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The catalogue of Heracles’ education in Theocritus’ Idyll 24 (vv. 103-134), which marks a sudden change in the form and content of the poem, has long troubled modern critics, even causing one to assert that it is an interpolation (Griffiths 1996: 115). Scholarship on this Idyll has traditionally focused on the beginning, which is a quintessentially Alexandrian reworking of Pindar’s Nemean 1.

In the multilingual Ancient Mediterranean, many people experienced first-hand the obstacles presented by linguistic difference. Interpreters were frequently employed to allay such difficulties (Feeney 2015, Mairs 2020, McElduff 2013). Yet despite the international scope of Greco-Roman literature, such interpreters are practically erased from the literary record.

The epigrammatist Marcus Valerius Martialis wrote, according to common consensus, either nine or ten poems to his lifelong friend and confidante Julius Martialis.

‘At the moment that our wellness is disturbed’, writes Max van Manen, ‘then we discover, as it were, our own bodies’ (1998: 12). Everyday bodily actions such as walking and talking are not typically the object of our attention until they become difficult, at which point our illnesses force us to reflect on our bodies as something distinct from our own minds and wills.

Humor as Praise: Hermes and Apollo in Homeric Hymn 4

Over the last sixty years, various studies have contended that the Homeric language was more flexible than the Parry-Lord model allowed. These discussions have frequently reopened the question of whether, and in what way, certain epithets relate to the narrative context in which they appear. Did the poet ever call Odysseus πολύμητις or πολυμήχανος to highlight a moment of intelligence, πόλυτλας or ταλασίφρων a moment of suffering, and πτολίπορθος a moment of dominance and triumph? Did he ever use these terms ironically or humorously?

Bakhtin’s chronotope is “the intrinsic connectedness of temporal and spatial relationships…artistically expressed in literature” (1981, 84). This means that “spatial and temporal indicators are fused into one carefully thought-out, concrete whole. Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history” (85).

Josephus famously noted that, “Καῖσαρ μὲν οὐδένα μετὰ Ἀγρίππαν Ἡρώδου προετίμησεν, Ἀγρίππας δὲ μετὰ Καίσαρα πρῶτον ἀπεδίδου φιλίας τόπον Ἡρώδῃ.” (AJ 16.361; BJ 1.400). Indeed, based on Josephus’ account of their interactions, many scholars have adopted the view that Agrippa was a significant figure in Herod’s personal and political life.

Helen Chesnutt's The Road To Latin in the 21st Century Classroom

This paper takes a literary perspective to the study of Homer’s use of epithets (Vivante, A.Parry, etc.), and adopts the term “contextual field” (Scully, Ch. 3) to describe the suitability of Hector’s epithet koruthaiolos to its regular narrative context. With his distinctive epithet, concentrating in Book 6, Hector consistently divides his attention between multiple people or objects — Troy, his family, his fellow-soldiers, the gods, the Greeks, to name some — requiring his head to turn in all directions. Sometimes, the text makes head movement explicit (e.g.