DOCSLIB.ORG

Tristia and Epistulae Ex Ponto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tristia and Epistulae Ex Ponto Durham E-Theses Myth and the Authorial Persona in Ovid's Tristia and Epistulae ex Ponto KNIFTON, LAUREN How to cite: KNIFTON, LAUREN (2014) Myth and the Authorial Persona in Ovid's Tristia and Epistulae ex Ponto, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9481/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Myth and the Authorial Persona in Ovid’s Tristia and Epistulae ex Ponto Lauren Knifton This thesis is submitted for the degree of Doctor of Philosophy Department of Classics and Ancient History University of Durham 2014 Contents Abstract .................................................................................................................................................. iv Acknowledgements ................................................................................................................................ vi Introduction ............................................................................................................................................ 1 Chapter One: The Gods ......................................................................................................................... 43 Jupiter ............................................................................................................................................... 44 Neptune ............................................................................................................................................ 62 Minerva ............................................................................................................................................. 64 Amor ................................................................................................................................................. 72 Chapter Two: Epic Protagonists ............................................................................................................ 79 Ulysses .............................................................................................................................................. 80 Achilles .............................................................................................................................................. 99 Jason ............................................................................................................................................... 111 Chapter Three: Other Heroes and the Underworld ............................................................................ 128 Theseus ........................................................................................................................................... 129 Philoctetes ...................................................................................................................................... 142 Oedipus & Telegonus ...................................................................................................................... 155 Chapter Four: Women ........................................................................................................................ 168 Part One: The Canon of Good Wives in the Exile Works ................................................................ 168 Tristia 5.5 .................................................................................................................................... 170 Tristia 5.14 .................................................................................................................................. 176 Epistulae ex Ponto 3.1 ................................................................................................................. 179 Penelope ..................................................................................................................................... 182 Laodamia ..................................................................................................................................... 192 Alcestis ........................................................................................................................................ 200 Evadne ......................................................................................................................................... 207 Part Two: The Antithesis of Wifely Devotion .................................................................................. 215 Medea ......................................................................................................................................... 216 Conclusions ......................................................................................................................................... 236 Editions ............................................................................................................................................... 245 Cited Works ......................................................................................................................................... 247 ii iii Abstract The Tristia and Epistulae ex Ponto are crucial for understanding Ovid’s use of myth, as he repeatedly uses mythological exempla to illustrate his own condition in exile and to characterise the authorial mask which he adopts in the exilic epistles. My doctorate approaches the author-persona relationship by investigating how Ovid utilises mythological references to construct his persona in literary terms, a methodology that rejects any attempt to reveal the “man behind the mask” and instead focuses on appreciating the complexity of the authorial exilic persona in its own right. By focusing on the mask of the author, this thesis looks in-depth at how the authorial persona is constructed by references to myth and literature, and how this often relates back to other Ovidian personae. My work focuses on the most common myths found in the exile works featuring the gods, epic protagonists, other heroes, the Underworld, and famous wives. The mythical exempla found in the Tristia and Epistulae ex Ponto are commonly equated with the author’s depiction of himself, or paralleled with the portrayals of his wife, friends, and enemies. As