis, in reference to members of theimperial house
Claudian, possible knowledge ofSenecan tragedy
Claudius (Tiberius Claudius NeroGermanicus)
cult, allegedly abolished by Nero
Diuus Claudius last dated occurrence
hostile tradition in the ancientsources
clausulaeformulaic, in hexameter and
funerary poetry , ,, , ,
placement of see also line-endings
coin legends, with Libertas, VictoriaP.R. –, ,
colaasymmetric arrangement of, in
Oct. , expressive and emotional
parallel, partly overlapping insense (dicolon abundans) ,, , ,
participial, pointed use in Seneca
preference for short, independent,in classical Latin ,
shorter in anapaests colloquialismsfacio, causative, with infinitive
nec, replacing neque , parentheses quamuis, before an adjective quid, ‘and so?’, ‘so what?’ ,
satis, moderating a statement, for
‘fairly’ supposed feature of Oct. syncopated verbal forms tunc, replacing tum used to enhance pathos ,
comets comitia, no longer legislating, in
imperial age –commentaries, of Senecan tragedy,
before and after Trevet commutatio secundae et tertiae personae: see
addresscomparatio compendiaria compesco, for ‘to hush up’ compound nominals, replaced by
ablative with or without cum,in Latin , ,
compound verb, echoed by itsradical
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conjunctionsco-ordinativeabundant sequence et . . . -que–
ac, avoided before velarconsonant
asymmetric sequence non . . .nec . . . non, undesirable
et, ac, atque, at line-end, iniambics
et, introducing looseco-ordination
et, -que, after non, ne, in place ofnec, neu/neue ,
-que, introducing looseco-ordination
-ue, after a positive clause use of ��� after exclamations of
sorrow consensus, as a political idea , consolationin tragedy , motifs: non tibi soli
contactconventions of , characters simultaneously present
on stage do not see oneanother
distressed characters, do notrespond to chorus
see also dramatic technique,post-classical drama
contemplation, of the universe: seephilosophical motifs
co-ordination, preferred tosubordination in Vergil
Cornutus, L. Annaeus cratisnot used in hunting related to Greek �����
Crispinus, Rufrius, Poppaea’shusband
cumfor et, in enumerations instrumental postponed
cumulusof nouns, in Seneca in imitation of early tragedy ,
, Cupid: see Amor
, sub-family of AMSS –confirming early conjectures
damnatio, memoriae see also Agrippina
Danae dativeafter compound verbs expressing
motion after immineo, described by
Quintilian as a neologism
after uenio, as a Greek construction
double, with licet, uacat esse etc.
ethical, colloquial daylight, hideous sight of, for people
in mourning deadare disturbed by excessive
mourning cannot rise from underground to
give help disfigured by wounds silent dwelling, in Underworld
tormenting one another, as
form of punishment
deductio: see marriagedemagogues –demonstratives: see disjunctions,
geminatio, positionderivationist theory desiderative clauses, with ante . . .
