Pictures of Virgilian Fama

Libera Fama
An Endless Journey
Pierides
Studies in Greek and Latin Literature
Series Editors:
Philip Hardie and Stratis Kyriakidis
Volume I
Stratis Kyriakidis
Catalogues of Proper Names in Latin Epic Poetry:
Lucretius – Virgil – Ovid
Volume II
Antonis K. Petrides and Sophia Papaioannou (eds),
New Perspectives on Postclassical Comedy
Volume III
Myrto Garani and David Konstan (eds),
The Philosophizing Muse:
The Influence of Greek Philosophy on Roman Poetry
Volume IV
Sophia Papaioannou (ed.)
Terence and Interpretation
Volume V
Stephen Harrison (ed.)
Characterisation in Apuleius’ Metamorphoses
Nine Studies
Pierides
Studies in Greek and Latin Literature
Volume VI
Libera Fama
An Endless Journey
Edited by
Stratis Kyriakidis
Libera Fama: An Endless Journey (Pierides VI)
Edited by Stratis Kyriakidis
This book first published 2016
Cambridge Scholars Publishing
Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK
British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library
Copyright © 2016 by Stratis Kyriakidis 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): 1-4438-1099-1

ISBN (13): 978-1-4438-1099-9
TABLE OF CONTENTS
CONTRIBUTORS .................................................................................... vii
PREFACE ................................................................................................... x
INTRODUCTION ....................................................................................... 1
Speech, Fame and Glory: Connecting Past and Future
Stratis Kyriakidis
CHAPTER ONE........................................................................................ 28
The Negation of Fame: Epicurus’ meta-fama and Lucretius’ Response
Myrto Garani
CHAPTER TWO ....................................................................................... 45

Poeta, Heros et Fama: Perplexities and Upsets in Cicero’s Epic Fragments
Eleni Karamalengou
CHAPTER THREE ................................................................................... 55

Wanderings of Fama and ‘fame’s Narratives’ in the Aeneid
Séverine Clément-Tarantino
CHAPTER FOUR ..................................................................................... 71

The Ovidian Leuconoe: Vision, Speech and Narration
Eleni Peraki-Kyriakidou
CHAPTER FIVE ....................................................................................... 94

famaque cum domino fugit ab Vrbe suo:
Aspects of fama in Ovid’s Exile Poetry
Andreas Ν. Michalopoulos
CHAPTER SIX ....................................................................................... 111

The Universe as Audience: Manilius’ Poetic Ambitions
Stratis Kyriakidis
vi Table of Contents
CHAPTER SEVEN ................................................................................. 144

Rumour and Satire: The Two-Faceted Mirror of Juvenal’s World
Sophia Papaioannou
CHAPTER EIGHT .................................................................................. 166

Martyrs’ Memorials: Glory, Memory, and Envy in Prudentius
Peristephanon
Philip Hardie
CHAPTER NINE ................................................................................... 193

Pictures of Virgilian Fama
Gianni Guastella
ILLUSTRATIONS .................................................................................. 203
AFTERTHOUGHT ................................................................................. 206

Philip Hardie
BIBLIOGRAPHY ................................................................................... 208
INDEX LOCORUM ................................................................................ 230
GENERAL INDEX ................................................................................. 246

CONTRIBUTORS
Séverine Clément-Tarantino is Lecturer in Latin Literature at the

University of Lille 3 – Charles de Gaulle. Ιn her thesis Fama ou la
renommée du genre: recherches sur la représentation de la tradition dans
l’ Énéide (Diss. Lille 3, 2006) having as a starting point the description of
Fama in Book 4 of the Aeneid highlighted the centrality of Fama in the
Virgilian epic tradition. She has published several articles on the subject
(focusing, in particular, on the link between Fama and the epic voice) and
other aspects of Virgil's poetry and its reception. She is co-editor (with
Florence Klein) of the book, La représentation du 'couple' Virgile-Ovide
dans la tradition culturelle de l'Antiquité à nos jours, Presses
Universitaires du Septentrion (Villeneuve d'Ascq, 2015). She has
published, with Alban Baudou, a translation of the first book of Servius'
commentary on the Aeneid: Servius. A l'école de Virgile, Presses
Universitaires du Septentrion (Villeneuve d'Ascq, 2015). She has also
been working on the commentaries of Tiberius Claudius Donatus and Juan
Luis de la Cerda.
Myrto Garani (BA Thessaloniki, MA and PhD London) is Assistant

Professor in Latin Literature at the National and Kapodistrian University
of Athens, Greece. She is the author of Empedocles Redivivus: Poetry and
Analogy in Lucretius (London and New York, 2007) and co-editor with
David Konstan of The Philosophizing Muse. The Influence of Greek
Philosophy on Roman Poetry, Pierides III (Newcastle-upon-Tyne, 2014).
She has also published a number of articles on Empedocles’ reception in
Latin literature, especially in Ovid's Fasti. Her other publications include
articles on Propertius, Ovid and the Pseudo-Virgilian Aetna. She is
currently working on a monograph on Seneca’s Naturales Quaestiones
Book 3 and the reception of Pre-Socratic philosophers in Rome.
Gianni Guastella teaches Latin literature and language at the University

of Siena. His research is focused on Roman theatre and its reception in the
culture of the Medieval and Renaissance periods. His main contributions
concern Terence’s comedies (La contaminazione e il parassita. Due studi
su teatro e cultura romana, Pisa, 1988), Seneca’s tragedies (L’ira e
l’onore. Forme della vendetta nel teatro senecano e nella sua tradizione,
Palermo, 2001) and the rediscovery of classical theatre in the Modern
viii Contributors
period (Le rinascite della tragedia, Rome, 2006 and 2013). His book on
Fama (Word of Mouth) and its personifications from Ancient Rome to the
Middle Ages is forthcoming from Oxford University Press.
Philip Hardie is a Senior Research Fellow at Trinity College, Cambridge,

and Honorary Professor of Latin Literature in the University of
Cambridge. He is the author of Virgil’s Aeneid: Cosmos and Imperium
(Oxford, 1986); The Epic Successors of Virgil: A Study in the Dynamics of
a Tradition (Cambridge, 1993); Virgil: Aeneid Book IX (Cambridge,
1994); Ovid’s Poetics of Illusion (Cambridge, 2002); Lucretian
Receptions: History, The Sublime, Knowledge, Cambridge, 2009); Rumour
and Renown: Representations of Fama in Western Literature (Cambridge,
2012); The Last Trojan Hero: A Cultural History of Virgil’s Aeneid
(London – New York, 2014); and Ovidio Metamorfosi, vol. vi, libri xiii-xv
(Rome, 2015). Hardie is the editor of The Cambridge Companion to Ovid
(Cambridge, 2002); Paradox and the Marvellous in Augustan Literature
and Culture (Oxford, 2009); Augustan Poetry and the Irrational (Oxford,
2016). He is also co-editor (with Alessandro Barchiesi and Stephen Hinds)
of Ovidian Transformations: Essays on Ovid’s Metamorphoses and its
Reception (Cambridge, 1999); (with S. Gillespie) of The Cambridge
Companion to Lucretius (Cambridge, 2007); and (with Helen Moore) of
Classical Literary Careers and their Reception (Cambridge, 2010). He is a
General Editor of Cambridge Greek and Latin Classics; he is also a
Fellow of the British Academy.
Eleni Karamalengou is the Dean of the School of Philosophy at the

National and Kapodistrian University of Athens, Professor of Latin
Literature at the Faculty of Philology. Her PhD is on Horace (Université
de la Sorbonne – Paris IV). Publications include studies on the literature of
the Respublica (Terentius, Cicero, Rhetoric) and the Augustan Age
(Virgil, Horace, Propertius), and on the invocation of the Muse in Latin
poetry.
Stratis Kyriakidis is Emeritus Professor of Latin Literature at the