these mythical exempla are deployed, Ovid often makes allusions to other texts (Ovidian as well as those by other authors) which feature either the same narratives or characters, giving rise to a rich interplay of myth and intertextual allusions. All in all, the authorial figure in the Tristia and Epistulae ex Ponto, the relegatus poeta, becomes increasingly mythologised as he assumes the guises of the protagonists of tragedy and epic; persecuted, abandoned, and doomed to remain away from his homeland like Ulysses, Jason, and Philoctetes. iv Statement of Copyright The copyright of this thesis rests with the author. No quotation from it should be published without the prior written consent of the author and information derived from it should be acknowledged. v Acknowledgements I would like to thank the Department of Classics and Ancient History at the University of Durham for providing constant intellectual stimulation while I was writing this thesis. I am also grateful for the Postgraduate Research Scholarship which provided crucial financial support during my studies. I would also like to thank the custodians of Durham Cathedral for providing a welcoming atmosphere in one of the most scenic heritage sites in the world. The practical support from the librarians at the Bill Bryson Library, Durham, was invaluable during my research. I would like to thank every single one of their team for their helpfulness over the past few years, particularly those who regularly perform miracles in the Document Delivery Service. Thanks also go out to Ms Viv Arbia, Dr Peter Heslin, and Prof. George Boys- Stones who arranged for me to receive voice-recognition software after I developed temporary RSI when writing up my thesis. I am most greatly indebted to my supervisors, Dr Jennifer Ingleheart and Dr Peter Heslin, for their tireless guidance, sage advice, and heartfelt support over the course of my thesis. I would like to thank the examiner of my first-year review, Prof. Ingo Gildenhard, for providing fantastic feedback that opened my eyes to the shape of my project as a whole. I am also grateful to the Senior Tutor of Josephine Butler College, Dr Jill Tidmarsh, for her constant support through all the years I have been at Durham. I would like to express my heartfelt gratitude to my loyal friends, Corinna Brunini- Cronin, Louise Hodgson, Olwen Lachowicz, Nikoletta Manioti, and Donald Murray, who have been my constant companions along this journey, through thick and thin. Extra special thanks go to those friends who selflessly volunteered to proofread my thesis. On a more personal note, I would like to thank my grandfather, Flying Officer J F H Knifton RAF (Retd), for teaching me never to
Load more

Recommended publications
  • Banished to the Black Sea: Ovid's Poetic
    BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Christy N. Wise, M.A. Georgetown University Washington, D.C. October 16, 2014 BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 Christy N. Wise, M.A. Mentor: Charles A. McNelis, Ph.D. ABSTRACT After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within the elegiac structure, Ovid changed the content of his poetry in order to defend himself to Augustus and request assistance from friends in securing a reduced penalty or relocation closer to Rome.
    [Show full text]
  • Suffering in Silence: Victims of Rape on the Tragic Stage. in PJ Finglass, & L
    Finglass, P. J. (2020). Suffering in silence: victims of rape on the tragic stage. In P. J. Finglass, & L. Coo (Eds.), Female Characters in Fragmentary Greek Tragedy (pp. 87–102). Cambridge University Press. https://doi.org/10.1017/9781108861199.008 Peer reviewed version Link to published version (if available): 10.1017/9781108861199.008 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Cambridge University Press at https://www.cambridge.org/core/books/female-characters-in-fragmentary- greek-tragedy/suffering-in-silence/527E8EDEFB0B1AE7BD4A9AA507BC72DD. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ CHAPTER 6 Suffering in silence: victims of rape on the tragic stage P. J. Finglass One of the most moving scenes in Sophocles takes place immediately after the first choral song of his Trachiniae (141–496). To the chorus, who have entered to console Deianira as she longs for the return of her husband Heracles, Deianira describes the sorrows of marriage; in her view, marriage brings pain to a woman because it constantly causes her anxiety for her husband or her children. A Messenger suddenly enters with good news: Heracles is alive, having recently triumphed in a battle, and is shortly to return.
    [Show full text]
  • Bulletin of the John Rylands Library
    THE ORIGIN OF THE CULT OF DIONYSOS.1 . , BY J. RENDEL HARRIS, M.A., O.LITT., U...D., O.THEOL., ETC •• HON. FELLOW OF CLARE COLLECE, CAMBRIDGE ; DIRECTOR OF STUDIF.S AT THE WOODBROOKE SETTLEMENT, BIRMINGHAM. ODERN research is doing much to resolve the complicated and almost interminable riddles of the Greek and Latin M Mythologies. In another sense than the religious interpre­ tation, the gods of Olympus are fading away : as they fade from off the ethereal scene, the earlier forms out of which they were evolved come up again into view ; the Thunder-god goes back into the Thunder-man, or into the Thunder-bird or Thunder-tree ; Zeus takes the stately ~~ in vegetable life, of the Oak-tree, or if he must be Besh and blood he comes back as a Red-headed Woodpecker. Other ud similar evolutions are discovered and discoverable ; and the gods acquire a fresh interest when we have learnt their parentage. Sometimes, in the Zeus-worship at all events, we can see two forms of deity standing side by side, one coming on to the screen before the other has moved off ; the zoomorph or animal form co-existing and hardly displacing the phytomorph or plant fonn. One of the prettiest instances of this co-existence that I have dis­ covered came to my notice in connection with a study that I war. making of the place of bees in early religion. It was easy to see that the primitive human thinker had assigned a measure of sanctity to the bee, for he had found it in the hollows of his sacred tree : at the same time he had noticed that bees sprang from a little white larva.