quam deus, vocative diaeresis, hidden, compensating for
absent caesura
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dialogueanswer with relative clause
begun off-stage sarcastic repetition of previous
speaker’s words , see also stichomythia
interruptionsdicolon abundans, see coladies, gender for ‘the course of time’
Dikē , disjunctionshave a pragmatic function of possessives of demonstratives, more limited in
domain , –with hic, ille, ipse , –quasi-formulaic see also hyperbaton, word order
dislocations, of the correct order, inanapaestic sections ,
dominus, used in address to emperors
Domitius, used as an insulting form ofaddress
dramatic techniqueof Oct. –of Senecan tragedy –entrancemotivations talking back to house mute hurried, of frightenedcharacters –
in mid-dialogue , exitmotivations, psychological,
in preparation of off-stageaction or sacrifice ,
no more than two actors speaking
onstage action, in Oct. persona protatica
roof, characters appearing on, inGreek tragedy
same action related from differentviewpoints
structure of initial scenes three-actor rule see also monodies, entrance and
exit announcements,monologues, chorus
dramatizationallusion to dramatically irrelevant
events concerns opposing it, in Oct. lack of theatrical visualization, in
Oct. ff. , Oct., not a drama in the
Aristotelian sense dreamsderiving from daily activities
in Accius’ Brutus in drama, following a ghost’s
appearance mean opposite of what they
ostensibly represent, inancient thought
of Poppaea –, , ,
prefiguring a monarch’s death,
Drusus, Liuius
Earthconcealing crops as a reaction
against agriculture gives birth to Typhoeus in anger
with the gods hides the metals in its recesses
Ecceschlüsse, or ‘demonstrative’
endings, in Greek tragedy
edicts, imperial, language of Egypt, unchaste election, divine, of Roman emperors
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ellipsis (suspended construction), inheated dialogue ,
see also interruptions, verb (ellipsisof copula)
emergor, deponent, in place of emergo–
emotions, reflected in the face emperorsand wives, compared to gods
as superhuman beings deification , of empresses
limitations of their powers must obey existing laws ‘god-anointed’ (electus) ‘mind and soul’ of the empire
setting a moral standard for their
subjects see also titles
empty stage, as a criterion todemarcate acts
enexpressing indignation in vivid narrative ,
enallage , , entrance and exit announcements
cerno, with infinitive characters announcing intention
to leave the stage, butforestalled by new entrance
characters appearing withoutannouncement ,
made by chorus periphrases used for describing
entrances , quid cesso, preceding exit
enumeratio, chaotica, in Latin poetry
epanalepsis epicismsapostrophe to a character ,
concentrating in anapaesticsections ,
death-scenes direct speech outcry raised by a crowd of
onlookers see also clausulae, pleonasms
epithalamia, motifs ofcomparison with gods marriage of Peleus and Thetis
fit for arousing the desire of gods
see also marriage, erotic poetry
Erinyspersonifying evil used with reference to a living
person see also Furies
Eros: see Amor, erotic poetry, loveerotic poetry, motifsgods, not even they can resist love
gods, gave a lover her charms
lover, more beautiful than the
Olympian goddesses lover, so beautiful that a god
would descend on earth towoo her/him , ,
see also Amor, loveerrors, causes ofbiblical or classical quotes,
remembered by scribes ,
complicated structure of sentences
concern for supposed linguisticcorrectness ,
failure to understand hyperbaton,
faulty prosodical interpretation ofinitial syllable ,
faulty reading of abbreviation
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faulty reading of majuscule andother scripts ,
marginal annotations, replacingthe original text
MSS omitting indication ofchange of speaker
omission of abbreviated est
polar mistake (word of oppositemeaning replacingthe correct text)
same words copied twice tendency to create syntactical links
between words in the sameline
transposition of lines word-order transpositions
(normalization) , words not surviving in Romance
languages escape, on wings, in Greek tragedy
etindignant postponed , –see also conjunctions
Euhemerism Euripides’Medea, imitated in Oct.
