Light and Dark: Play on "Candidus" and Related Concepts in the Elegies of Tibullus Author(s): Joan Booth and

Robert Maltby Source: Mnemosyne, Fourth Series, Vol. 58, Fasc. 1 (2005), pp. 124-132 Published by: BRILL Stable URL: http://www.jstor.org/stable/4433620 . Accessed: 09/12/2013 23:50
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Argentieri, L. 1988. Epigrammae libro, ZPE 121, 1-20. and Poetry(Oxford/ Asmis, E. 1995. EpicureanPoetics, in: Obbink, D. (ed.) Philodemus New York), 15-34. Cameron, ?. 1993. The GreekAnthology from Meleagerto Planudes(Oxford). Cavallini, E. 1980-2. Note ?//'Antologia Palatina, Museum Criticum 15, 161-5. Falivene, M. 1981. La condicedi dike nella poesia alessandrina,QUCC 37, 87-95. di AP 10,21 (Fihdemo), QUCC 42, 129-42. ?. 1983. Per l'interpretazione Fraser, P.M., Matthews, E.?. 1997. A Uxicon of GreekPersonalNames, III A (Oxford). scelti (Naples). Gigante, M. 21989. Filodemoepigrammi -. 1989. Filodemotra poesia e prosa (a propositodi POxy. 3724), SFIC 7, 129-51. 1995. Philodemusin Italy (Michigan). -. di Filodemo(Naples). -. 2003. // libro degli epigrammi Gow, A.S.F., Page, D.L. 1968. U? Greek Anthology: The Garland of Philip, 1-2 (Cambridge). Gutzwiller, K. 1998. Poetic Garlands.Hellenistic Epigrams in Context(Berkeley). Heichelcheim, F. 1937. Nymphai, in: RE XVII.2, 1527-99. des Asklepiades(AP V7/150), ?? 19, 160-1. Ludwig, W. 1962. Ein Epigrammpaar Parsons, P. 1987. List of Epigrams(POxy. 3724), The Oxyrhynchus Papyri,LIV (London), 65-84. di POxy. e testuali sulla raccoltadi epigrammi bibliologiche Puglia, W. 2000. Considerazioni 3724, Papyrologica Lupiensia 9, 359-80. Rossi, M. 1987. Un motivoarcaico in FilodemoEp. V G-P (AP V107), Vichiana 10, 163-7. Sider, D. 1997. The Epigramsof Philodemus(Oxford/New York). LIGHT AND DARK: PLAY ON CANDIDUS AND RELATED IN THE ELEGIES OF TIBULLUS CONCEPTS

In the third elegy of his first book Tibullus represents himself as sick on the island of Corcyra (called by its Homeric name of Phaeacia) and unable to continue in the entourage of his distinguished friend and benefactor Messalla on a mission to the East. He puts his misfortune down to the love-god's anger with him for leaving his distraught mistress Delia behind in Rome. After imagining death on the island without her, Tibullus eventually ends the poem with a prayer that he will in fact come back and find her, like Penelope or Lucretia, spinning with her unexpectedly maids, as she faithfully awaits his return. The poem displays a type of with the opening prayer for dark death to spare him ring composition, balanced by the closing one for a bright day to bring him home: abstineas auidas Mors modo nigra manus. abstineas, Mors atra, precor . . . (Tib. 1.3.4-5) hoc precor; hunc ilium nobis Aurora nitentem Luciferum ros?is candida portet equis. (Tib. 1.3.93-4)

? Koninklijke Brill NV, Leiden, 2005 Also available online - www.brill.nl

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Nigra and atra of the personified Death (Mors) at the start are 'answered' by nitentem and candida of the personified Morning Star (Luciferum)and Dawn (Aurora) at the end. The darkness of death is, of course, a commonplace, and candidas is also regularly used of a 'lucky' or 'fortunate' day (uel sim.).1) There is much to suggest, however, that the concepts of light and dark, and, in particular, the adjective candidus, had special significance for Tibullus and his friends. We shall argue for four interrelated facets of it in this paper: (1) play involving Tibullus' own nomen Albius; (2) play on candidus and similar terms in association with the style of both Tibullus and Messalla; (3) play on Corvinus, the cognomen of Messalla; (4) systematic patterning of the concepts and vocabulary of light and dark (candidus especially) to reflect Tibullus' changing vision of elegiac existence and the differing roles of his two mistresses, the bright Delia of book 1 and the dark Nemesis of book 2.2) 1. Candidus, albus and Albius

