This edition of the Historia Vie Hierosolimitane, a 12th century Latin epic poem by Gilo of Paris and a second, anonymous, poet, is based on a critical examination of the text as it is found in all the known MSS which contain the work, the relations of which are discussed and a stemma established. All variants found in the MSS are listed in an apparatus criticus at the foot of each page of the text. A survey of the orthographical variants of the MSS is also included. Notes on linguistic, literary and historical features found in the poem are detailed, together with maps and indexes. Stylistic features of the poem are examined in a prefaratory essay, and earlier works which may have influenced the poets are noted in an apparatus fontium. An examination is made of the authorship and date of the work, together with a study of the life of the known poet, Gilo of Paris. There is a tentative survey of the inter-relationships of the various primary sources of information on the First Crusade, both Latin and vernacular, and note has been taken of critical work done in this field. Special emphasis is placed on the position of Gilo and of the Charleville poet in the relationships of the different sources, and their debt to them. All work is my own, unless specifically attributed to another source. This research was undertaken with the assistance of grants from the Central Research Fund of the University of London.

The bulk of this thesis consists of commentaries on Pindar Pythian 11 and Nemean 2. As a prologue there is a general introduction to Pindar analysing some Pindaric problems, and an analysis of some features of the Pindaric scholia (the ancient commentaries on Pindar). The INTRODUCTION shows now Pindar tailored the mythical parts of his victory odes to suit the occasion, and how the odes do not nicely conform to a general pattern. The second part, TITLES and INSCRIPTIONES in the PINDARIC SCHOLIA and the OCCASION of PYTHIAN ELEVEN, snows that the dates and titles given by the scholia for Pindar's odes are an unreliable amalgam of bits of information and guesses (often inferences from the odes themselves). The COMMENTARY on PYTHIAN ELEVEN tackles the problem posed by Pindar apparently spatchcocking an irrelevant mythical story about Agamemnon into the ode. It is suggested (l) the victor's conquest at the Games has affinities to Orestes's conquest over his father's murderers; (2) when Pindar says he went off-course in telling the myth he is being disingenuous; representing what he thinks would be the attitude to the myth of the victor's family; (3) themes of envy, moderation, success, highlighted in the myth are relevant to the victor. The COMMENTARY on NEMEAN TWO suggests this short ode (like other snort ones) was designed to preface the komos (victory sing-song and celebrations) held for the victor. The ode's compressed thought and obscure allusions are unravelled: Orion following the Pleiades symbolises how the victor may hope to gain a big win at Olympia after his recent little successes; Hector's submission to Aias is analogous to the submissions gained by the victor over his opponents. Puns and etymologising are shown to be a feature of the poem.

This thesis attempts to provide for the first time an English commentary on poems from the second book of Ovid's Amores. Included is a text of poems 1-10, to which the present commentary is confined. No independent collation of the manuscripts has been attempted in view of the meticulous work already done in this area by modern scholars, and the text offered would not claim to be a new recension; the readings of the codex Hamiltonensis 471 (Y), however, a manuscript of only fairly recently recognized antiquity, have been taken into account and are documented along with those of P and S, the other antiquiores, in a select apparatus which is intended for use in conjunction with the critical notes in the commentary. The commentary proceeds on a line by line basis, dealing in detail with specific points of literary, linguistic and textual interest as they arise; wider issues, however, such as the conventions of poetic diction and the use of particular ranges of imagery, also find a place in discussion. The interpretations and elucidations of the older editors have been accorded special attention, and the ipsissima uerba of those such as Heinsius and Burman are regularly cited. Striking features of Ovidian style are naturally noted throughout. Each poem has in addition an introduction which gives an outline of its content and structure, and endeavours to place the piece in its literary and contemporary social setting. Particular attention is paid to the contribution made by ovid's work to the elegiac tradition established by Tibullus and Propertius, and an attempt is made to assess the extent of Ovid's originality and the measure of his achievement in individual elegies. A select bibliography for each poem is also offered. The thesis as a whole, therefore, aims to illuminate and to enrich the reading of Amores ii. 1-10 in particular, and in so doing to make some contribution also to the critical assessment and appreciation of Ovid's poetry in general.

