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In the startling peripeteia of Euripides’ Heracles, Lyssa—“madness” personified—arrives at Hera’s command to orchestrate the hero’s slaughter of his household. As Lyssa’s powers take hold, she describes them in terms of choreography and aulos-performance (auletics). This paper examines how Euripides uses movement and music to frame Heracles’ mental breakdown. It centers on a close reading of the peripeteia, analyzing the proxemics that spatially orient the aulos music.

This project offers an analysis of various types of “generals’ inscriptions,”—i.e., those that commemorate the accomplishments of generals in the Roman Republic—and argues that this larger body can be divided into subgenres due to the stylistic and lexical characteristics of various groups of texts. Furthermore, the provenance of these inscriptions supports the categorization, as subgenres are most often confined to limited geographical ranges.

The poetry of the Augustan era is a crucial turning point for the Gigantomachy theme in Greco-Roman literature. I argue that it is during this period that the myth begins to connote civil strife. Previous scholars have discussed the political symbolism of the gigantomachy: Hardie (1985), in his landmark book on cosmic language in the Aeneid, argues that the theme of the Gigantomachy, which the ancients often conflated with the Titanomachy, suggests a “chaos vs.

In an early study of the 14^th-century English romance Sir Orfeo, Kittredge wrote that despite the poem’s evident basis on the accounts of Orpheus and Eurydice as found in Virgil and Ovid, ‘so different is the romance from any known version of this story that, if the English minstrel had not called his hero and heroine Orfeo and Heurodys, his indebtedness to the ancients would be hard to prove.’ Scholars in the more-than-century since Kittredge have continued to struggle at synthesizing the poem’s classical and medieval-romantic elements into a unified reading (Dronke; Fr

This paper examines a possible intertextual reference to Ovid in the first word of the Punica of Silius Italicus, and argues that Silius deploys this allusion to reclaim the didactic persona for a traditionalist (and, in particular, Livian) moral narrative of Rome.

This paper concerns the parodos of Sophocles’ “Oedipus at Colonus”. It argues that the metrical aspects of the song contribute to the overall meaning of the dramatic interaction. On these grounds, the paper defends the non-corresponding form of the transmitted text.

While Anius’ account of his daughters’ fate in Ovid’s Metamorphoses (13.640-74) superficially lacks erotic elements, it evokes an erotic context through allusion to prayers made in previous scenes of attempted rape. Anius relates how during the Trojan War Agamemnon stole his four daughters to feed the Greek army, as Bacchus had given them the ability to turn anything into grain, oil, and wine. The daughters subsequently escaped and fled (effugiunt 13.660), two to Euboea and the other two to their brother in Andros.

Alcestis may be the title character of Euripides’ tragedy, but her own role in the play has long been overshadowed in scholarship by a fascination with her husband Admetus. Critics argue whether he should be admired for his hospitality, condemned for abandoning his wife, or upheld as a quintessential man powerless in the face of fate. Scodel (1979), Dyson (1988), and Goldfarb (1992), for example, all develop arguments focused on Admetus and the conflict between philia and xenia.

This paper reconsiders the poetic function of Horace’s late love Cinara in light of developments in elegiac poetry. While Horace has sometimes been read as an anti-elegist (e.g., Cairns 1995: 356 on Odes 3.7; Commager 1962: 239 on Odes 1.22.), my reading of Cinara demonstrates a close conceptual relationship between late Horace and the elegiac discourse of desire as explored by Ancona (1994), Miller (2003), and Janan (1996, 2001).

The "Homeric patina" of the poems of Leonidas of Tarentum describes a poetic technique of Homeric allusion found in many of his epigrams (De Stefani 2005: 157). Leonidas' signature is likewise the reinvention of these allusions within contexts of everyday, humble craftsmen. This paper examines one such epigram, Leon. 2 G-P = AP 6.211, a dedication to Aphrodite, which provides "window allusion" (Hinds 1998: 48; Sens 2007: 380; Conte 2012: 170) to Homeric poetry through its allusion to Sappho fr. 44.