excipere lacrimas, for ‘listen to one’s
laments’ exclamatory phrases exemplaconsolatory, in choral odes ,
historical, replace mythical, in
historical dramas
famulus, not acceptable withreference to free-borncitizens ,
fateor, ‘to reveal’, against one’sintentions
fear, felt by tyrants and men inexalted positions
femina, for ‘woman’
Feriale Duranum ferox, of undomesticated animals
feruidus, with genitive of cause Fire, of Rome, in caused by Nero
fishing, descriptions of five-act law , Florus, Annius or Annaeus formulae, and repeated expressions
in Oct. penchant for high-flown, ‘poetical’
tags , post fata , scelere ademptus
formularity, in dramatic composition
fortunefickleness of typical in post-Euripidean
embolima impotens inscrutable sudden reversals of, typical of
tragedy and historiography
fragilis, with reference to beauty
funerary customs, Roman unburied, wander in limbo
funerary epigrams, motifs used forimmature deaths ,
contrast between past and present
deceased, adding glory to hislineage
marriage torches kindling funeralpyre
quid profuit , Furiesas deities inspiring murder presiding over ominous marriages
, representation
furor, denoting political opposition
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gaudeo, for ‘to possess’ geminatioepanaleptic of demonstratives
genita, for ‘daughter’ genitiveafter a woman’s name, indicating
husband contracted ending –i in poetry
inhaerentiae, or epexegetic ,
, objective, with ira of crime –of separation, with fuga
gerundive, indicating possibilityrather than obligation
gestures, for mourning ghosts, in tragedy, appearing at dawn
glory, laid to rest in a modest
sepulchre Golden Age (see also Ages) Gracchi, Tiberius and Gaius grammarianslate-antique, not quoting Phoe.,
H.O., and Oct. rarely discussing penthemimeres
Grecismsin Latin syntax retained accusative
Greek, nounsdeclension in Latin poetry ,
–, derivatives, in (i)os, in Seneca
, guilt, tragic
heirs, as guarantee of dynasticstability
Helvidius Priscus, political opponentof Vespasian
Helvidius Priscus (son of the former),executed by Domitian
hendiadys
Hēra Sebastē as a title of Romanprincesses
see also titlesHercules Oetaeuslate Latin linguistic features parallels between H.O. and Oct.
–, , , Zwierlein dates H.O. to the age of
Juvenal hereditary succession, acceptance of
this principle in Oct. hiatus at the anapaestic diaeresis between anapaestic dimeters
in iambic trimeters , in mid-sentence
hinc . . . hinc, correlatives, for ‘on oneside . . . on the other’
historiansCluvius Rufus concentrating on Nero Fabius Rusticus , of the Flavian period (see also:
Pliny) –, unidentified Roman source of
Josephus in Ant. – using epigraphic evidence
–historical drama: see praetextaehistorical subtext of Oct.allusions, often obscure, to
Julio-Claudian personages, inOct.
clashing with literarycharacterization
difficulties in accommodating tothe plot
homoeoteleutain anapaests , in iambics
humble life, less dangerous than anexalted state
hunting, birds hymenaeus: see epithalamiahymnology
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hyperbaton in Greek –, in Latin poetry lower frequency in Oct. of closely linked words same-case words in succession
see also: disjunctions, position,
word-orderhyperbole hyperurbanismus
iacens, for ‘inactive’, ‘indecisive’
iam, modifying an imperative iambicsinitial dactyl, rare law of Bentley-Luchs law of Lange-Strzelecki trimeter, imperfectly known in the
Middle Ages Humanist attempts toreproduce it
see also: metricsidemto connect consecutive sentences
, –, , used adverbially for ‘at the same
time’ identification of charactersin Greek tragedy in Senecan tragedy –Poppaea, not explicitly identified
images, destroyed: see damnatio,
statuesimitationof Ennius, in Vergil of famous fifth-century models, in
Oct. of Senecan tragedy, in Oct. ,
–in cento-like technique
influence of dactylic poetry,prevailing in anapaests–,
with metaliterary resonances
see also allusionimmemor, with a reflexive pronoun
immineo, with dative, for ‘to hover
over something’ imperativeexpressed by quin with indicative
intertwined phrases, in
parentheses marking the end of a scene
impersonal, passives in, with ablative, meaning ‘clad in’,
‘in the guise of ’ incest, conjured up in descriptions of
mining indoor scenes, in ancient drama
, lament from within the stage
building infelix, for ‘producing ruin’ infinitive, present, in place of future
in juridical Latin inhaereo, with dative, for ‘to embrace’
inquietus, philosophical and political
overtones –insitiuus, for ‘assuming a false
identity’ inter/intra, often confused, in MSS
interpretation, of dreams interrogativeabsence of explicit interrogative
modifiers illocutionary questions rhetorical, expressing indignation
, split, quid istud est quod, in early
drama, marking a newentrance
interruptionsdisregarded by first speaker
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interruptions (cont.)in heated dialogue in mid-speech, for grief speaker completes interlocutor’s
phrase, with relative clause
inuideo, for ‘refuse, deny’, poetic
Inuidia, personified, defeated bygeneral favour towards Nero
irony, tragic irresolution, as a cliché of female
monologues is: see pronounsiterum, of battlefields Iulia, daughter of Drusus and Livia
Iulia iungere mentem cum mente, to express
mutual love
joy, illusory, in Greek tragedy Jupiterloving women in animal disguise
no longer philandering wasting his thunderbolts on
people not deservingpunishment
king, ideal, Hellenistic theories Kongruenzgesetz (coincidence between
metrical and syntactical cola), , ,
not always enforced in Oct. ,
lacunaein Oct. , , , , in the Senecan corpus
laesus, in reference to offended gods
lament, reproduced by homoeteleutain anapaestic dirges
Lares, and Penatesused as pure synonyms
for ‘house’, ‘palace’ latus, epic metonymy for ‘body’ Leda, and the swan, iconographic
tradition lengthening: see productiolicet, meaning often confused with libet
line-endingsdisyllabic, in Oct. and Senecan
tragedy in Ovid’s elegiacs
in epigraphic poetry –near-identical, common in Oct.