    [Show full text]
  • Renaissance Receptions of Ovid's Tristia Dissertation
    RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological.
    [Show full text]
  • Teknophagy and Tragicomedy: the Mythic Burlesques of Tereus and Thyestes
    This is a repository copy of Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/126374/ Version: Accepted Version Article: Haley, M orcid.org/0000-0002-7697-3568 (2018) Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. Ramus, 47 (2). pp. 152-173. ISSN 0048-671X https://doi.org/10.1017/rmu.2018.12 © Ramus 2019. This article has been published in a revised form in Ramus: https://doi.org/10.1017/rmu.2018.12. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ramus Submission 2017 Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes Teknophagy (τεκνοφαγία), or child-eating, is an apt subject for tragedy.
    [Show full text]
  • STONEFLY NAMES from CLASSICAL TIMES W. E. Ricker
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Perla Jahr/Year: 1996 Band/Volume: 14 Autor(en)/Author(s): Ricker William E. Artikel/Article: Stonefly names from classical times 37-43 STONEFLY NAMES FROM CLASSICAL TIMES W. E. Ricker Recently I amused myself by checking the stonefly names that seem to be based on the names of real or mythological persons or localities of ancient Greece and Rome. I had copies of Bulfinch’s "Age of Fable," Graves; "Greek Myths," and an "Atlas of the Ancient World," all of which have excellent indexes; also Brown’s "Composition of Scientific Words," And I have had assistance from several colleagues. It turned out that among the stonefly names in lilies’ 1966 Katalog there are not very many that appear to be classical, although I may have failed to recognize a few. There were only 25 in all, and to get even that many I had to fudge a bit. Eleven of the names had been proposed by Edward Newman, an English student of neuropteroids who published around 1840. What follows is a list of these names and associated events or legends, giving them an entomological slant whenever possible. Greek names are given in the latinized form used by Graves, for example Lycus rather than Lykos. I have not listed descriptive words like Phasganophora (sword-bearer) unless they are also proper names. Also omitted are geographical names, no matter how ancient, if they are easily recognizable today — for example caucasica or helenica. alexanderi Hanson 1941, Leuctra.
    [Show full text]
  • The Voiceless Procne and the Absent Philomela in Aristophanes' Birds
    The Silence of the Shuttle: The Voiceless Procne and the Absent Philomela in Aristophanes’ Birds In the Birds, Aristophanes creates an odd, jarring sequel to Sophocles’ Tereus through the figures of Tereus and Procne: Procne and Tereus are living together among the birds as a happily reunited couple; their dead son Itys is only mentioned as a figure to be mourned; and the other events that made up the plot of Sophocles’ now fragmentary tragedy—Tereus’ rape of Procne’s sister Philomela, Procne’s subsequent murder of her own son—are not mentioned at all. Procne, furthermore, never speaks, and Philomela is completely absent, her name not even appearing in Aristophanes’ comedy. In this paper, I argue that, through Procne’s voicelessness and Philomela’s conspicuous absence, Aristophanes sets up Procne as a double for her sister, and this doubling is emblematic of the larger narrowing of women’s roles in the comic utopia of the Birds. Procne is also a double in one other, important respect: Although she is introduced as Tereus’ wife, the details given about her costuming indicate that she is costumed as a prostitute—an auletris, more specifically—and Tereus seems unconcerned with presenting her as an object of sexual fantasy to the other male birds. Thus, she occupies the roles of both a wife and a prostitute. This telescoping of female roles is part of the atmosphere of sexual freedom that Peisetairos and Euelpides hope for when they go to live among the birds; Euelpides hopes to live in a city where another man will scold him for not fondling his beautiful young son while leaving the gymnasium (Birds 137-142), and they find in Tereus a man who invites them to “play” (παίζωμεν, 660) with his beautiful and scantily clad wife.