The following study consists of an examination of all those verbal parallels between the works of Vergil and the Annales of Tacitus, which have been noted by commentators, together with my own additions to the material, with the purpose of establishing the validity of the parallels suggested, and assessing their artistic significance. By comparing with the usage of other writers the parallels noted, and, in doubtful cases, considering also the distribution within Vergil's works of language possibly imitated by Tacitus, we can reduce considerably the number of probable direct verbal imitations. Some of the parallels are in themselves invalid, and, for others, there are possible alternative sources in the works of other writers or in the common literary currency of the day. The list of probable direct imitations of Vergil still remains substantial. An examination of imitated phrases in their Vergilian contexts shows that although some are isolated examples, they tend to be concentrated in certain scenes, often clustering within a few lines of one another. Tacitus is especially familiar-with the description of the storm in Aeneid One, Book Two in general, and the Council of the Latinsin Book Eleven. There are consistent relationships between phrases which reveal both his attitude to the characters in the Aeneid. And his preoccupation with the tragic elements in its themes. Within the Annales, Vergilian imitations are important less as simple stylistic elements than as a means of heightening the implications of their contexts. Patterns of relationship are established, integral to the portrayal of Tiberius, Germanicus, and Nero. As with many examples in their Vergilian contexts, a main linking idea is power and the individual's relation to it, particularly the relation between oppressor and victim. The tragic themes of the Aeneid reappear in the Annales. Vergilian material is thus an important means whereby Tacitus presents his interpretation of historical events.

The commentary is composed of two parts, Introduction and Commentary proper (including a Metrical Appendix). The Introduction discusses the legends, the date of the play, the treatment of the legends by Euripides, the suspected mutilation of the text, the themes of the play, and the transmission of the text. It is argued that the text is substantially correct and unrevised, and that the "epeisodic" nature of the play is satisfactorily explained by the main theme, Athens' successful defence of suppliants against an arrogant invader of Attica, a theme full of rapid action far removed from the plots of Euripides' "psychological" dramas. The date is established as Spring 430 B.C., just prior to the second invasion of Attica by the Peloponnesian forces. Therefore much emphasis is evident in the play on the correct behaviour of the Athenians, their suppliants and particularly that of Iolaos as opposed to that of Eurystheus and his herald. The Commentary owes much, as all commentaries must, to the work of previous editors, in particular to that of A.C. Pearson whose edition of the Herakleidae in 1907 is the latest of that play in English. Apart from the essential treatment of grammatical and syntactical difficulties, the Commentary is concerned with dramatic interpretation and with contemporary Athenian attitudes to morality. The text on which the Commentary is based is, for reasons of convenience, that of G. Murray (Oxford Classical Texts, 1901), but I have discussed in the Commentary many emendations of my own and of others which i believe should be incorporated in any future revision of the text. The work of G. Zuntz on the Byzantine Transmission of the plays of Euripides (v. Bibliography) has formed the basis of my attitude to the text.

Although editions of Nemesianus have been surprisingly numerous, very few of them have contributed appreciably to our understanding of this author, and most texts have been based on a very limited number of manuscripts. There has been no commentary of any length since that of Burman (1731) and there has never been one in English covering the whole corpus. The present thesis is an attempt to remedy these deficiencies. There is a text of the Eclogues and Cynegetica which is the first to have been based on an examination of all the known manuscripts, and a detailed and accurate apparatus criticus is provided. Readings of interest for which there is no room in the main body of the apparatus criticus have been included in an appendix. The textual history of both the Eclogues and the Cynegetica is thoroughly discussed. The question of the authenticity of the Eclogues is examined and Nemesianus's authorship is held to be proved. There is a commentary, mainly concerned with textual and grammatical matters, on both the Eclogues and the Cynegetica. A complete list of editions of Nemesianus to date is provided, as well as a bibliography. There is also an excursus on the scansion of final -o in Latin poetry and an Index Verborum.

<p> Origin myths tell the founding of a place. They signify membership and locate in time and space by providing a context and etiology for identity that is historical, theological, social, and geographic. This identity, however, does not remain static as origin myths take on a performative quality because of the values they express. This thesis seeks to explore what origin myths reveal about the human relationship with place in an effort to understand the human values at stake in these myths. </p><p> As complex narratives, origin myths demand an analysis that accounts for their density. This thesis applies Heath&rsquo;s concept of centrifugal poetics to unpack the thematic plurality of origin myths, focusing on Thebes and including both the Cadmus and the Amphion and Zethus stories. My analysis exposes the human values embedded in those themes and considers the implications of myth&rsquo;s role in perpetuating these values. </p><p> This thesis starts with a survey of ancient Greek origin myths, finding they recast the beginning of a place in the present through memory, meaning, and metaphor to tie the contemporary character of a place to how it began. I then offer to reconcile philosophy and poetry by arguing origin myths engender belief rather than reveal truth. Next, I investigate the values exhibited in the foundation of Thebes. Finally, this thesis identifies aspects of origin myth performativity alluded to by Aeschylus&rsquo; <i>Seven Against Thebes</i>.</p><p>

