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This paper uses the Milesian islands (Haussoullier 1902) as a case study to argue that Athens’ extraction of tribute, or phoros, from its allies in the fifth century BCE inadvertently augmented governmental capacity in those states.

Lucian’s Icaromenippus opens with Menippus reckoning the distance of his travel to the moon and the citadel of Zeus. The category confusion produced by describing travel to non-terrestrial destinations in terrestrial terms marks the spatial and temporal incongruities between the sublunar and superlunar worlds as a theme that recurs in each stage of Menippus’ narration of his journey.

At the end of the sixth century, Cleomenes asserted that only a fool would think the Spartans would travel three months from the sea (Hdt. 5.50); at the beginning of the fourth, however, Agesilaus was planning to do just that when a revolt among Sparta’s erstwhile allies drew him back to the Peloponnese (Xen. Hell. 4.2). Within roughly one hundred years, something drastically changed in how the Spartans perceived the space of the oikoumenē, their place within it, and the ease of crossing that space.

Pindar’s Paian B2 (Rutherford = 8 Snell-Maehler) offers a rich layering of real and mythic choruses, including the enigmatic Keledones, a chorus comprised of manufactured, inanimate objects that nonetheless engage in choral song-dance. This paper examines this sculptural chorus that adorns the mythic third temple of Apollo at Delphi, comparing these dancing, singing statues to other mythic choral paradigms, productively complicating and nuancing our understanding of ancient chorality.

Theoria and Practical Philosophy in Pseudo-Aristotle’s De Mundo

There is an important generic permeability between the epithalamic and epic registers from the earliest extant examples of these genres. Homeric epic, for instance, adopts the epithalamium to evoke marital situations, as it does in the “Teichoskopia” and Nausicaa episodes (Hague 1983; Karanika 2013). In turn, Sappho’s hexameters appear in her wedding songs – e.g., frr.

This paper argues that Theocritus’ Idyll One shows direct influence from the Ancient Egyptian “Herdsman’s Tale,” adding an important dimension to our understanding of Daphnis’ relationship with Aphrodite in the poem, as well as Theocritus’ corpus as a whole. While scholars have acknowledged the political importance of Theocritus’ poetry to the Ptolemies (Hunt; Stephens 2003, 2006), the influence of Egyptian literature on Theocritus’ poems has been neglected.

In Aeschylus’ Oresteia trilogy, the monstrous goddesses known as the Furies or “Erinyes” embody a system of blood-vengeance with a presence that intensifies across the three plays. After their mysterious song “welling up” in the chorus of Agamemnon and their haunting phantoms in Choephoroi, the Furies emerge fully embodied as a chorus in the Eumenides.

In 1743, Karl Linnaeus declared that a botanist was anyone who knew how to assign similar but distinct names, which are intelligible to everyone, to similar and distinct plants: Botanicus est ille, qui Vegetabilia similia similibus, et distincta distinctis Nominibus, cuicunque intelligibilibus, noscit nominare (Genera Plantarum

The Tentacular Aesthetics of Pythian 12