–long polysyllables, in Latin drama
, in –bilis
similarity of iambic andpentametric clausulae
Livia, Iulia Livilla, wife of Drusus,mistress, then wife, ofSejanus
Livy, source of Oct.in the catalogue of Republican
heroines in the civil war narrative ,
loveas a cosmic force fed by lack of activity , in Seneca’s prose writings ruinous powers, in Greek tragedy
, shame felt by young women in
expressing it see also Amor, erotic poetry
Lucan, imitated in Oct. , ,
Luxuriablamed by Seneca and auaritia, as driving forces of
Roman imperialism
maeror, for ‘affliction’, not found inAugustan poetry
maritus, as an adjective
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marriageaccursed, in Latin poetry ceremony, salient phases ,
ill-omened, celebrated by a Fury
, in ancient dramas , ,
of relatives, regarded as incestuous
, torches, kindling funeral pyre
see also epithalamia
martyr literature , Acta Appiani, messenger scene, in
dramatic form Maternus, Curiatius –mens, atque animussee also philosophical motifs
messengersin Greek tragedy motivations, for their arrival
question and answer patterns,
artificial metaphorsblaze of love breeze of popular infatuation
–conflicting or paradoxical, as a
Silver Latin feature horsemanship, with reference to
passions motherhood, in reference to earth
metrical word metrics –brevis in longo as a guiding criterion forestablishing colometry
cretics, final, in iambics ,
deviations from Senecan usage
differences between senarius andtrimeter
more restrictive in Oct. proceleusmatic first feet synapheia, strong in anapaestic
systems see also anapaests, iambics,
line-endings, productio,synaloephe
mitto, for ‘pay no heed to’ modowith long final –o , modifying an imperative
monodies before the prologue or
the parodos change of verbal person not initial , not sung by humble characters, in
Greek tragedy monologuesat entrance , introduced by exclamatory o
delivered in isolation ,
divided-self , sudden change of mind see also dramatic techniques,
post-classical dramamorals, of nation, strengthened by
material hardship, in Romanthought
motifsgrief, no words suffice to express it
Senecan, treated more
expansively in Oct. ubi sunt, of past qualities regretted
see also: civil war, erotic poetry,
funerary epigrams;philosophical motifs
mourning, in Latin poetry gestures
mox for deinde , MS tradition, of Oct. A, progress in the recensio
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MS tradition, of Oct. (cont.)fourth century fragment of Sen.
Med. lacunae, used to group MSS into
families MS families of Senecan tragedy
MSSCameracensis, Bibl. mun. B ()
(=K, marginalia) Etruscus (= Laur. Plut. .),
does not transmit Oct.Exon., Bibl. Capit. B (=G)
Holkham Hall (identified as
Lipsius’Melisseus) Laur. . (Poggio’s marginalia)
Leiden, University Library B
London, BL Harl. (used by
Caietanus) , London, BL Harl.