Ancient poets had a taste for play on their own names. The tradition verse of Empedocles, goes back at least to the fifth-century philosophical and where the coupling of the two compound adjectives ??ped?f???a is to that and the 'ever-in-leaf 'ever-in-fruit', ??ped??a?pa, thought suggest author's name may be creatively derived from some such coinage as the Hellenistic however, ??ped???e?t??, 'ever-in-fame'.3) Probably, epigrammatist Meleager provided the most direct cue for a poet called Albius.4) At Epigram 98.3-4 G-P (= AP 12.165.3-4), in an apparently playful derivation of his own name from ???a?, 'black', and a????, 'white', Meleager claims that 'the Loves, they say, wove me out of white and black': oi ??? ???te? ?? ?e???? p???a? fas? ?e ?a? ???a??? One of the words involved, a????, is, as often in ancient etymological play, replaced by a synonym, ?e????.5) The potential for Latin play on the nomen Albius, through connection with albus, 'white', is thus clear enough. It was certainly seen by Horace. At Odes 1.33.1-4, addressing an 'Albius', he plays via the subsequent verb praenitere on the 'white' and 'bright' connotations of the personal name: Albi, ne doleas plus nimio memor immitis Glycerae neu miserabilis decantes elegos, cur tibi iunior laesa praeniteatfide . . . Albius' 'nominal' quality is here trumped, so to speak. At Epistles 1.4.1 Horace again plays on the name, this time through the description of the addressee as candidus, which bears the meaning 'white' or 'bright' as well as 'fair' or 'lucid' (in judgement or style; more of this shordy): Albi, nostrorum sermonum candideiudex.6)

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Admittedly, there can be no complete certainty that Horace's twice-named Albius is supposed to be Tibullus; Tibullus never direcdy calls himself Albius. Yet there is no real reason to doubt the nomen offered by a very brief anonymous ancient life (included in all the critical editions) probafrom derived Suetonius' De Poetis; it is unlikely that the poet's name bly was wrongly recorded only a century or so after his death. The Albius of the Horatian episde is a man of elegance and philosophical interests, with a country estate in Latium; this fits well with information about Tibullus' looks in the Vita7) and with the portrait of himself in his own poetry.8) Horace's reference to the wealth that the gods have given Furthermore, Albius (Ep. 1.4.7 di tibi diuitias dederunt artemquefruendi, 'the gods have given you riches and the art of enjoyment') smacks of teasing allusion to Tibullus' conventional elegiac rejection of wealth in the first line of his first poem (1.1.1 diuitias alius fuluo sibi congerat auro, 'let others pile up riches for themselves in tawny gold'). The Albius of the ode writes love elegies lamenting his own amatory suffering, and Tibullus' elegies were in all probability with Horace's first colbeing composed more or less contemporaneously lection of Odes (Books 1-3) in the twenties of the first century BC.9) The identification is thus all but irresistible.10) The new suggestion here is that Horace's play on 'Albius' only points up, perhaps in conscious reaction, similar play in more subde form by Tibullus himself. One possible instance of this occurs in the last couplet of poem 1.3 (lines 93-4, quoted above): if Tibullus is Albius, the epithets candidus and nitens applied to the Dawn and the Morning Star which will see him returned to Delia are doubly appropriate. It is poem 1.7, however, in which Tibullus' own awareness of the potential for this kind of play is most clearly signalled. At line 58 candidaque antiquo detinet Alba Lare he collocates candida and Alba in allusion to the ancient etymology of the place name Alba Longa, derived from the colour of a (white) sow and the nature of the place.11) To anyone who knew him as Albius this could well suggest the latent connection with his own name and so complement further elements of play on it arguably present within the same poem. These fall into categories (2) and (3) below. 2. Candidus and nitidus: Tibullus and Messalla

Tibullus 1.7 essentially celebrates the birthday of Messalla and his (probAquitanian triumph in 27 BC. His name appears ably contemporaneous) as a prominendy delayed vocative in the couplet 7-8, which contains the first of a number of epithets in this poem for 'bright' or 'white': at te uictrices lauros, Messalla, gerentem portabat nitidis currus eburnus equis