Aristotle University of Thessaloniki and Visiting Professor at the
University of Leeds. He is the author of Roman Sensitivity: A Contribution
to the Study of the Artistic Receptiveness and Creativity of the Romans
(146-31BC) (Thessaloniki, 1986) [in Greek]; Narrative Structure and
Poetics in the Aeneid: The Frame of Book 6 (Bari, 1998); and Catalogues
of Proper Names in Latin Epic Poetry: Lucretius - Virgil - Ovid, Pierides I
(Newcastle upon Tyne, 2007). He is the editor (with Francesco De
Libera Fama: An Endless Journey (Pierides VI) ix
Martino) of Middles in Latin Poetry (Bari, 2004). His publications mainly

focus on Latin literature of the late Republican and Augustan periods, on
Manilius’ Astronomica and on the Latin centos.
Andreas N. Michalopoulos is Associate Professor of Latin at the Classics

Department of the National and Kapodistrian University of Athens. He is
the author of: Ancient Etymologies in Ovid’s Metamorphoses: A
Commented Lexicon (Leeds, 2001); Ovid, Heroides 16 and 17:
Introduction, Text and Commentary (Cambridge, 2006); Ovid, Heroides
20 and 21: Introduction, Text, Translation, and Commentary (in Greek,
Athens, 2013); Roman Lyric Poetry: Horace Carmina (in Greek, Athens
2016, with Charilaos N. Michalopoulos); Roman Love Elegy (in Greek,
Athens 2016, with Charilaos N. Michalopoulos). His research interests
include Augustan poetry, ancient etymology, Roman drama, Roman novel,
and modern reception of classical literature.
Sophia Papaioannou is Associate Professor of Latin Literature at the

National and Kapodistrian University of Athens. Her teaching and
research interests include Augustan literature and poetics, Roman comedy,
and Latin epic. She has authored and edited several books on the above
subjects, most recently the volume Terence and Interpretation, Pierides IV
(Newcastle upon Tyne, 2014) and (with Patricia Johnston and Edit
Kraehling) a special issue of the journal Acta Antiqua Academiae
Scientiarum Hungaricae [53 (2013)] entitled Idyllic Poetic Landscapes in
Antiquity: Arcadia, the Golden Age, and the Locus Amoenus (Budapest,
Akademia Kiado, 2014). She is also the author of: Epic Succession and
Dissension: Ovid, Metamorphoses 13.623-14.582, and the Reinvention of
the Aeneid (Berlin and New York, 2005); Redesigning Achilles: The
‘Recycling’ of the Epic Cycle in Ovid, Metamorphoses 12.1-13.620 (Berlin
and New York, 2007) and Titi Macci Plauti, Miles Gloriosus.
Introduction, Translation and Commentary, (Athens, 2009) [in Greek].
Eleni Peraki-Kyriakidou is a retired Assistant Professor of Latin

Literature at the Aristotle University of Thessaloniki. Her main areas of
interest are Virgil’s Eclogues and Georgics, Roman epic and
historiography. She has also published a number of articles on ancient
etymology and etymologising. Together with Stelios Phiorakis she has
written a book on The Law Code of Gortyn (Herakleion, 1973).
CHAPTER NINE
PICTURES OF VIRGILIAN FAMA1
GIANNI GUASTELLA
a. Virgil’s Fama in Literature and Iconography

The invention of the personage of Fame, seen as the personification of
news that circulates and spreads moving “on its own feet” is closely linked
in the European literary tradition to the poetry of Virgil. In the section of
the Institutio Oratoria which Quintilian devoted to the fictiones
personarum, that is to prosopopoiia, Virgil’s Fama occupies the first place
among the examples that illustrate the procedure by which an idea is
“given a body”.2 Even if Virgil wasn’t necessarily the one to have

1
In the following pages I discuss several topics that I will develop on in a
forthcoming book entitled Word of Mouth. I wish to thank professor Stratis
Kyriakidis for including my paper in this volume, as well as Grazia Maria Fachechi
for her very valuable suggestions.
2
Quint. IO 9.2.36: Sed formas quoque fingimus saepe, ut Famam Vergilius, ut
Voluptatem ac Virtutem, quem ad modum a Xenophonte traditur, Prodicus, ut
Mortem ac Vitam, quas contendentes in satura tradit, Ennius (We often create
figures, as Virgil does with Fame, as Prodicus – according to Xenophon – does with
Pleasure and Virtue, as Ennius does with Death and Life, when he represents them,
in one of his satires, contending with one another). Cf. Tiberius Claudius Donatus
(Int. verg. 1.377, Georges): veteres omnes multis incorporalibus et nomina dederunt
et formas et nonnulla pro numinibus habuerunt, Victoriam scilicet. Concordiam,
Discordiam, Furorem, Somnum et cetera similia: ita et Famam corporalem esse
voluerunt et deam, ut ipse Vergilius hoc loco ait haec passim dea foeda virum
diffundit in ora. Huic addidit et corpus et corporis incredibilem mobilitatem et
loquacitatem satius effusam nihilque occultantem (All the ancients gave names and
forms to many incorporeal things, and considered some of them as deities, such as
Victory, Concord, Discord, Fury, Sleep and the like. Similarly they transformed
Fame into a goddess, provided with a body, as Virgil himself does here, when he
says ‘The ugly goddess spreads this news in every direction, through men’s
194 Chapter Nine
invented this figure,3 there is no doubt that already by the time of

Quintilian the most celebrated personification of Fame was that of Book 4
of the Aeneid. And so it has remained until today. No other poet or prose
writer known to us has managed to create such a powerful and memorable
image of rumours that are born from small beginnings, then feed on
themselves, until they become monstrous forms of communication that, as
it were, take on their own life.
The extraordinary literary fortunes of this celebrated personification
were not accompanied by the same success in terms of its iconography.
Certainly, this depends to a great extent on the heterogeneity of the cycles
of illustrations that were created for Virgil’s poem.4 But besides this, when
faced with the few and disparate images of our personage it is hard not to
come away with the impression that the miniaturists and engravers were
having trouble fixing the complex physiognomy of Virgil’s potent figure
into a permanent image.
b. Fama malum
In their study of the illustrated manuscripts of the Aeneid Pierre and
Jeanne Courcelle mention only three examples in which Fama is
represented, all datable to the second half of the fifteenth century. Two of
the three miniatures come from the Aragonese court of Naples. The best
known of these images is found in a manuscript housed in the Escorial
(Real Biblioteca de San Lorenzo, S. II. 19, fol. 98v).5 Fama is depicted in
three different stages of her activity: as she emerges from the ground, as
she swells until her head touches the sky and as she spreads through the
city.6 The winged figure’s two main attributes are, on the one hand, her

mouths’. He also gave her a body capable of an incredible rapidity, as well as an
abundant loquacity, concealing nothing).
3
Hardie (2012) 112.
4
Courcelle and Courcelle (1984) 263-265.
5
See Courcelle and Courcelle (1984) 237 (the miniature is reproduced at fig. 434).
On the manuscript (datable to around 1477) and on its illuminators see De Marinis
(1947-1952) II, 173-174; Courcelle and Courcelle (1984) 231-233 and especially
Toscano (1998) 403-405 and 594-595.
6
Cf. Virg. Aen. 4.173-177: Extemplo Libyae magnas it Fama per urbes, / Fama,
malum qua non aliud velocius ullum: / mobilitate viget virisque adquirit eundo, /
parva metu primo, mox sese attollit in auras / ingrediturque solo et caput inter
nubila condit (At once Fama went through the great cities of Africa, Fama, swifter
than any other evil: she thrives through motion and gains strength as she goes. She
is small and timorous to begin with, but soon she lifts herself into the air, striding on
the ground and her head hidden in the clouds, trnsl. Ph. Hardie).
Pictures of Virgilian Fama 195
long tongue, on the other, her wings and tunic made up of rows of
overlapping tongues resembling feathers, alternating with other rows of
eyes and ears.7 Such an image highlights the disturbing and impressive
character of the personage who is engaged in flooding an entire city with
her voices.
Somewhat later, the same general features were also given to the figure
of Fama by the illustrators of the celebrated 1502 edition of Virgil
published in Strasbourg, the result of a collaboration between Sebastian
Brant and Johann Grüninger. With the famous engraving of the f. 215v
they produced what is perhaps the best known modern image of Virgil’s
Fama.8
Here again, the image directs the viewer’s attention to the monster’s
repulsive features. The body of the winged figure, from its snakelike hair,
to its cloven feet (themselves equipped with wings) is almost entirely
covered with feathers. Flames shoot forth from its hands that will strike
both the houses of the infested city with the effect of the information, and
Iarbas, the final addressee of the rumours about Dido. He is visible in the
lower left, kneeling before the statues of Mercury and Jove to whom he
protests for having been spurned by the queen. Unlike the Aragonese
miniaturist, the engraver here does not reproduce the most curious features
of Virgil’s description, that is, the eyes, the tongues and the ears covering
the body of Fama.9 These features appear in other images which are
intended to give particular emphasis to the malevolent aspects of the
personage depicted.
An example that has recently acquired a certain degree of notoriety10 is
the engraving by an anonymous artist that appears in a sixteenth century
edition of an interlude representing the personage of Calumny (Fig. 1).

