This thesis is a new edition of the Preface and Books 1-8 of Pseudo-Arcadius’ Epitome of Herodian’s Περὶ καθολικῆς προσῳδίας. It includes an introduction, critical apparatus, apparatus of parallel passages and notes on the text, and is intended as a contribution to modern Herodianic studies. Most of our knowledge of Greek accentuation is due to Herodian’s lost Περὶ καθολικῆς προσῳδίας. The main sources for this work, an epitome misattributed to Arcadius and another by John Philoponus, do not have modern critical editions. Lentz’s only collected edition of Herodian’s works (1867-70) is difficult to work with, because Lentz attempts to reconstruct Herodian’s work rather than to lay out the surviving evidence. The new critical edition of Pseudo-Arcadius’ Epitome is a response to the need for new and separate editions of the sources for the Περὶ καθολικῆς προσῳδίας. A new edition of this text is important because the previous two editions (Barker 1820, Schmidt 1860) have many weaknesses; neither editor examined all the surviving manuscripts, and they did not read the manuscripts themselves but used copies made by other people. My new examination of all the surviving manuscripts, excepting some very late and uncontroversially derivative manuscripts, comes to a new conclusion about their interrelations. The two manuscripts which I am the first to employ turn out to be the only non-derivative manuscripts, and therefore by far the most important. They enable us to improve the text significantly. My introduction includes a substantial new evaluation of the interpolated or doubtful sections in the epitome, whose study is impeded by confusion as to their date and relationships to other works. It also discusses the authorship of this epitome, and its grammatical terminology and concepts. Another innovation is the apparatus of parallel passages. The collection of other texts that have derived material from Herodian shows the extent of Herodian’s influence on later grammatical texts. The parallel passages, as witnesses to Herodian’s text in some form, often enable us to correct the text of Pseudo-Arcadius’ Epitome. A further contribution of my thesis consists of the commentary, which discusses corrupt passages, features of the text that have never been explained before, and places where specific details of the epitomator’s methods can be identified. The commentary also provides argumentation supporting decisions taken in editing the text, and other helpful information for the understanding of the text.

In this thesis I attempt to bring out some interesting implications of Plato’s political thought as it is presented in the Politicus. In particular, I will show how this dialogue provides a new picture of the relation between ruler and ruled; a picture that stresses the importance and responsibility of every citizen, not just of the statesman himself. This is achieved by an analysis of the notion of political craftsmanship envisaged by the main speaker of the dialogue, the Eleatic Stranger. However, before I turn to consider the Politicus itself, I provide a brief presentation of another Platonic craftsman, the demiurge of the Timaeus. As will be clear, the teleological structure, and the accompanying terminology, of his craftsmanship will mirror that of the true statesman and thus help us understand the latter’s political rule. My choice to focus on this aspect of the Politicus is motivated by the text itself. For the question of the kind of craftsmanship involved in political rule is picturesquely, yet effectively, brought to the fore by the myth in the early parts of the dialogue, which distinguishes between two rival conceptions and associates the statesman with one of them. I conclude by reflecting on the significance of my findings for Plato’s political thought as a whole.

This thesis examines the reception of Pindar's epinicians in the Hellenistic period, and specifically the role played by the book in shaping readerly experience.

This thesis is an investigation into the styles and voices of the non-dramatic Greek poetry of the fourth century BC. This has been a neglected area of study in Greek literary history, and the extant poems of the fourth century have either been largely ignored or regarded contemptuously by modern critics. I seek to redress this balance by providing close readings of surviving poems, and aim to show that contrary to widespread opinion, there are signs that this is a period of dynamic creativity. The first section looks more closely at the various factors that have led to a neglect of fourth-century poetry, including issues of periodization, the transmission of texts and the canonisation of poetry, the impact of musical and technological innovations and of social changes. Scholarship on late-classical Greek art is also discussed as a comparison. I then turn to discuss specific texts in depth, focussing on the way poems characterise themselves through speakers and addressees. I begin with inscribed poetry (epigrams and hymns), in which I observe tendencies both to conform to a generic model and occasionally to produce more apparently literary-conscious works. The sometimes intrusive presence of the learned author-narrator is discussed in ‘bookish’ poems; the final section is devoted to various kinds of sung poetry, including enkomia, burlesque and parody. Although the texts I analyse are diverse in genre and character, they are sufficient to point to a wider vitality of literary activity throughout the century.

This thesis presents twenty-one unpublished Greek literary and documentary texts from Oxyrhynchus kept in the Sackler Library, Oxford. Each papyrus is identified, transcribed, and edited with a detailed introduction and notes largely in accordance with the conventions and format of presentation of The Oxyrhynchus Papyri (London 1898–). The literary texts are diverse in content. The item of especial interest is a new fragment from Sophocles’ Tereus, which joins a quotation from Stobaeus’ Anthologium. It provides new information on the play’s dramatis personae and the long vexed question of where the quotation is to be located in the play. Another new text is the remains of an unknown hexameter poem on a mythical subject which refers to the Lapiths and Centaurs. From the known texts, a minute fragment of Polybius’ Historiae, a fragment Plutarch’s Alexander and two fragments of Plato’s Philebus stand out due to the rarity of these texts. The documentary texts illustrate a variety of matters tending on social, economic, fiscal, and legal aspects of life in Roman and late antique Oxyrhynchus. Of the texts from the Roman period, a text dealing with the execution of a testamentary bequest and another text concerning a summons to the prefect’s conventus are notable for the information which they provide on the functioning of testamentary bequests and the practice of litigation respectively. Of the four texts from the Byzantine period, an Oxyrhynchite lease of land is of special importance due to the comparative rarity of documents of this kind from Oxyrhynchus and because it exhibits a number of points of interest, not least that the lessee is a colonus adscripticius. A ‘sale on delivery of wine’ also involves a colonus adscripticius. The other document of special interest is a large private letter which concerns various matters of business from a man who claims to be in a precarious situation.

Under consideration are the temple layouts at Delphi and the Athenian Acropolis which were shaped in completely different ways. What they have in common, however, is that both represent an architecture on two hierarchic levels: the upper or sacred level as symbolised by the eternal principle expressed in both elevated Doric temples, which are placed in dramatic juxtaposition with features in their natural settings (earth, horizon, sky); and the lower, human level which is represented by the auxiliary buildings of the approach areas of these temple complexes. The latter buildings are smaller than the main temples and are marked by complexity and ambiguity in that they are imperfect, of varied design and not oriented to a geometric axis, which is in complete contrast to the serenity of the fully articulated superior Doric order exemplified by the Temple of Apollo at Delphi and the Parthenon on the Athenian Acropolis. In both cases the focus will be on the perceptual totality of the group designs.

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