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Nitidus and candidus are especially interesting in this context. Both are later in the poem applied direcdy to Messalla's person or that of the birthday spirit (Genius) identified with him: illius [sc. Genii] et nitido stillent unguenta capillo, et capite et collo mollia serta gerat. (51-2) at tu, Natalis, multos celebrande per annos, candidiorsemper candidiorqueueni. (63-4) Both terms belong to the critical vocabulary of ancient rhetorical theory.12) Mtidus/nitens may denote a 'polished' or 'elegant' style.13) Candidus is used of writers or writings which are 'clear', 'lucid' or 'unambiguous', and already in the generation before Tibullus Cicero had applied the word to the plain and elegant style adopted by the so-called Atticists.14) It is for just such a manner that Tibullus was famed in antiquity.15) This feature of his writing16) was doubdess influenced by the literary tastes of Messalla, a prominent orator, who himself dabbled in Greek pastoral poetry, and who, according to the elder Seneca, was a most diligent critic of Latin style.17) Ovid, addressing Messalla's son Messalinus, refers on separate occasions to the stylistic candor and nitor of Messalla p?re,18) while Quintilian describes him, in terms of his writing, in the same breath as both nitidus and candidus?)?almost exacdy the coupling that Tibullus himself used with reference to his own envisaged return to Delia at 1.3.93-4 (quoted above). All this, together with the likely oblique reminder of the 'white' quality of Tibullus' own nomen at 1.7.58, seems to raise the possibility that he was attempting through the nexus of terms albus, candidus and nitidus to point his special literary link with Messalla?to suggest that Messalla was stylistically even 'brighter' and 'clearer' (so the emphatically repeated candidior at the very end of 1.7, quoted above) than he, Albius, was himself. So could the patron wittily and gracefully be made to outshine his prot?g?. 3. Candidus, albus and Corvinus

nitidus,

But could there be still something more? If Tibullus was associated with white through his nomen Albius, Messalla would have been associated with black through his cognomen Corvinus, which is the adjectival form from coruus, 'raven'. This bird, supposedly changed to black from its original white for giving away Jupiter's secrets to his wife (Ov. Met. 2.540 qui color albus erat, nunc est contrarius albo), was in antiquity the very epitome of blackness;20) a white raven was proverbial for a rarity.21) As an augur, Messalla would have been particularly alive to all avian connotations, and, as one also accustomed to the ancient practice of etymologising from opposites,22) he may well have been put in mind of the associations of his own name with a black bird by Tibullus' mention of a white one in the context of his achievements. For in a praeteritio of eventually rejected subjects for his

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MISCELLANEA (1.7.9-20) Tibullus alludes to Messalla's in Syria23) with the question (lines 17-8):

poetic tribute to his benefactor apparendy pacificatory activities

quid referam ut uolitet crebras intacta per urbes alba Palaestino sancta columba Syro? one remaining mention of whiteness in the poem, though applied direcdy neither to Messalla nor to Tibullus, could prepare for the presence at the end (lines 63-4) of a neat etymological joke, as well as flattery of Messalla's literary style, in the implicit notion of a Corvinus being candidior than an Albius. Possibly, too, there are hints that the witticism persisted, for in contexts less strictly literary than those in the passages of Ovid and Quintilian already quoted24) there is also to be found the association of Messalla with brightness.25) Velleius Paterculus 2.72, Continus Messalla, fulgentissimus iuuenis, may be particularly telling in this respect, as neither the context nor the term he uses (frdgentissimus, 'most resplendent') for Messalla's quality of brilliance is stylistic.26) It is tempting to suggest further that Tibullus' play on his own name was similarly recognised and taken up: the name Lygdamus third book of the corpus adopted by the author of the pseudo-Tibullan also has connotations of brightness, being derived from ???d??, a white Parian marble. The only instances of candidus in that book refer to Lygdamus' own bones,27) and much the same imagery of brightness as is applied to Messalla in the context of his triumph of 27 BC in poem 7 of Tibullus' first book is used in the context of his consulship of 31 BC in poem 7 third book.28) (Panegyricus Messallae) of the pseudo-Tibullan 4. Candidus and the Shadows: Bright Delia and Dark Nemesis This

Finally, 'light' and 'dark' play of the most general kind. It has often been noted that Delia and Nemesis, the elegiac mistresses of books 1 and 2 respectively, are in many ways opposites. Whereas Delia's name sugwith Apollo, the Delian god of poetry and music, or gests connections with his sister Diana, associated with the unspoilt countryside, or with the Greek adjective d????, meaning 'clear' or 'bright', Nemesis means 'retribution', and Hesiod tells us in his Theogony (223 ff.) that she was the daughter of Night. This opposition between the two mistresses is thematically reflected in the tendency of the Nemesis poems of the second book to invert Tibullus' scenarios and attitudes in the Delia poems of the first. Whereas Delia is associated with an ideal existence in the country and is locked away from Tibullus by his rival in a town house,29) Nemesis is associated with a life of luxury in the town and is separated from Tibullus by being dragged away to the country by his rival.30) In the Nemesis poems he adopts on the whole a less starry-eyed persona. He prefers town life, but will put up with a harsh existence in the country simply to be with