    [Show full text]
  • Poetic Language and Religion in Greece and Rome Edited by J
    Poetic Language and Religion in Greece and Rome Edited by J. Virgilio García and Angel Ruiz This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by J. Virgilio García, Angel Ruiz and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5248-1, ISBN (13): 978-1-4438-5248-7 TABLE OF CONTENTS Preface ..................................................................................................... viii José Virgilio García Trabazo and Angel Ruiz Indo-European Poetic Language Gods And Vowels ....................................................................................... 2 Joshua T. Katz Some Linguistic Devices of the Greek Poetical Tradition ........................ 29 Jordi Redondo In Tenga Bithnua y la Lengua Angélica: Sus Fuentes y su Función ........ 39 Henar Velasco López Rumpelstilzchen: The Name of the Supernatural Helper and the Language of the Gods ............................................................................................... 51 Óscar M. Bernao Fariñas Religious Onomastics in Ancient Greece and Italy: Lexique, Phraseology and Indo-european Poetic Language .......................................................
    [Show full text]
  • Nick Susa Epic Mythomemology – the Iliad Book 1: Achilles Was Fighting
    Nick Susa Epic Mythomemology – The Iliad Book 1: Achilles was fighting alongside Agamemnon, the King of Argos, during the Trojan war. After winning a battle each was given a war prize, a woman. Achilles was given Briseis, and Agamemnon was given Chryseis. However, the father of Chryseis, Chryses, who was also a priest of Apollo, wasn’t ready to part with his daughter and came with a ransom for his daughter for King Agamemnon. Agamemnon refused the ransom in favor of keeping Chryseis and threatened the priest. Horrified and upset the priest (Chryses) calls upon Apollo and asks him to put a plague upon the Achaean armies, one of which Agamemnon leads. For nine days the armies were struck with a plague, on the tenth Achilles called a meeting to find the reason for the plague. Calchas, a prophet and follower of Apollo, being protected by Achilles, explains that Agamemnon refusing the ransom was the reason for the plague and he must return the girl and make a sacrifice of one hundred cows to Apollo in order to end the plague. Agamemnon decides to appease Apollo, but only if he can take away Achilles war prize, Briseis. Achilles doesn’t believe that Agamemnon should gain Briseis, so the two begin to argue. Achilles decides that he and his men shall not fight in the war because of Agamemnon’s actions. After Agamemnon takes Briseis away, Achilles cries and prays to his mother, Thetis, asking her to have Zeus grant the Achaean armies many loses. Zeus was not around to be asked though, but after twelve days, he returns and promises to Thetis that he will grant the Trojans many victories and the Achaeans many losses.
    [Show full text]
  • Augustanism in Ovid's Ars Amatoria
    The Art of Making Oneself Hated: Rethinking (Anti-)Augustanism in Ovid’s Ars Amatoria The Art of Love: Bimillennial Essays on Ovid's Ars Amatoria and Remedia Amoris Steven Green Print publication date: 2007 Print ISBN-13: 9780199277773 Published to Oxford Scholarship Online: January 2010 DOI: 10.1093/acprof:oso/9780199277773.001.0001 The Art of Making Oneself Hated: Rethinking (Anti-)Augustanism in Ovid’s Ars Amatoria Sergio Casali DOI:10.1093/acprof:oso/9780199277773.003.0011 Abstract and Keywords This chapter focuses on the most overtly ‘Augustan’ part of the Ars – the Parthian expedition of Gaius Caesar (1.171-228) – and invites us to read the event as an episode that exposes tensions in the dynastic family, and draws attention to the spectacle and theatricality of the Emperor's Parthian campaign. Keywords: Ars Amatoria, Remedia Amoris, Augustus, politics, Rome, Parthia, Gaius Caesar My subtitle implies that I want to strike a balance, or to discuss the question of the Augustanism/anti-Augustanism of the Ars from a theoretical point of view. In fact, I won’t be doing that. The ‘Augustan’ side of the question has been treated in the best possible way by Mario Labate in his book L’arte di farsi amare,1 the ‘anti-Augustan’ side by Alison Sharrock, particularly in her article on ‘Ovid and the Politics of Reading’,2 and the ‘aporetic’ side by Duncan Kennedy and Alessandro Barchiesi.3 I couldn’t do it better. So, the first part of my title is more relevant for my chapter. It makes fairly clear, I think, my predilection for a good old anti-Augustan approach to Ovid.