7
Cf. Virg., Aen. 4.180-183: pedibus celerem et pernicibus alis, / monstrum
horrendum, ingens, cui quot sunt corpore plumae, / tot vigiles oculi subter (mirabile
dictu), / tot linguae, totidem ora sonant, tot subrigit auris (swift-footed and speedy-
winged, a terrifying, huge monster. She has as many eyes underneath (wondrous to
tell) as she has feathers on her body, and as many tongues and sounding mouths, and
as many are the ears that she pricks up, trnsl. Ph. Hardie).
8
Publii Virgilii Maronis opera cum quinque vulgatis commentariis:
expolitissimisque figuris atque imaginibus nuper per Sebastianum Brant
superadditis, Opera & impensa Iohannis Grieniger: in civitate Argentensi, 1502, f.
215v. The volume’s engravings are the work of various hands. On the importance of
these images see Rabb (1960) 196-198 and especially Schneider (1983).
9
An attempt to represent the multiplication of the monster’s organs of reception can
be seen both in the three ears on the right side of the face and in the two more eyes
added to the waist.
10
Cf. Tupet (1985) and Neubauer (20092) 42.
196 Chapter Nine
The interlude may be dated to 1576 and consists of a monologue that the
Danish bishop Peder Hegelund had inserted into his translation of the
Latin play Susanna by the Swiss Sixt(us) Birck.11 The speech is
pronounced by a repulsive looking woman wearing a motley coloured
garment who in the engraving is seen standing under the legend FAMA
MALVM. This image shows very clearly the multitude of the organs of
communication typical of Virgil’s character: eyes and tongues appear all
over the monster’s garment and wings along with a number of other
threatening attributes. In fact, Hegelund’s Calumny also possesses an
enormous pair of ears and wears winged shoes12 while a forked tongue (or
rather two tongues?) protrudes from her half open mouth: from her robe
hang numerous instruments of witchcraft and in her hand she holds a bow
from which she is about to shoot three arrows.
In an image like this the chthonic character of the personage along with
the monstrous proliferation of organs for receiving and transmitting
information is both used to represent a form of communication that has a
deliberately hostile intent. The Fama-Rumour in the Strasbourg edition
and the Hegelund’s Calumny are caught in the act of setting into
circulation information aimed at doing harm, to Virgil’s Dido in the
former case and to the protagonist of the celebrated episode from the Book
of Daniel in the latter.
c. Other monsters
The second of the manuscripts from the court of Naples mentioned by
Pierre and Jeanne Courcelle ended up, along with a large part of the
remains of the Aragonese book collection, in the Biblioteca Universitaria
de Valencia (Ms.837, olim 748, fol. 111v).13 In one of its splendid
miniatures, datable to the 1470s, we find a representation of our personage
very different from what we have considered thus far.14 In this case, Fama

11
Susanna comicotragœdia […], Prentet i Kiøbenhaffn aff Matz Wingaard (1578)
and Calumnia seu Diabola personata…, by the same publisher (1579). On the
edition and the engraving see Marker and Marker (1996) 24-25.
12
Both this figure and the Fama in the Strasbourg edition have wings sprouting
from their shoulders as well as their ankles.
13
On this manuscript see De Marinis (1947-1952) II, 172 and IV, tables 255-263;
Courcelle and Courcelle (1984) 219-220 and 222-223; Toscano (1998) 364-367 and
526-528; Wlosok (1992) 12-14 and 26-27; id. (1995) 105-106.
14
The image may be seen at the url (visited on 20 May 2015):
http://weblioteca.uv.es/cgi/view.pl?div=226&source=uv_ms_0837&sesion=201312
2110481813963&zoom=0
looks vaguely like the figure of an ancient siren with extra features that
clearly are derived from the iconography of the dragon of the Book of
Revelation. This peculiar monster with the face of a beautiful woman
stands on a hilltop and appears as if she is on the point of taking flight.
Underneath her is the cave in which Dido and Aeneas are embracing.
Actually, rather than taking off, Fama looks more like she is going to
immerse herself in the surrounding currents of air which also impress a
form on the upper part of her bust. The most disconcerting aspect of the
personage are the six plumed snakes that make up her body. If we are
looking for the multitude of eyes, mouths and ears that characterise
Virgil’s Fama, then we will find them on the heads of these snakes.
The same manuscript perhaps also contains a second representation of
Fama. It is to be found in a miniature illustrating an episode from Book 1,
in particular ll. 494-519 (f. 80v),15 though the scene shown does not
correspond to a precise passage in Virgil’s text. What is being shown here
is the moment immediately preceding the arrival of Aeneas and Achates
before Dido (Aen. 1.516-519).16 The two Trojan heroes, in the lower left,
are still covered by a cloud, and from this cloud Fama appears to emerge
(if it is, in fact, Fama) who directs her gaze to the queen seated on the
throne. This might be a figurative device used to convey the fact that
Aeneas and Achates’ arrival in the queen’s presence has been preceded by
the news of them which is already known in Carthage. As Grazia Fachechi
suggests to me (per litteras), this hypothesis is supported by the fact that
the “maidservants around Dido are clearly speaking amongst themselves
[…]; their chatter seems to arise from the girl on the far left who is the first
to receive the report from Fama”.17

15
http://weblioteca.uv.es/cgi/view.pl?div=164&source=uv_ms_0837&sesion=201312
2110481813963&zoom=0
16
Dissimulant et nube cava speculantur amicti / quae fortuna viris, classem quo
litore linquant, / quid veniant; cunctis nam lecti navibus ibant / orantes veniam, et
templum clamore petebant (They stay hidden, and enveloped by the hollow cloud
observe what happened to their comrades, on which shore they left their fleet, what
is the reason of their coming; a chosen few, from every ship, came asking for grace,
and headed for the temple with loud cries).
17
It is not clear which of the references to fama that recur in Book 1 are being
alluded to. We can rule out the moment when Aeneas presents himself to Venus,
before she reveals her identity (Sum pius Aeneas, raptos qui ex hoste penatis / classe
veho mecum, fama super aethera notus, I am pious Aeneas, made known by Fame
above the sky, I carry with me in my fleet the Penates snatched from the enemy,
378-379). Just as hard to imagine is that an allusion is being made here to the
passage in which the two heroes, while awaiting the queen, recognise on the friezes
198 Chapter Nine
Finally, our personage appears in a more easily decodable form in a

manuscript housed in Harvard’s Houghton Library (Ms. Richardson 38, f.
135v).18 In keeping with the courtly setting of the scene, typical of the
International Gothic style, Fama’s monstrous nature is expressed through
the form of nothing less than a dragon whose body is completely covered
with eyes, tongues and ears as it emerges from the cave where Dido and
Aeneas are consummating their union. Here it looks like it is the event
marking the beginning of the lovers’ relationship that ‘generates’ the
unstoppable rumour by which the unlucky queen of Carthage will
ultimately be overwhelmed.
d. Transferences and contaminations