(marginalia showinginfluence of Salutati)
London, BL King’s Marc. Lat. Cl. xii ()
(successful emendations),
Marc. Lat. Cl. xii ()(successful emendations),
Oratorianus, Naples, Bibl.Gerolamini CF. .
Par. Lat. (= P, coincidencesin error with E )
recentiores, conjectural emendationsfound herein
Vat. Lat. Vat. Lat.
mulier, more abusive than femina
Mussato, Albertino, author ofEccerinis
mute characters: see address
myth: see philosophical motifsmythologization, of historical
circumstances, in Oct. ,
nam, postponed names, proper, used
antonomastically namquepostponed in self-address
Narcissus, freedman of Claudius
nec, postponed , nempe, sarcastic, in animated
dialogue neque: see colloquialismsNero (Nero Claudius Caesar)Domus aurea hater of human and divine law
name omitted thirsty for human blood tradition about his crimes –,
see also: characterization
nightingale, echoes a sufferer’s tears
nimium, in pathetic exclamations–
nominal expressions, in place ofexpanded subordinateclauses
nouns, used as adjectives ,
nunc, with et, quoque, introducingaetiology
Nursesdescribing the sorrows of their
mistresses give optimistic interpretations of
dreams taking over the consolatory
function of Greek choruses
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obiter obsequium, ‘homage’ paid by a lover
Octauia (play)date –Neronian and Galban dating–
Flavian later dating
genre , historical background inclusion in the Senecan corpus
, not an intentional fake
language –metrics –sources (see also: historians) stagecraft , structure –title of the play
Octavia (person andcharacterization)
adoption into another family
as elegiac heroine as tragic heroine charge of sterility Claudia Octauia divorce –, supposed rehabilitation
offerings, made by women officialese, in imperial decrees ,
orthographydouble s after long vowel or
diphthong gnatus in the Senecan corpus
penna/pinna scriptio continua, with prodelided est
outside setting, in ancient drama OvidAlthaea, providing a model for
Agrippina’s monologue
imitated in Oct. –, , ,,
potest, for ‘may well’, as Ovidianinnuendo
see also: imitation
Pandatariaprosody used as adjective, in poetry variant forms of name, in sources
Pandionius, in Latin poets panegyric motifs: ruler will give birth
to breed of gods parce with the infinitive, for a negative
imperative parechesis, in stichomythia parectasis, tragica, optimistic elation
followed by catastrophe, intragedy, according toDonatus
parenthesesexclamatory difficult to delimit moderating a statement, with
opinion verbs self-contained, limitative clauses
pari, with a noun, expressing
reciprocation paronomasia , , participial clauses, strings of participlesfuture, pointed use in Seneca
, perfect, with active sense present, used as equivalents of
Greek aoristic forms used as nouns with proleptic value
particlesexplanatory, in self-address postponed , used differently than in Senecan
tragedy
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pellere aquam/undam, for ‘to swim’
Penates: see Larespeopleas distinct from ‘rabble’ as irrational multitude, needing
restraint easily manipulated or corrupted
favouring a member of the
imperial house favouring Octavia inconstant in its affections ,
–meaning ‘Senate’ roused to insurrection violently protesting, in imperial
Rome , periodic constructionin early drama in Oct., often stilted –, ,
, , in Ovid in Senecan tragedy in Vergil , see also: cola, style
periphrastics, passive, in later Latin
person, verbal, change from singularto plural ,
see also address, monodiespetit, for perfect petiit: see verb, perfect,
contracted formsPetrarchquestioning the attribution to
Seneca attempting to reproduce Latin
dramatic metres discussing Agrippina’s prophecy
philosophical motifsastronomical research contemplation of the universe
flight of the mind gods, seen as allegories
mind and soul, in Seneca mind, superiority over body
sacred, in Stoic psychology
rationalistic attitude, towardsmythological tradition, inGreek tragedy ,
Stoic ������� pignus, for ‘children’ , Plautus, Rubellius –play, within the play, in Poppaea’s
dream pleonasms , , , Housman’s reflexive figure in epic style , in use of pronouns redundant constructions of main verb and part. coniunct.
