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Peleus is a prominent figure in Apollonius’ epic, and this paper argues that his characterization both signals the importance of the Iliad as a model for the Argonautica and alludes to Achilles’ tragic fate in the Iliad. Carspecken and Händel were among the first to note the importance of Peleus, and Dräger observes that he is the fourth most referenced Argonaut, with Heracles and Orpheus appearing only a few more times.

This paper explores the use of sapling and orchard imagery in Greek epic. Authors, such as Homer, Apollonius, and Quintus, use these images to represent the rearing of children in familial networks. Homeric scholars have argued that the cultivation and ownership of orchards signifies patriarchal inheritance for characters like Odysseus (Brockliss 2019). The connection, however, between this orchard imagery and that of rearing children like saplings has yet to be studied. This paper shows how Greek epic writers combine these images to comment upon the idealized way to raise a child.

The remarkably detailed story told by Strabo (13. 1. 54) and Plutarch (Sulla 26. 1–2) of the disappearance and rediscovery at Scepsis in the Troad of the library of Aristotle and Theophrastus has strained credulity.

The goddess Nemesis features prominently in four of Catullus’ poems (Carmina 50.20, 64.395, 66.71, and 68.77). These constitute the first mentions of Nemesis in extant Latin literature, and the only instances in which a Roman author refers to her as Rhamnusia virgo. Scholars have offered varied interpretations of the goddess’s role in these poems. Some have identified Nemesis’ role in c.

This paper re-examines the use of choral imagery in Catullus 63 considering the political meaning of the word chorus in the Republican period. I will develop a theory of “Republican Choral Poetics,” in which Greek choral imagery is a way of criticizing the behavior of leaders. Though scholars have proposed a metapoetical interpretation of the chorus in Catullus 63 (Curtis), however, the political valences of choral imagery in Catullus’ poem and in Republican literature have not been considered.

In Catullus’ Carmina 64.188-201, Ariadne invokes the Eumenides (194), the snaky-haired avenging goddesses who “avenge the deeds of men” (64.193, Mulroy 2002),” and whose appearance resembles the Erinyes more than that of the Eumenides. Ariadne summons the Eumenides for her demise here in Catullus’ poem while the variations and receptions of her myth, particularly in other Roman elegy, do not seem to include any such evocation to these goddesses by any name.

Catullus drew heavily upon Roman comedy, as an increasingly expansive body of scholarship has shown (see esp. Polt; cf., e.g., Goldberg; Agnesini; Uden; Hanses 294–316). No study, however, has yet fully examined the influence of comedy upon what may be Catullus’s most challenging work, poem 68A–B (here taken as one poem; for discussion see, e.g., Leigh).

In Catullus 63, the protagonist Attis undergoes a change in grammatical gender after their castration in the fifth line of the poem. In some editions (e.g., Goold 1989), Attis, who was initially masculine, is uniformly feminine from this point on. In others (Mynors 1958), Attis is gendered feminine in the narration but masculine in the dialogue. In still others (Morisi 1999), Attis’ grammatical gender fluctuates between masculine and feminine at emotional inflection points.

In poem 23, Catullus denies Furius Bibaculus, another transpadane poet, money and mocks him for being excessively dry. Marsilio and Podlesney have argued that the terms of Furius’ dryness constitute a critique of his poetic style.

Among the staged houses of Attic tragedy, the Oresteia’s fury-infested house has garnered most frequent critical recognition for a trajectory that strikingly entangles with human characters’. While the house’s arc of intensifying personifications throughout Agamemnon (36–9, 962, 1087, 1090–1, 1307) and Libation Bearers (471–3, 698–9, 807–11, 841–3, 961, 963–4, cf. 32–6) merits dedicated study (Noel 2023 adduces most of the passages), this paper establishes the continued theatrical career of an expressive tragic house in Euripidean drama.