The images we have just reviewed to this point don’t seem to have any
relationship with each other. The obvious heterogeneity of the figures
shows rather clearly that no iconographic tradition existed for this
personage. Apparently we are dealing with isolated attempts to represent
the evocative personage of Fama-rumour, capturing her in the act of
spreading information about Dido’s life.19
The characteristics of the personage described by Virgil also appeared
on various occasions outside the sets of images used to illustrate the
Aeneid; and also to depict a figure different from Fama-rumour. Philip
Hardie20 has rightly drawn attention to the reverse of a medal created in

of the temple of Juno which is still being built in Carthage, the depiction of the
events at Troy that Fama has already spread everywhere (Namque sub ingenti
lustrat dum singula templo / reginam opperiens, dum quae fortuna sit urbi /
artificumque manus inter se operumque laborem / miratur, videt Iliacas ex ordine
pugnas / bellaque iam fama totum vulgata per orbem, While waiting for the Queen
in the vast temple, he scans every single detail and admires the city’s fortune, and
the skill of the artists, and the fruit of their labour, sees the battles of Ilium in due
order, and the war already made known by fame all over the world, 453-457).
18
A manuscript from France, datable probably to 1460-1470: see Courcelle and
Courcelle (1984) 191-193 and 195 and the bibliography available at the url (visited
on 20 May 2015):
http://hcl.harvard.edu/libraries/houghton/collections/early_manuscripts/bibliographi
es/richardson/richardson38.html
http://pds.lib.harvard.edu/pds/view/5141192?n=10&imagesize=1200&jp2Res=.25&
printThumbnails=no
19
The other representations of Fama-rumour discussed by Hardie (2012) 611-615
also show a similar heterogeneity.
20
Hardie (2012) 632-633.
1479 by Sperandio Savelli from Mantua in commemoration of the jurist

(and professor of Law at the University of Bologna) Andrea Barbazza
from Messina.21 In this example, the Virgilian pattern is used to embody a
figure symbolising a glorious celebrity. A feathered Fama endowed with
six wings of decreasing span appears as a being that is half woman and
half bird. She rests her feet on one of the volumes that are scattered on the
ground around her. In her right hand she holds an open book and in her left
hand a closed book. Here the aspect Virgil had given to his figure conveys
a meaning that is anything but negative. The idea of refulgent celebrity
that she represents is evoked not only by the books at her feet but also by
two other details whose meaning is unmistakable: the wreath of laurels
along the edge of the medallion surrounding the Virgilian legend SVPER
AETHERA NOTVS, taken from the Aeneas’ well known introduction of
himself (Aen. 1.379) which here serves as a kind of slogan referring to the
glory of the Bolognese canonist.22
Instances like this where the image of Virgilian Fama-rumour is used
to directly represent Fama-renown are not very frequent in the tradition of
figurative arts. More often the features of this personage were
‘contaminated’ with traits from the iconographic model that (from the end
of the fourteenth century) had established itself as the typical image of the
renown of Famous Men. I am referring to the representation of Gloria
Mundi (worldly glory) with which various fifteenth century artists used to
depict the Fama of Petrarch’s Triumphs. In this case we have an
iconographic model that immediately met with such an extraordinary
degree of success that it came to be reproduced countless times on the
panels of wedding chests, deschi da parto (birth trays), tapestries, etc., in
addition to the illustrations of Petrarch’s works.23 This figure of Fama
sometimes appears endowed with wings and sometimes not, and often
trumpets are shown beside her (themselves sometimes endowed with

21
On Barbazza see Liotta (1964).
22
According to a rumour reported among others by Fantuzzi (1781) 346: “si dice,
che Francesco Aretino rispondesse ad alcuni, che esaltavano il merito d’Andrea: che
la di lui fama sarebbe stata un foco di paglia. Ma il fatto ha ben mostrato
differentemente, poiché l’opere sue sono sempre state in molta riputazione” (it is
said that Francesco Aretino [that is, Francesco Accolti] replied to those who praised
the merits of Andrea: that his fame would be a straw fire. But events proved
otherwise, since his works have always enjoyed a high reputation). This is an
interesting and instructive example of how inextricably rumour and reputation are
intertwined, both based on what ‘is told’ about someone.
23
On the creation of this iconographic scheme and the vast bibliography on it see
Guastella 2012.
200 Chapter Nine
wings). These instruments apparently have the function of spreading to

every corner of the world the renown that famous men have won for
themselves by their merits and deeds. On some occasions it is Fama
herself who is shown blowing into these trumpets.24
It was, in fact, the wings and the trumpet (or two trumpets) from this
‘Petrarchan’ iconographic scheme that over time established themselves as
the distinguishing features of the emblematic figure attributed to Fama-
renown. The wings are obviously the most salient feature that this figure
shares with Virgil’s personage. But while the emphasis in the ‘Petrarchan’
figure is on features such as its regal bearing and a range of effectiveness
that encompasses the whole world, the representation of ‘Virgilian’ Fama
seems to stress its power to receive and transmit. And in fact, it was this
characteristic that was transferred from the ‘Virgilian’ over to the
‘Petrarchan’ model.
Among the many examples one could use to illustrate the composite
character of this iconographic model is the rather well known engraving
Fama and Virtue25 that concludes the series of Roman Heroes dedicated
by Hendrik Goltzius to the Emperor Rudolf II in 1586.26 The scene plays
entirely on the contrast between the lightness of Fama who is whirling in
the air and Virtue’s firm rootedness in the earth. A vital energy that almost
seems to be rising from the history book that Virtue is reading, projects the
winged figure upwards into the sky as she spreads the news of past heroes’
great undertakings. There is no need here to dwell on the complex
meaning of this allegorical scene.27 What is being emphasised is the idea
of glory which is the basis for any plan to depict a gallery of famous men.
Such a representation of the personage was designed to highlight the two
distinguishing traits of its wings and the trumpet that are typical of the
iconography of ‘Petrarchan’ Fama: but the image also contains the

24
Just to give one of many possible examples, see the splendid miniature in the ms.
Paris, Bibliothèque nationale, Fr. 594, f. 178v (1503), at the url (visited on 20 May
2015):
http://visualiseur.bnf.fr/Visualiseur?Destination=Daguerre&O=7826130&E=JPEG
&NavigationSimplifiee=ok&typeFonds=noir
25
See e.g. Amsterdam Rijksmuseum, Rijksprentenkabinet inv.nr.: RP-P-OB-10.333.
26
This is a brief cycle of Viri illustres, whose heroic character is intended to extol
the values of courage and self-sacrifice. See Melion (1995) 1090-1095 and 1103-
1105. On the correct identification of the personification of Virtue see in part. 1127,
n. 16.
27
For which see also Neubauer (20092) 85-88.
‘Virgilian’ features of the eyes and ears seen among the woman’s
feathers.28
Another well known example of this combination of iconographic
models is a woodcut by the Swiss painter and engraver Tobias Stimmer
(1539-1584).29 This is one of the various versions of the printer’s mark
depicting Fama used by the Frankfurt bookseller Sigmund Feyerabend.30
Here again Fama symbolises renown as she blows through the trumpet in
her right hand (another dark coloured trumpet in her left hand is pointed
downward):31 the ‘Virgilian’ feature that has been added are the eyes that
may be seen on the feathers of her wings.32
In examples like this we almost get the impression that the ‘Virgilian’
attribute of the multiplicity of organs for receiving and transmitting
information has been grafted onto the iconographic scheme of Fama-
renown that was developed in the illustrations of Petrarch’s work. What
we see less frequently is the opposite process: attributes from the
‘Petrarchan’ figure grafted onto the personification of Fama-rumour
common in the epic tradition. A famous example is Bolognino Zaltieri’s
engraving which illustrates an episode from Statius’ Thebaid (3.425-431):
Fama preceding Mars’ chariot. From 1571 on this engraving appeared in
the editions of Vicenzo Cartari’s mythological repertory Le imagini de i
dei de gli Antichi.33
The composite symbolic system underlying this representation
ultimately became the standard image of Fama in every one of her