, solus, uacuus, desertus, in the same
sentence see also repetition, cola
Pliny the Elderhistorical works ,
Pliny the Younger pluralsmaiestatis, in imperial decrees poetic uultus, for ‘eyes’ with reference to bodily parts of
individuals , poetic language, in Oct. sanguine exstinguere, absent in
Seneca scelere ademptus as a euphemistic
periphrasis for ‘murdered’
see also vocabularyPolla Argentaria (Lucan’s widow)
Polyptotonwith nouns, typically Ovidian
different from artless repetition
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SUBJECTS
polysyndetonet . . . que –neque . . . nec
Poppaea Sabina, persuading Nero tomurder Agrippina
populism, so-called, in Oct. , Porson’s lawin Seneca –, , exceptions, in Greek tragedy
–positionat line-end, of conjunctions line-initial, giving contrastive
emphasis line- and sentence-initial, of verb,
representing quick reaction,
of demonstratives, with respect tonoun
of subject, delayed for effect untilthe second colon
sentence-initial, of participle,separated from main verb, asa retarding device
see also word-orderpossessiveshyperbaton of in place of personal pronouns
pairs of, placed in close proximity
sui, for ‘comrades’, in military
language suus, with reference to an
impersonal subject as terms of endearment with proper names, especially in
women’s speech post-classical drama absence of choral connecting parts
in tragic scripts �����, marking act-division, in
tragic papyri conventions of contact conversations begun off-stage
entrance of unannouncedcharacters on empty stage
see also dialogue, dramatictechnique, entrance and exitannouncements
post fata postponementof conjunctions –, of -que, after two words of relative pronouns see also individual entries for ac, at, aut
etc.praefatio, read by the author at a
recitation praepotens praetextae action in historical dramas disappearance from imperial stage
influence of Greek tragedy influence of early Roman
drama representing popular rebellions
, topicality ,
premo, with erotic connotations primus, used predicatively, for
‘outward’, ‘superficial’ pro, introducing an exclamatory
phrase prodofor ‘deliver to ruin’ for ‘betray’ one’s true intentions
productiolack of, before a consonant cluster
treatment of short open syllables,
before word-initial sp-, sc-
before word-initial pr- before word-initial tr-, fr-, br-
progress, human, viewed from thestandpoint of the earth
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INDEXES
prohibeo, with infinitive, and nosubject expressed
prologue, delayed, in Greek drama
pronounsand possessives, used as disyllabic
line-endings , clashing is, all forms, avoided in poetry
, anaphoric, after relative–
personal, supplied fromco-referential adjectives orparticiples ,
pleonastic, in the second of twocola
prophecydies ueniet of Nero’s death, in Oct., closely
paralleling Suetonius’narrative
prosody faulty lengthening of tonic
element, in bisyllables, inmedieval Latin
final o, in Oct. , of Greek nouns, in Latin poetry
prefix in compounds of iacio
see also productio
punctuationcriteria of this edition disputed , , , not strictly codified, in Latin
punishment, administered to great
sinners in the Underworld
see also dead
quamuis, ‘to any degree you like’
quantum relative-indefinite(= quidquid)
quantum licuit, as a self-containedlimitative clause
-que, postponed , , at the start of new sentence introducing loose co-ordination
quin, with indicative, introducing
commands Quintilian, criticism of Seneca’s style
quis, quid non for ‘all, every’ in
rhetorical questions quodfollowing exclamation resumptive, at the beginning of
new sentence quoque, modifying following word
quotus, for ‘how small’, ‘how little’
radiante coma = ��������� or���������
rapio, eripio, for ‘carried off ’ by death
for ‘to thrust’ a sword through abody
reciprocity, formulae used forexpressing
recitation, of dramas (as opposed toperformance)
in the imperial period , ,
in Senecan drama, its effect reddo, for ‘to hand over’ regina, with reference to empresses
regno, with in and accusative relative clauses accumulation of, in Oct. in late authors
coniunctio relativa (relative used toconnect independent clauses)
consecutive, expanding a series ofadjectives
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preceding the main clause relative pronounsco-referential, in hymnology
distant from antecedent heading a chain of subordinate
clauses in exclamatory sentences
reor, in parentheses repetitionof the same ideas, in consecutive