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Nemesis.31) His reverence for Venus in the first book32) is replaced by a willingness to sack her temple to provide Nemesis with cosdy luxury items such as silk, gold and expensive purple-dyed clothes.33) His respect for the Muses34) is replaced by a willingness to dismiss them if they are unable to perform their prime function: providing access to the beloved.35) Traces of the old Tibullus remain in the non-Nemesis poems 2.1, 2.2 and 2.5, but in general the new mistress casts a dark shadow over the second book. This is also reflected in Tibullus' deployment of certain items of vocabulary, again candidus in particular. In the first book candidus and related 'bright' words are associated with his ideal of a life of love with Delia in a rustic setting. After its appearance in the last line of 1.3 (already discussed), candidus next occurs in Tibullus' dream of Delia acting the role of materfamilias on his country estate and watching over the production of new white wine, candida musta, with the grapes trodden in his own vineyard.36) Here candidus is the technical word for white wine, as opposed to niger for red, but the adjective also brings with it the associations of peace and happiness perceived in poems 3 and 7. Within the final elegy of the first book, poem 10, there is a movement parallel to that in poem 3: from fears of war and death at the beginning to a dream of peace at the end. At 1.10.33 personified death (Mors) is atra, 'black', as it is in poem 3, while personified peace (Pax) is candida (line 45). Candidus recurs in the very last line of the poem (68), referring to the white robes of Pax. This is entirely in keeping with conventional representations of her in art, and white robes were anyway the rule for reliBut for any who have already detected an oblique gious occasions. self-reference candidus in the line of other through concluding poems in book 1 (3 and 7) there will perhaps be just a hint of a 'signature' here by Albius Tibullus the author. The final line of the final poem would be a fitting and traditional place for a so-called sphragis, however cryptic. As might be expected from the different character of the second book, candidus is much less frequent there. In fact it occurs only twice. But on both of these occasions the tonal associations of the word established in book 1 seem to be sustained. The first occurrence is in poem 2.1, which opens in a bright and optimistic mood, preserving the atmosphere at the end of poem 1.10. Tibullus imagines himself playing a leading role in a rustic festival on his own estate, possibly the ambarualia, and a troop of white-clad worshippers, candida turba, processing to the 'gleaming' altar.37) But, unlike what happens in poems 3 and 10 of book 1, the movement within 2.1 is from light to darkness, and the poem ends on an unsettling note describing the approach of Night, of Sleep with 'dusky wings', . of and 'black alis, Dreams,' Somnia nigra (emphatically furuis.. placed in the last line).38) This movement from light to dark, from candidus in the opening section to niger at the end, foreshadows the inversion of the romantic vision of book 1 and adumbrates the arrival of the new mistress,

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Nemesis, daughter of Night, who is to dominate the rest of book 2. Only in poem 2.5, which is not connected with Nemesis but celebrates the inauguration of Messalla's son to a religious post as one of the quindecimuiri sacris faciundis, does the adjective candidus occur again. It is surely not without significance that the context then is a description of the idyllic pastoral simplicity of early Rome, when the 'snowy ewe's white lamb' (niueae candidus agnus ouis, line 38) was an adequate present from a lover to his mistress. A far cry indeed from life beset by the demands of the grasping Nemesis, with which the second book closes in poem 6. Universiteit Leiden Opleiding Griekse en Latijnse TaalPostbus 9515 NL-2300 RA Leiden Booth