28
The detail is clearly visible in the high resolution image available at the url
(visited on 20 May 2015): http://www.rijksmuseum.nl/collectie/RP-P-OB-
10.333/faam-en-historie
29
The image was discussed by Neubauer (20092) 249 and Hardie (2012) 631-632.
An example may be seen at the url (visited on 20 May 2015):
http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10146974_00005.html
30
The image quoted at the previous footnote corresponds to n. 135 in Andresen
(1872) 64. To get an idea of the possible variations on the ‘contaminated scheme’
that I am illustrating the reader might look at the many versions of the same figure
produced by the Swiss engraver Jost Amman: see O’Dell (1993) 33 and 257-312.
31
In various depictions similar to this our personage is shown in the act of blowing
into two trumpets at the same time.
32
As Hardie [(2012) 606] has remarked in passing, this trait was also influenced by
another iconographic model, used to represent the cherubim (especially in the
illustrations of the Book of Revelation).
33
See Hardie (2012) 620-621 and fig. 23 (from the Lyon edition “Apresso Stefano
Michele” of 1581, 331, which reproduces Bolognino Zaltieri’s engravings of the
Venetian edition published ten years before); Guastella (2012) 272 and (2013) 122-
123.
202 Chapter Nine
manifestations. We can get an idea of this by consulting the first entry on

Fama in Cesare Ripa’s Iconologia.34 Actually Ripa presents the same
figure as in Zaltieri’s engraving and he states that “this is how Virgil
described her” quoting the well known section from Book 4 of the Aeneid
(where obviously no mention is made of the trumpet which Ripa states is
one of her distinguishing traits). This description is not accompanied in the
text by an illustration, but a clear reproduction of Fama can be found in
the frontispiece of the work’s second edition published in Rome in 1603
(Fig. 2). On the right hand side, in fact, is the winged figure of a woman
holding a trumpet in her hand, her garment strewn with little mouths and
ears: she is Fama standing opposite Gloria who is on the left.
Thus the features of Virgil’s Fama-rumour (for which no stable
iconographic scheme was ever developed) fertilised an image which in
modern times became the emblematic portrait of the renown attained by a
wide variety of famous people. In this image a number of elements come
together that refer back to a very long tradition: the viewer’s attention is
drawn to the organs and instruments whose function is to gather and
transmit information, and also to the personage’s ability to fly which since
the Homeric poems has characterised representations of the elusive
lightness of the word of mouth.

34
See Guastella (2013) 123-128. For the text of this entry see the recent edition by
Maffei (2012) 176-177 (and the notes on p. 686).
ILLUSTRATIONS
Fig. 1 – Peder Hegelund’s Susanna og Calumnia, Udgivne af S. Birket

Smith, København, Thieles Bogtrykkeri 1888-1890, 149.1
Fig. 2 – Frontispiece of Cesare Ripa’s Iconologia Overo Descrittione Di

Diverse Imagini cauate dall'antichità, & di propria inuentione […]
(Rome, «appresso Lepido Facij» 1603).2

1
I take the picture from the copy available at the url:
https://openlibrary.org/books/OL24229759M/Susanna_og_Calumnia
2
I have taken the picture from the digital copy available at the url:
https://openlibrary.org/books/OL24144047M/Iconologia_ouero_Descrittione_di_diu
erse_imagini_cauate_dall%27antichit%C3%A0_di_propria_inuentione

204 Illustrations

Libera Fama: An Endless Journey (Pierides VI) 205

BIBLIOGRAPHY
Abry, J.-H. (1999) “Présence de Lucrèce : Les astronomiques de

Manilius”, in R. Poignault (ed.), 111-128.
—. (2007) “Manilius and Aratus: two Stoic poets on Stars”, LICS 6.01, pp.
17.
—. (2011) “Cosmos and Imperium: Politicized digressions in Manilius’
Astronomica”, in S. Green and K. Volk (eds), 222-234.
Ahl, F. (1985) Metaformations. Soundplay and Wordplay in Ovid and
other Classical Poets, Ithaca, N.Y. and London.
Altman, W.H.F. (2015) “Introduction” in W.H.F. Altman (ed.), 1-15.
Altman, W.H.F. (ed.) (2015) Brill’s Companion to the Reception of
Cicero, Leiden and Boston.
Anderson, W.S. (1982) “Juvenal 6: A Problem in Structure”, in W.S.
Anderson (ed.) 255-276, Princeton.
Anderson, W.S. (ed.) (1982) Essays on Roman Satire, Princeton.
André, J.-M. (1966) L’otium dans la vie morale et intellectuelle romain
des origines à l’epoque augustéenne, Paris.
André, J.-M., Dangel, J. and Demont, P. (eds) (1996) Les loisirs et
l’héritage de la culture classique (Collection Latomus 230), Brussels.
Andresen, A. (1872) Der deutsche Pentre-Graveur oder die deutschen
Maler als Kupferstecher III, Leipzig.
Annas, J. (2001) Cicero on Moral Ends (trnsl. by R. Woolf), Cambridge.
Armstrong, D. (2011) “Epicurean virtues, Epicurean friendship: Cicero vs
the Herculaneum papyri”, in J. Fish, and K. R. Sanders (eds), 105-128.
—. (2014) “Horace’s Epicurean voice in the Satires”, in M. Garani and D.
Konstan (eds), 91-127.
Arnim, J. von (1905-1924) Stoicorum Veterum Fragmenta, 4 vols,
Stuttgart.
Ascoli, A.R. (2008) “Clizian’s Histories”, in D. Peterson and D. Bornstein
(eds), 459-480.
Asmis, E. (1982) “Lucretius’ Venus and Stoic Zeus”, Hermes 110, 458-
470.
—. (1995) “Epicurean Poetics”, in Obbink (ed.), 15-34.
—. (2007) “Myth and Philosophy in Cleanthes’ Hymn to Zeus”, GRBS 47,
413-429, also on line:
http://www.koxkollum.nl/cleanthes/CleanthesAsmis.pdf
Audano, S. and Cipriani, G. (eds) (2011) Aspetti della fortuna dell’antico

nella cultura europea. Atti della settima giornata di studi. Sestri
Levante, 19 marzo 2010, Foggia.
Auvray-Assayas, C. and Delattre, D. (eds) (2001) Cicéron et Philodème:
La Polémique en philosophie, Paris.
Baines, V. (2003) “Umbricius’ Bellum Civile: Juvenal, Satire 3”, G&R 50,
220-237.
Barchiesi, A. (1997) “Endgames: Ovid’s Metamorphoses 15 and Fasti 6”
in D.H. Roberts, F.M. Dunn and D. Fowler (eds), 181-208.
—. (2001a) Speaking Volumes: Narrative and Intertext in Ovid and other
Latin Poets, London.
—. (2001b) ‘The Crossing’, in S. J. Harrison (ed.), 142-163.
—. (2002) “Narrative techniques and narratology in the Metamorphoses”,
in P. Hardie (ed.), 180-199.
—. (2005) Ovidio Metamorfosi, vol. I, libri I-II, Roma.
Barchiesi, A. and Rosati, G. (2007) Ovidio Metamofrosi, vol. II, libri III-
IV, Roma.
Barchiesi, A. and Hardie, P. (2010) “The Ovidian career model: Ovid,
Gallus, Apuleius, Boccaccio”, in P. Hardie and H. Moore (eds), 59-88.
Beck-Chauvard, L. (2001) “Plainte amoureuse et plainte maternelle dans
l’Énéide”, REL 79, 104-125.
Bellandi, F. (1974) “Naevolus Cliens”, Maia 26, 279-299.
Bennett, J. (1997) Trajan Optimus Princeps: a Life and Times, London.
Bernabé, A. (1996) Poetae Epici Graeci. Testimonia et Fragmenta, Pars I,
Leipzig.
Berno, Francesca Romana (2015) “Spettatori e filosofi. Nota a Lucr. 2,7-
13 (e Cic. Tusc. 5, 8-9)”, SIFC 10, 108-119.
Billoré, M. and Soria, M. (eds) (2011) La Rumeur au moyen âge. Du
mépris à la manipulation (ve-xve siècle), Rennes.
Bömer, F. (1969-1986) P. Ovidius Naso. Metamorphosen.
Wissenschaftliche Kommentare zu griechischen und lateinischen
Schriftstellern, 7 vols, Heidelberg.
Boyancé, P. (1993) Le culte des Muses chez les philosophes Grecs. Études
d’histoire et de psychologie religieuses, Paris.
—. (1970) Études sur l'humanisme cicéronien (Collection Latomus,
121), Brussels.
Boyd, B.W. (ed.) (2002) Brill’s Companion to Ovid, Leiden.
Boyle, A.J. (2003) Ovid and the Monuments: A Poet’s Rome, Bendigo,
Victoria, Australia.
Bradshaw, A. (2002) “Horace’s Birthday and Deathday” in T. Woodman
and D. Feeney (eds), 1-16.
210 Bibliography
Braswell, B.K. (1988) A Commentary on the fourth Pythian Ode of