    [Show full text]
  • The Example of Procris in the Ars Amatoria
    UC Berkeley Cabinet of the Muses: Rosenmeyer Festschrift Title The Example of Procris in the Ars Amatoria Permalink https://escholarship.org/uc/item/5xx8c1wj Author Anderson, William S. Publication Date 1990-04-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California THE EXAMPLE OF PROCRIS IN THE ARS AMATORIA William S. Anderson University of California, Berkeley Ever since Richard Heinze developed his masterful study of Ovid’s narrative styles by pitting similar stories recounted in elegiac meter against those of the Metamorphoses, starting from the near-contemporaneously composed myths of Persephone of Fasti 4 and of Met. 5, a methodology of contextualization has been legitimated for exploring these materials.1 As perhaps the richest pair of such narratives, elegiac and hexameter, the story of how Cephalus loved, married, and then accidentally killed Procris in a hunting accident has generated numerous studies since Heinze’s time.2 The earliest adherents of Heinze used the account in Ars Amatoria 3.687ff. to demonstrate the greater weight and epic character of the account in Met. 7.672ff. (or of 7.796ff., to limit ourselves to the death of Procris in the Met. as the strictly parallel passage).3 In more recent years, as the “epic” character of the Met. has been called into question, the procedures of contextualization have altered somewhat. On the one hand, many studies have continued to emphasize the greater power and pathos of Procris’ death in the Met. and so called attention to features of Ars 3 that appear to be earlier and less artistic details consciously changed and improved by Ovid in the later Met.
    [Show full text]
  • James-P-Holoka CV-11 Classical
    ,e 52 January 1976 THE CLASSICAL BULLETIN 41 the he retained the affection of an. older man for a universal principle of order and harmony, in con­ formity to which the whole world is ruled in fair­ fully generation, and repaid it in many ways-not ness and justice (imperio aequo), the physical the least .of which was the preservation of the world and the political world, the sphere of the ~ living and the sphere of the dead •..• 2 t>,_ -'1 memory of a fine character for the edification dght of posterity. Fraenkel goes on to explain that the autobio• William C. McDermott graphical half of 3.4 is demanded by the ab­ sence of a tradition of solemn musical perform­ •nvert University of Pennsylvania ·,rliest Philip T. Heesffi ance "deeply rooted in the very life, religious c and Millersville State College and civic, of the· society." Unlike Pindar, Hor­ at the ace "is alone, left to his experience as an indi­ ng so, NOTES ;, my vidual and to his personal inspiration." 1 ·arned 1 E.g. Manius Curius, -negotiator in Patrae, for !d, as whose career c/. W. C. McDermott CW 41 (1948) 179- Though the Pindaric ode incontestably had a Philo, ,. 84. 2 Cf. von Arnim in RE s.v. "Diodotos 11" (1903); nutritive in•ftuence on the poet of Descende ·ctors. I. Coppa "De Diodoto Stoica Cicero-nis ma.gistro," Cicero: comm. ausp. coll. studiis .Cic. pro11ehendia editi caelo, critics have overindulged in Quellenfor­ ·laim, 1 (Rome 1959) 21-29; P. T. Heesen, Cicero's Literary Career to 50 B.C.
    [Show full text]