lyrical and iambic sections
of the same word, in consecutivelines , ,
of similar expressions –of synonymic expressions of words said by interlocutor, in
heated dialogue see also geminatio, pleonasms
Republicattempts to restore it, in imperial
history lament over loss of, in imperial
literature , , does not lead to condemnation of
Principate retainers, and subordinate
characterstrying to resist a tyrant’s orders
surrender their will to rulers
revolt, caused by news of Octavia’s
divorce, in Oct. rex, in reference to emperors rheseis, often divested of
argumentative function, inSeneca
rhetoricinfluence of, in dramatic
composition see also under individual figures
rhyme, -orum in Latin poets Rufus, L. Faenius, praefectus praetorio
, –
rulers, prostrated by sudden turns ofevents
sacer, in association with the imperialhouse
saeculum, hyperbolic, for anemperor’s reign ,
Salutati, Coluccio , on Agrippina’s prophecy
sat/satis, distribution in Senecantragedy
Scaurus, tragedian scene changesin Senecan tragedy in the final scene of Oct. in Greek drama and mime
scene headings, in Senecan MSS–
mark a change in the delivery ofactors
secreta, indicating lodgings sedanticipating objection after negative sentence, for ‘on the
contrary’ semper, ‘again and again’ Seneca (L. Annaeus Seneca)alter Seneca apologetic portrayal in Oct. ,
attitude towards wealth biography De clementia, reinterpreted in
Oct. –, –Flavian critique of his style malevolent accounts, in ancient
historians , nostalgic of freedom in exile
not a Stoic martyr in the play philosophical doctrines political views, on principate sanitized version of his political
views in Oct. supposed ‘fault’ in Oct. wrote Octauia?
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Seneca the Elder (L. AnnaeusSeneca), and rhetoricaldrama
Senecan tragedyanti-tyrannical readings , periodic construction relative dating of plays
sense-pausesafter first metron, in anapaests,
pathetic before final iambus coincident with metrical units, in
anapaests within the line –
sensus, for ‘indistinct faculty’ sententiaecapping, concluding a tirade in
Seneca epigrammatic less conspicuous in Oct.
sequi, sarcastic use, for ‘to die’ sidusfor ‘stars’ and ‘planets’ in reference to a person
sigmatismus Silius Italicus, imitated by the poet of
H.O. , , ‘sister and wife’, as a honorific title
, ���� ��� ����� of Hellenistic
princesses song, amoebaean as a tragic finale at the beginning of a drama duets, involving two soloists, rare
in fifth-century tragedy
in early Roman tragedy linguistically distinct from
recitative, in Greek tragedy,
sons, for ‘guilty’ SophoclesAntigone, imitated in the finale of
Oct. , Electra, imitated in Oct. ,
sorsindicating the orbit of a star
meaning ‘possession’
soul, leaves the body through wound
sound patterns, in anapaests speeches: see rheseisstage-directionsimperatives, marking the end of a
scene see also entrance and exit
announcements, postclassicaldrama
stare, fixed, denoting madness
Statiusas a model for the description of
Poppaea’s wedding in Oct.
Siluae . provides a terminus p.q. forOct. –, ,
statuesgroups representing Nero and
Poppaea –smashed during uprisings ,
stichomythia Stoicismon kingship psychology so-called ‘Stoic’ opposition see also philosophical motifs,
Senecastyle, of Oct. colourless expression (aliquid simile,
ne quid simile) conflicting ideas compressed in
the same sentence hampered flow of the argument
markers of ‘lyrical’ style, in
anapaests striving for variation, using
synonymical expressions,
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unbalanced construction ofsentences
use of high-flown expressions,producing obscurity
subicio, ‘to place in lower estimate’
subordinate clausesdepending on the same
connective, in Oct. participial
suffixes, -ius and -eus, inword-formation
suicide, at Rome Sulla, L. Cornelius, executed by
Nero –, Sumin sentence-initial position aphaeresis
sunriseat the beginning of ancient
tragedies descriptions, in Seneca
suspended constructions:see ellipsis
swimming, in Latin poetry syllepsis: see zeugma, semanticsynaloepheacross the diaeresis, in anapaests
after seventh element ,
at change of speaker , at penthemimeres at syntactical pause double, in anapaestic lines, rare
in a monosyllable , in a polysyllable, in anapaests
in a resolved arsis , –in the first element in the last element, of metres
devoid of synaphia , of a long in a short vowel of a diphthong
synizesis
synonymsadjective-noun pairs main verb and part. coniunct.