Joan en Letterkunde

[email protected] University of Leeds School of Classics, Leeds LS2 9JT UK [email protected] 1) Cf. Prop. 2.15.1 o nox mihi candida; ??. Pont. 4.4.18 candiduset felix proximus annus erit. References to marking a lucky day on a primitive calendar with a white pebble are also found: e.g. Catul. 107.6 o lucem candidiorenota, 68.148 quernlapide illa dies candidiore not?t. 2) Many of the points which follow were, uncannily, made independendy and almost contemporaneously by both of us in the oral presentations from which this paper grew. RM, however, was initially responsible for the structural observations and JB for those involving the cognomen Corvinus. 'trees flourish ever3) Fr. 77 d??d?ead'??ped?f???a?a???ped??a?pat????e?, in-leaf and ever-in-fruit'. See further Sedley 1998, 25, n. 91. 4) Tibullus imitates him closely at various times; see Maltby 1995. 5) Other poetic name puns are not far to seek. Philodemus in Epigr. 10 Sider (= AP 5.115) claims that the Fates gave him his name, philo- 'love(r)' and demos, because he was destined to have a series of girl friends all named Demo. In Latin a play on Cams, Lucretius' cognomen,has been detected at Lucr. 1.730, where Lucretius tells us that Sicily has nothing more sacred, wonderful or dear (carum) than Empedocles; the pun links the Sicilian philosopher-poet with his Roman counterpart (see further Kollman 1971, n. 46, Gale 1994, 59). More subde still is the Virgilian 'signature' which some would detect at G. 1.429-33, where the first two letters (pu- ue- ma-) of each of Virgil's tria nomina, Publius Vergilius Maro, occur in reverse order at the beginning of lines 429, 431 and 433. This could be dismissed as sheer coincidence if the lines in question were not Virgil's version of Aratus Phaen. 783-7, which contains a metapoetic acrostic on ?ept??, the literary critical term used by the Alexandrians to describe a refined verse style (on these and other ancient acrostics see Brown 1963, Courtney 1990). It is particularly noteworthy, in view of the case to be made below for the stylistic significance of Robert Maltby

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candidusin Tibullus, that the last line of Virgil's acrostic (G. 1.433) begins with the word pura, which is a stylistic equivalent of Aratus' spelled-out ?ept?. 6) There is a Virgilian precedent for play on albus/candidusat Eel. 7.37-8 Nenne Galatea. . . candidioreyenis, heder? formosior alba, where the two adjectives are associated in a description of the sea-nymph whose name, Galatea, itself connotes 'milky white'. Cf. also the similar play at Verg. A. 8.82-3 candidaper siluam cumfetu concolor albo . . . sus. 7) Insig?isforma cultuquecorporisobseruabilis. 8) The country estate features especially in 1.1 and 1.5 (see also Maltby 2002, 39, ? 3.2), and an almost Epicurean claim to contentment with little is made at 1.1.43-6. 9) See Maltby 2002, 39-40, ? 3.3. 10) Support from Nisbet-Hubbard (1970, 368), Ball (1994), Keith (1999, 47); resistance from Mayer (1994, 133). 11) Varr? L. 5.144 oppidumalterum conditur,Alba; id ab sue nominatum.. .; propter colorer? suis et loci naturamAlba Longa dieta. 12) Keith (1999) studies these terms in Roman elegy. 13) Cf. Cic. de Oral 3.51 ita de horridis rebus nitida, de ieiunis plena, de peruulgatis noua quaedamest oratio tua (see also OLD, s.v. 7); Cic. Brut. 238 non ualde nitens, non plane h?rridaoratio (see also OLD s.v. 3). see also OLD s.v. 9. 14) Cic. Orat. 53 puro quasi quodamet candidogeneredicendi', sus atque 15) Quint. Inst. 10.1.93: elegia quoquenos Graecosprouocamus,cuius mihi ter elegans maxime uideturauctor Tibullus. 16) Analysed by Maltby (1999). 17) Sen. Con. 2.4.8 fuit autem Messalla exactissimi ingenii quidem in omni studiorum parte, sed Latini utique sermonisobseruator diligentissimus. 18) Ov. Tr. 4.4.3 cuius inest animo patrii candorisimago, / non careat numeriscandor ut iste suis; Pont. 2.2.49 nunc tibi et eloqui nitor Ule domesticusadsit. 19) Quint. Inst. 10.1.113 Messalla nitidus et candidus. Cf. Quint. Inst. 1.7.35 aut ideo minus Messalla nitidus, quia quosdamtotos libellos non uerbismodo nngulis sed etiam litteris dedit? 20) See e.g. Petr. 43 niger tamquamcoruus;Apul. Met. 2.9 coruinanigredine. 21) Juv. 7.202 corno rarioralbo. 22) See O'Hara 1996, 66. 23) Perhaps during a governorship in 30/29 or 29/28 BC; Syme (1986, 20910) collects and analyses the evidence. 24) See nn. 18 and 19 above. 25) E.g. Tacitus Dial. 21.9 nolo Coruinum insequi, quia non per ipsum stetit, quo minus laetitiam nitoremque nostrorum .. temporum exprimeret. 26) The riposte might have been that there was no contradiction in terms after all, since many corvine birds are distinguished by the glossiness of their black plumage. ossa 27) [Tib.] Lygd. 3.2.9-10 ergo cum tenuem fuero mutatusin umbram/ candidaque super nigrafauilla teget, 3.2.17-8 pars quae sola met superabitcorporis,ossa / incinctaenigra candida ueste legunt. uestem/ induerasori28) [Tib.] Lygd. 3.7.122-4 nam modofulgentemTyrio subtegmine ente die ducefertilis anni, / splendidiorliquidis cum Sol caput extulit undis. 29) Tib. 1.5.21-34; 1.2.1-6. 30) Tib. 2.4.27-38; 2.3.1-4. 31) Tib. 2.3.5-10, 81-4. 32) Tib. 1.2. 81-2, 99-100. 33) Tib. 2.4.21-6 (cf. 2.3.51-62).