Pindar, Berlin.
Braudy, L. (1997) The Frenzy of Renown: Fame and History, New York.
Braund, S.M. (1988) Beyond Anger: A Study of Juvenal’s Third Book of
Satires, New York.
—. (1992) “Juvenal – Misogynist or Misogamist?”, JRS 82, 71-86.
—. (1996) Juvenal: Satires, Book 1, New York.
—. (2004) “Libertas or licentia? Freedom and criticism in Roman Satire”,
in I. Sluiter and R. Rosen (eds), 409-428.
Braund, S.M. and Osgood, J. (eds) (2012) A Companion to Persius and
Juvenal, Chichester.
Brown, E. (2009) “Politics and society” in J. Warren (ed.), 179-196.
Brown, P. (1981) The Cult of the Saints. Its Rise and Function in Latin
Christianity, Chicago.
Brozek, M. (1954) “De Prudentio, Pindaro Latino”, Eos 47, 107-141;
(1957/1958) Eos 49, 123-150.
Buchheit, V. (1966) “Christliche Romideologie im Laurentius-Hymnus
des Prudentius”, in P. Wirth (ed.) 121-144 [reprinted in R. Klein (ed.)
(1971), 454-485].
Burkowski, J. (2016) “Apollo in Tibullus 2.3. and 2.5”, in P. Hardie (ed.)
155-169.
Buschor, E. (1944) Die Musen des Jenseits, Munich.
Calhoun, G. (1935) “The Art of the Formula in Homer ΕΠΕΑ
ΠΤΕΡΟΕΝΤΑ”, CPh 30, 215-227.
Campbell, G. (2014) “Lucretius, Empedocles, and Cleanthes”, in M.
Garani and D. Konstan (eds), 26-60.
Casali, S. (1997) “Quaerenti plura legendum: On the necessity of ‘reading
more’ in Ovid’s Exile Poetry”, Ramus 26.1, 80-112.
Castner, C.J. (1988) Prosopography of Roman Epicureans: From the
Second Century B.C. to the Second Century A.D. Studien zur
klassischen Philologie 34, Frankfurt am Main and New York.
Cavicchioli, S. and Rossi, M. (eds) (2014) Trionfi. Il segno di Petrarca
nella corte dei Pio a Carpi, Carpi.
Celoria, F. (1992, repr. 2001) The Metamorphoses of Antoninus Liberalis,
Translation with Commentary, London and New York.
Christes, J. (1988) “Cum dignitate otium (Cic. Sest. 98): eine
Nachbereitung”, Gymnasium 95, 303-315.
Ciccarelli, I. (2003) Commento al II libro dei Tristia di Ovidio, Bari.
Cingano, E., Milano, L. (eds) (2008) Papers on ancient literatures:
Greece, Rome and the Near East: Proceedings of the Advanced
seminar in the humanities, 2004-2005, Padova.
Claassen, J.-M. (1988) “Ovid’s Poems from Exile. The Creation of a Myth
and the Triumph of Poetry”, A & A 34, 158-169.
—. (1996) “Exile, Death and Immortality: Voices from the Grave”,
Latomus 55, 571-590.
—. (1999) Displaced Persons: the literature of exile: from Cicero to
Boethius, London.
—. (2008) Ovid revisited. The poet in exile, London.
Clausen, W.V. (1992) A. Persi Flacci et D. Iuni Iuvenalis Saturae (rev.
ed.) New York.
Clay, D. (1983) Lucretius and Epicurus, Ithaca.
Clément-Tarantino, S. (2006) Fama ou la renommée du genre. Recherches
sur la représentation de la tradition dans l’Énéide, thèse de doctorat,
Université Lille.
—. (2009) “Phémios dans l’Énéide et les libertés du poète épique”, in B.
Delignon and Y. Roman (eds), 227-242.
—. (2014) “Je et les autres: réflexions sur la voix épique dans l’Énéide”, in
A. Estèves and J. Meyers (eds), 17-28.
Coarelli, F. (1999) “Pons Aemilius”, Lexicon topographicum urbis Romae
4.106-07, Rome.
Coffey, M. (1976) Roman Satire, London.
Coleman, R. (1971) “Structure and Intention in the Metamorphoses”, CQ
21, 461-477.
Colton, R.E. (1970) “Juvenal 6.398-412, 6.419-33, and Martial”, C&M 31,
151-160 [repr. with slight revisions in R. E. Colton (1991)].
—. (1991) Juvenal’s Use of Martial’s Epigrams, Amsterdam.
Connors, C. (2005) “Epic allusion in Roman satire”, in K. Freudenburg
(ed.), 123-145.
Conte, G.-B. (1992) “Proems in the Middle”, in F.M. Dunn, and T. Cole
(eds), 147-159.
Courcelle, P., Courcelle, J. (1984) Lecteurs païens et lecteurs chrétiens de
l’Éneide. II. Les manuscrits illustrés de l’Énéide du Xe au XVe siècle,
Paris.
Courtney, E. (1980) A Commentary on the Satires of Juvenal, London.
—. (2003) The Fragmentary Latin Poets. Paperback edition with Addenda,
Oxford.
Cox Miller, P. (2009) The Corporeal Imagination: Signifying the Holy in
Late Ancient Christianity, Philadelphia.
DeBrohun, J. (2004) “Centaurs in Love and War: Cyllarus and Hylonome
in Ovid Metamorphoses 12.393-428”, AJPh 125, 417-452.
De Decker, J. (1913) Juvenalis declamans: étude sur la rhétorique
declamatoire dans les Satires de Juvénal, Ghent.
212 Bibliography
Delignon, B. and Roman Y. (eds) (2009) Le poète irrévérencieux. Modèles