The present thesis examines the recurrent characters in Greek Tragedy. This category comprises the named and human personae but excludes types and deities. The study was originally concerned with the extant plays of Euripides only. However it soon became clear that a comparative analysis of Aeschylus and Sophocles was necessary, to assess the contribution of the earlier playwrights and to establish, in its proper context, the achievement of Euripides. The findings indicate that the degree of consistency in the characterization is much higher than has hitherto been recognized. The evidence for this judgement is based upon literary and stylistic considerations, as well as upon the general behaviour and thoughts of the characters concerned. The first chapter is devoted to Aeschylus. Here it is argued that he began the practice of using recurrent characters because it was appropriate for the trilogic format of the plays and his philosophic view of the continuity in the cosmic and human order. For the first time, too, the psychology of the characters assumed importance and the sympathy of Aeschylus for women is revealed. The second chapter centres upon Sophocles. He extended the scope of the device by employing it in dramas that were connected in themes and ideas but not written as a set trilogy at the same time. The consistency in his personae throws fresh light on his belief in the fundamental unchangeability of human nature. The next three chapters deal with Euripides in the following order: the male characters, then the female characters, and finally the lesser characters. Influenced in his views by Aeschylus, Euripides advanced further, with the result that the device reached its height under him. It became a means of conveying his beliefs about the effects of war and conflict between human beings, and of achieving psychological realism in his characterization.

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This dissertation examines the Hellenistic concept of enargeia (self-evidence/vividness) in both its philosophical and literary dimensions and then applies this concept to a close reading of Lucretius' De rerum natura. I argue that the theory of enargeia provides an important model for understanding the epistemological themes of this epic poem. My study offers a history of the concept from its origins in Homeric poetry through its development as a philosophical term in Plato and Aristotle, before turning to examine the theory enargeia in epistemology, rhetoric, and literary theory in the Hellenistic period. Based on the foundation of these Hellenistic theories, I turn to a discussion of the stylistic effect of enargeia and the link between seeing and knowing in Lucretius. I illustrate how vivid imagery often serves to inspire knowledge in both the reader and the didactic addressee, Memmius. According to Epicurean (and Stoic philosophy), vision and sense-perception of self-evident facts ultimately provide the basis for knowledge. I maintain that we can see this same framework underpin Lucretius' rhetorical strategies, his descriptions, and the way that he guides us as readers to imagine the poetic subjects before our mind's eye. By noticing how enargeia plays a role in Lucretius' philosophy and poetics, we can better understand the way Hellenistic thought continued to influence Latin literature. Through the lens of rhetorical and philosophical theory, I draw important conclusions about the epistemological themes in the poem and how they influence the reader's response. This lens seems entirely appropriate, as Lucretius would have been thoroughly familiar with enargeia through his study of philosophy, rhetoric, and literature. An especially helpful result of my study is that it offers a way to integrate various dimensions of ancient thought--philosophical, rhetorical, literary, and historical--with one another. By considering the topic of enargeia, I show that these dimensions are not separate from each other, but rather they allow us to glimpse how various fields of thought interacted and continued to be appropriated and applied in the creation of poetry in the later Republic, into the imperial age, and throughout the Western tradition. This interdisciplinary approach helps us to draw conclusions about the intellectual background of Lucretius, however my findings and methodology can also be understood to apply for other Latin writers, most importantly Virgil, as I illustrate through a brief study of the end of the Aeneid in my closing chapter. / A Dissertation submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / March 16, 2015. / Enargeia, Epicureanism, Lucretius, Philosophy, Rhetoric, Virgil / Includes bibliographical references. / Timothy Stover, Professor Co-Directing Dissertation; Svetla Slaveva-Griffin, Professor Co-Directing Dissertation; John Roberts, University Representative; Nathaniel Stein, Committee Member; Francis Cairns, Committee Member.