, in successive cola (see also cola)
subject and object ( figura
Housmaniana) subject and sociative ablative
Tacitusdeaths of Sulla and Plautus, in
comparison with Oct.–
gives a different reason for theinsurrection of
may have known Oct. not a source of Oct. ,
tamen, postponed in poetry tego, used hyperbolically of a fleet
spread over the sea tensesexchange of, between pluperfect
and imperfect pluperfect preceding perfect in
two co-ordinated clauses
terra, for islands, in poetry thalamus, metonymic use, for
‘marriage’ theme and variation, see colaTheodulf of Orléans, earliest source
to imitate H.O. Thetis, marriage to Peleus,
iconographic tradition Tigellinus, S. Ofonius, praefect praetorio
, timechoral ode, providing suitable
interval before majorentrance
chronology of historical events,compressed in Oct. –,, , ,
division of action into differentdays, uncertain in Oct.
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time (cont.)lapse of, between acts , of action, coextensive with
performance, in Greektragedy
supposed ‘one-day rule’, in Greektragedy
suspension of, in Seneca Tiridates, vassal king of Armenia
titlesof ancient dramas of Roman emperors , ,
patriae pater ,
of Roman princesses (see alsoAugustus, Augusta) , ,,
tragic motifsgods, no longer exist ‘no man can call himself happy till
his last day has elapsed’ ‘the space of one day may bring
extraordinary changes’
traiectio: see hyperbaton,disjunctions
transferred epithet: see enallageTrevet, Nicholasconservative textual approach of
, , , , incompetent on metrical matters
influencing act-divisions in
xiv-century MSS names used for ‘acts’ and ‘scenes’
in his commentary specific interpretations ,
, , , , ,
tribuni plebis, did not have lictors tristis, for ‘grim, savage’ tuncas a combinatory variant of tum
in the apodosis
tyrantshate eminent citizens opposed in Greek tragedy tormented by fear and remorse
,
uaco, Senecan usage uel, introducing a variant reading, in
the margins of MSS uices, describing astronomical
phenomena ultro Underworld: see dead,
punishmentuox, metonymic use of, for uerba
Venushanding over Nero to Poppaea
responsible for Messalina’s guilt
verbellipsis, of copula , , of auxiliary, in compound verbforms
of dependent infinitive inserted between two co-ordinated
subjects oscillations between active and
deponent voice (see also:emergor)
perfect, ending -erunt, with short e,avoided in Senecan tragedy
contracted forms predicative or copulative value,
conspicio, inuenio and reperio
singular, with two subjects, even ifone is plural
syncopated forms, not a markedcolloquialism
see also sumVincent de Beauvais, earliest source
to quote Oct.
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vocabulary, of Oct.not markedly different from
Seneca high-flown, compensating for
poor composition , vocatives, easily overlooked by
copyists
wives, legitimate, called sanctae women, prone to evil word-order , , , appositional, in colloquial Latin
dislocated, comparatively rare in
Oct. , enclosing, with relative pronoun
preceding antecedent ,,
interlaced sequences, in anapaests
of nouns and adjectives ,,
of elements belonging todifferent clauses ,
apo koinou non, distant from verb prolepsis, or extraction, of subject,
in infinitival constructions
strained transpositions, producing
non-metrical sequences
see also disjunctions, hyperbaton,position
word-play
zeugmasemantic (syllepsis) , , syntactical ,
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