hellénistiques et réalités romaines, CEROR 32, Lyon.
De Marinis, T. (1947-1952) La biblioteca napoletana dei re d'Aragona, 4
vols, Milano.
Dickie, M.W. (2002) “Manilius, Astronomica 1.91-94”, Hermes 130, 449-
466.
Dickson, K. (1992) “Kalkhas and Nestor: Two Narrative Strategies in Iliad
1”, Arethusa 25, 327-358.
—. (1995) Nestor: Poetic Memory in Greek Epic. New York.
Diels, H. and Kranz, W. (1951-1954) Die Fragmente der Vorsokratiker,
Berlin.
Dindorf, G. (1932) Themistii Orationes. Ex codice Mediolanensi
emendatae a Guilielmo Dindorfio, Leipzig.
Dinter, M. (2005) “Epic and Epigram. Minor Heroes in Virgil’s Aeneid”,
CQ 55.1, 153-169.
Doblhofer, E. (1987) Exil und Emigration: Zum Erlebnis der Heimatferne
in der römischen Literatur, Darmstadt.
Downey, G. (1961) A History of Antioch in Syria from Seleucus to the
Arab Conquest, Princeton.
Duffalo, B. (2013) The Captor’s Image: Greek Culture in Roman
Ecphrasis, Oxford.
Dunn, F.M. and Cole T. (eds) (1992) Beginnings in Classical Literature,
Yale Classical Studies 29, Cambridge.
Dyck, A. R. (1996) A Commentary on Cicero, De Officiis, Michigan.
Edwards C. (1997) “Unspeakable Professions: Public Performance and
Prostitution in Ancient Rome” in J.P. Hallet and M.B. Skinner (eds),
66-95.
Einsarson, B., De Lacy, P. H. (1967) Plutarch’s Moralia in fifteen
volumes, XIV 1086C-1147A, London and Cambridge, MA.
Eliot, T.S. (1917) “Tradition and the individual talent” in (1932) Selected
Essays 1917-1932, New York.
Elmore, J. (1925) “Recto Vultu and Recta Facie in Juvenal”, AJPh 46.3,
268-270.
Erler, M. (1992) “Orthodoxie und Anpassung. Philodem, ein Panaitios des
Kepos?” MH 49, 171-200.
Estèves, A. and Meyers, J. (eds) (2014) Tradition et innovation dans
l’épopée latine, de l’Antiquité au Moyen-Âge, Bordeaux.
Estevez, V. (1996) “Umbricius and Aeneas: a reading of Juvenal III”,
Maia 48.3, 281-300.
Evans, H.B. (1983) Publica carmina: Ovid’s books from exile, Lincoln
and London.
Ewbank, W.W. (1933 [repr. 1997]) The poems of Cicero, Bristol.

Fagles, R. (2006) Virgil, the Aeneid, trnsl. by –, Penguin Classics.
Fairclough, H.R. (1935) Virgil with an English translation, vol. I:
Eclogues, Georgics, Aeneid I-VI (The Loeb Classical Library),
Cambridge, MA – London.
Falck C. (19942) Myth, Truth, and Literature. Towards a true post-
modernism, Cambridge.
Falconer W.A. (1923) Cicero: On Old Age; On Friendship; On Divination
(The Loeb Classical Library), Cambridge, MA and London.
Fantuzzi, G. (1781) Notizie degli scrittori bolognesi, I, Bologna
(Stamperia di San Tommaso D’ Aquino).
Feeney, D.C. (1991) The Gods in Epic, New York.
—. (1998) Literature and Religion in Rome, Cambridge.
—. (1999) “Mea tempora: Patterning of Time in the Metamorphoses”, in
P. Hardie, A. Barchiesi and S. Hinds (eds), 13-30.
Fenster, T. and Smail, D.L. (2003) Fama: The Politics of Talk and
Reputation in Medieval Europe, Ithaca and London.
Feraboli, S., Flores, E. and Scarcia R. (1996) Manilio. Il Poema degli Astri
(Astronomica), vol. I, Libri I-II, Roma.
—. (2001) Manilio. Il Poema degli Astri (Astronomica), vol. II, Libri III-
V, Roma.
Fielding, I. (2014) “Elegiac memorial and the martyr as medium in
Prudentius’ Peristephanon”, CQ 64, 808-820.
Fish, J. (2011) “Not all politicians are Sisyphus: what Roman Epicureans
were taught about politics,” in J. Fish and K. R. Sanders (eds), 72-104.
Fish, J. and Sanders, K.R. (eds) (2011) Epicurus and the Epicurean
tradition, Cambridge.
Flannery, M. C. (2012) John Lydgate and the Poetics of Fame,
Cambridge.
Flemming, R. (1999) “Quae Corpore Quaestum Facit: The Sexual
Economy of Female Prostitution in the Roman Empire,” JRS 89, 38-
61.
Fontenrose, J.E. (1940) “Apollo and the Sun-God in Ovid”, AJPh 61, 429-
441.
Fowler, D. P. (1989a) “Lucretius and Politics”, in M. Griffin and J. Barnes
(eds), 120-150.
—. (1989b) “First Thoughts on Closure: Problems and Prospects”, MD 22,
75-122.
—. (1997) “Second Thoughts on Closure”, in D. Roberts, F.M. Dunn and
D.P. Fowler (eds), 3-22.
214 Bibliography
Freudenburg, K. (2001) Satires of Rome: Threatening Poses from Lucilius

to Juvenal, Cambridge.
Freudenburg, K. (ed.) (2005) The Cambridge Companion to Roman Satire,
Cambridge.
Fux, P.-Y. (2003) Les Sept passions de Prudence: Peristephanon 2, 5, 9,
11-14. Introduction générale et commentaire, Fribourg.
—. (2013) Prudence et les martyres: Peristephanon 1, 3-4, 6-8, 10,
Fribourg.
Gabriele, M., Galassi, C. and Guerrini, R. (eds) (2013) L’Iconologia di
Cesare Ripa. Fonti letterarie e figurative dall’Antichità al
Rinascimento. Atti del Convegno Internazionale di studi (Certosa di
Pontignano, 3-4 maggio 2012), Florence.
Gaertner, J.F. (2005) Ovid Epistulae ex Ponto, Book 1. Edited with
Introduction, Translation, and Commentary, Oxford.
—. (2007) “Ovid and the ‘poetics of exile’: how exilic is Ovid’s exile
poetry?”, in J.F. Gaertner (ed.), 155-172.
Gaertner, J.F. (ed.) (2007) Writing exile. The discourse of displacement in
Greco-Roman antiquity and beyond, Leiden and Boston.
Galasso, L. (2009) “Epistulae ex Ponto”, in P. E. Knox (ed.), 194-206.
Gale, M.R. (1994a) “Lucretius 4.1-25 and the Proems of the De Rerum
Natura”, PCPS 40, 1-17.
—. (1994b, repr. 1996) Myth and Poetry in Lucretius, Cambridge.
—. (2000) Virgil on the Nature of Things, Cambridge.
—. (2001) “Etymological Wordplay and Poetic Succession in Lucretius,”
CPh 96.2, 168-172.
—. (2005) “Didactic Epic”, in S.J. Harrison (ed.), 101-115.
—. (2008) Lucretius: De Rerum Natura V (Aris & Phillips Classical
Texts) Oxford.
—. (2011) “Digressions, intertextuality, and ideology in didactic poetry.
The case of Manilius”, in S. Green and K. Volk (eds), 205-221.
Garani, M. (2007a) Empedocles Redivivus: Poetry and Analogy in
Lucretius, London and New York.
—. (2007b) “Cosmological Oaths in Empedocles and Lucretius” in A.H.
Sommerstein and J. Fletcher (eds), 189-202, 264-267.
—. (2008) “The Palingenesis of Empedocles’ Calliope in Lucretius” in E.
Cingano and L. Milano (eds), 231-266.
Garani, M. and Konstan, D. (eds) (2014) The Philosophizing Muse,
Pierides III, Newcastle upon Tyne.
Gargiulo, T. (1981) “PHerc. 222: Filodemo sull’adulazione,” CErc 11,
103-127.
Gee, E. (2001) “Cicero’s Astronomy”, CQ n.s.51.2, 520-536.
—. (2013a), "Cicero's Poetry" in C. Steel (ed.), 88-106.