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34) Tib. 1.4.61-72. 35) Tib. 2.4.15-20. 36) Tib. 1.5.23-4 aut mihi seruabitplenis in lintribus uuas / pressaqueueloci candida musta pede. post olea can37) Tib. 2.1.15-6 cernitefulgentesut eat sacer agnus ad aras / uinctaque dida turba comas. sequuntur/matris lasciuo 38) Tib. 2.1.87-90 ludite: iam Nox iungit equos, currumque siderajulua choro, / postqueuenit tacitus, furuis circumdatus alis, / Somnuset incertoSomnia nigra pede. BIBLIOGRAPHY Ball, RJ. 1994. Albi, ne doleas: Horace and Tibullus, CW 87, 409-14 Collection Latomus Studiesin Ecloguesand Georgics, Brown, E.L. 1963. Numeri Vergilian? 63 (Brussels), 96-114 Courtney, E. 1990. Greekand Latin Acrostics,Philologus 134, 3-13 Gale, M.R. 1994. Myth and Poetry in Luwetius (Cambridge) RomanElegy and AncientRhetoricalTheory,Mnemosyne Keith, A.M. 1999. SlenderVerse: 52, 41-62 Kollman, E.D. 1971. Lucretius'Criticismof the Early GreekPhihsophers,StudClas 13, 79-93 Maltby, R. 1995. Tibullus 1.2. and Meleager,AP 12.49, in: Belloni, L., Milanese, G., Porro, A. (eds.) Studia classica Iohanni Tarditi oblata (Milan), 523-6 -. 1999. Tibullus and the Languageof Latin Elegy, in: Adams, J.N., Mayer, R. (eds.) of the British Academy93 (Oxford), Aspects of the Languageof Latin Poetry. Proceedings 377-98 ?. 2002. Tibullus I and II (Cambridge) Mayer, R.G. 1994. Horace, Epistles, Book 1 (Cambridge) on Horace, Odes, Book I (Oxford) Nisbet, R.G.M., Hubbard, M. 1970. A Commentary O'Hara, JJ. 1996. True Names. Virgil and the Alexandrian Tradition of Etymological Wordplay(Ann Arbor) of Greek Wisdom(Cambridge) Sedley, D.N. 1998. Lucretiusand the Transformation Sider, D. 1997. The Epigramsof Philodemus(Oxford) (Oxford) Syme, R. 1986. The AugustanAristocracy

TAMQUAM

A. GELLIUS NOCTES ATTICAE 16.2.6: NEGENT SI TE DICAS ADULTERUM

I. In A. Gellii Noctium Atticarum libro sexto decimo, capitulo secundo, ubi dialecticam tractatur de rebus quibusdam ad disciplinam pertinentibus, manifesta offenditur lacuna, quam indicauit Hertzl (1885). Ea textus pars mutilata est, in qua Gellius de quaestiunculis captiosis loquitur: Sed enim esse quaedam uidentur, in quibus, si breuiter et ad id, quod rogatus fueris, respondeas, capiare. Nam si quis his uerbis interroget: 'Postulo, uti respondeas, desierisne facer? adulterium annon', utrumcumque dial?ctica lege responderis, siue aias seu neges, haerebis in captione, tamquam si te dicas adulterum *** negent; nam qui facer? non desiit, non id necessario etiam ? Koninklijke Brill NV, Leiden, 2005 Also available online - www.brill.nl Mnemosyne,Vol. LVIII, Fase. 1

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