INDEXES - Cambridge University...

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,.. ..– ..–




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




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. – –




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. . , . , .




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.




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. ,




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.




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. , , , , ,, , , , , , ,, , , ,




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. ,




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. –, , , ,, , , , , , ,, , , , , , ,, , , , , , ,




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.




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. , , , –,, , , , , , , ,, , , , , , ,, , , , , , ,, –, , , , ,, , , , , , ,, , , , , ,, , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,, , , , , , ,,




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




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




SUBJECTS

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




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




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




INDEXES

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




SUBJECTS

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




INDEXES

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




SUBJECTS

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




INDEXES

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




SUBJECTS

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




INDEXES

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




SUBJECTS

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




INDEXES

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




SUBJECTS

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




INDEXES

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




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




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




SUBJECTS

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?




INDEXES

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,




SUBJECTS

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.




INDEXES

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.




SUBJECTS

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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