—. (2013b) Aratus and the Astronomical Tradition, Oxford.
Georges, H. (1905-1906) Tiberi Claudi Donati Interpretationes
Vergilianae, (Teubner) Leipzig.
Gizzi, E., Killian, K. (eds) (2008) “My vocabulary did this to me”: The
collected poetry of Jack Spicer, Middletown, CT.
Goldberg S.M. (1995) Epic in Republican Rome, New York – Oxford.
Goold, G.P. (1997) Manilius. Astronomica (The Loeb Classical Library)
Cambridge, MA.
Gowers, E. (2012) Horace Satires, Book I, Cambridge.
Graverini, L. (2015) “The Robbers and the Old Woman (Metamorphoses
Books 3.28-7.12)” in S.J. Harrison (ed.), 89-104.
Green, P. (1967) Juvenal: The sixteen satires, Harmondsworth.
—. (2005) Ovid: The Poems of Exile, London.
Green, S. (2014) Disclosure and Discretion in Roman Astrology: Manilius
and his Augustan Contemporaries, Oxford.
Green, S. and Volk, K. (eds) (2011) Forgotten Stars. Rediscovering
Manilius’ Astronomica, Oxford.
Grethlein, J. and Rengakos, A. (eds) (2009) Narratology and
Interpretation: The Content of Narrative Form in Ancient Literature,
Berlin and New York
Griffin, M. (1989) “Philosophy, Politics and Politicians” in M. Griffin, J.
Barnes (eds), 35-36.
—. (2001) “Piso, Cicero and their Audience”, in C. Auvray-Assayas and
D. Delattre, (eds), 85-99.
Griffin, M. and Barnes, J. (eds) (1989) Philosophia Togata: Essays on
philosophy and Roman Society, Oxford.
Grollios K. (1986) Οράτιος. Οι Ωδές, Βιβλίο Ι, Athens.
Guastella, G. (2004) “Epea pteroenta: il volo delle parole in alcune
interpretazioni degli antichi”, Paideia 59, 221-234.
—. (2011) “La Fama degli antichi e le sue trasformazioni tra Medioevo e
Rinascimento”, in S. Audano and G. Cipriani (eds), 35-74.
—. (2012) “La personificazione della Fama: da Virgilio ai Trionfi di
Petrarca”, in G. Moretti and A. Bonandini (eds), 249-282.
—. (2013) “Fama e Gloria nell’Iconologia di Cesare Ripa”, in M.
Gabriele, C. Galassi and R. Guerrini (eds), 117-128.
—. (2014) “Il trionfo della Fama fra letteratura e arti figurative”, in S.
Cavicchioli and M. Rossi (eds), 38-43.
—. (forthcoming) Word of Mouth, Oxford.
216 Bibliography
Gummere, R.M. (1917): Seneca ad Lucilium Epistulae Morales, with an

English translation, in three vols, vol. I: Epistles 1-65, London and
New York.
—. (1920): Seneca ad Lucilium Epistulae Morales, with an
English translation in three vols, vol. II: Epistles 66–92, London and
New York.
Gunderson, E. (2005) “The libidinal rhetoric of satire”, in K. Freudenburg
(ed.) 224-240.
Habinek, T. (2011) “Manilius’ conflicted Stoicism”, in S. Green and K.
Volk (eds), 32-44.
Hallet, J.P.and Skinner, M.B. (eds) (1997) Roman Sexualities, Princeton.
Harder, A. (2012) Callimachus. Aetia, 2 vols, Oxford – New York.
Hardie, P. (1986) Virgil’s Aeneid. Cosmos and Imperium, Oxford.
—. (1990) “Ovid’s Theban history: the first ‘anti-Aeneid”, CQ 40, 224-
235.
—. (1994) Virgil, Aeneid Book IX, Cambridge.
—. (2002a) Ovid’s Poetics of Illusion, Cambridge.
—. (2002b) “‘Why is Rumour here?’ Tracking Virgilian and Ovidian
Fama”, Ordia Prima 1, 67-80.
—. (2004) “Ovidian Middles”, in S. Kyriakidis and F. De Martino (eds),
151-182.
—. (2009a) Lucretian Receptions. History, The Sublime, Knowledge,
Cambridge.
—. (2009b) “Fame’s narratives: epic and historiography”, in J. Grethlein
and A. Rengakos (eds), 555-571.
—. (2012) Rumour and Renown. Representations of Fama in Western
Literature, Cambridge.
—. (2015) Ovidio Metamorfosi, vol. vi, libri xiii-xv, Roma.
Hardie, P. (ed.) (2002) The Cambridge Companion to Ovid, Cambridge.
—. (ed.) (2016) Augustan Poetry and the Irrational, Oxford.
Hardie, P., Barchiesi, A. and Hinds, S. (eds) (1999) Ovidian
Transformations. Essays on Ovid’s Metamorphoses and its Reception,
Cambridge.
Hardie, P. and Moore, H. (eds) (2010) Classical Literary Careers and
their Reception, Cambridge.
Harich - Schwarzbauer, H. (ed.) (2015) Weben und Gewebe in der Antike:
Materialität – Reprӓsentation – Episteme – Metapoetic (Texts and
Textiles in the Ancient World: Materiality – Representation – Episteme
– Metapoetics), Oxford – Philadelphia.
Harrison, S.J. (1990) “Cicero's ‘De temporibus suis’: The Evidence
Reconsidered” Hermes 118, 455-463.
—. (1991) Aeneid 10. Virgil, with introduction, translation and

commentary, Oxford.
—. (2002) “Ovid and genre: evolutions of an elegist”, in P. Hardie (ed.),
79-94.
—. (2007) Generic Enrichment in Vergil and Horace, Oxford.
Harrison, S.J. (ed.) (2001) Texts, Ideas, and the Classics. Scholarship,
Theory, and Classical Literature, Oxford.
—. (ed.) (2005) A Companion to Latin Literature, Oxford.
—. (ed.) (2015) Characterisation in Apuleius’ Metamorphoses, Pierides
V, Newcastle upon Tyne.
Hartel, W.A., Ritter von (1894) Sancti Pontii Meropii Paulini Epistulae,
Vindobonae.
Heath, M. (2013) Ancient Philosophical Poetics, Cambridge.
Heinze, R. (1993) Virgil's Epic Technique, London, trnsl. by H. and D.
Harvey and F. Robertson (1915) Virgil’s Epische Technik, Leipzig.
Helmbold, W.C. (1939) Plutarchs’ Moralia in fourteen volumes. Volume
VI with an English translation, Cambridge, MA.
Helzle, Μ. (1988) “Ovid’s Poetics of Exile”, ΙCS 13, 73-83.
Henderson, J. (1989) “Satire writes ‘woman’: Gendersong”, PCPS 35, 50-
80.
—. (1995) “Pump Up the Volume: Juvenal Satires 1.1-21”, PCPS 41, 101-
137.
—. (1999) Writing Down Rome: Satire, Comedy and Other Offences in
Latin Poetry, Oxford.
Henke, R. (1983) Studien zum Romanushymnus des Prudentius, Frankfurt.
Henriksén, C. (2012) A Commentary on Martial, Epigrams Book 9,
Oxford.
Henry, W.B. (2009) Philodemus on death, translated with an introduction
and notes, Leiden – Boston.
Hertlein, F.C. (1875) Juliani imperatoris quae supersunt praeter reliquias
apud Cyrillum omnia. Recensuit Fridericus Carolus Hertlein, Leipzig.
Heyne, C.G., Wagner, G.P.E. (1832) P. Virgili Maronis Opera, uarietate
lectionis et perpetua adnotatione illustratus a C. G. Heyne, editio
quarta curauit G. P. E. Wagner, t. II, Aeneid, libri I-VI, Leipzig –
London.
Hicks, R.D. (1925) Diogenes Laertius Lives of Eminent Philosophers with
an English translation in two vols, London and New York.
Highet, G. (1954) Juvenal the Satirist: A Study, Oxford.
Hinds, S. (1985) “Booking the Return Trip: Ovid and Tristia 1”, PCPS 31,
13-32.
218 Bibliography
—. (1987) The Metamorphosis of Persephone. Ovid and the Self-

conscious Muse, Cambridge.
—. (1998) Allusion and Intertext. Dynamics of appropriation in Roman
poetry, Cambridge.
Hooley, D.M. (2007) Roman Satire, Malden, MA.
Horsfall, N. (1990) “Virgil and the Illusory Footnote”, PLLS 6, 49-63.
—. (1991) L’epopea in alambicco, Naples.
Housman, A.E. (1903-1930) M. Manilii Astronomicon Libri, 5 vols,
London.
Hübner, W. (2010) Manilius: Astronomica Buch V, 2 vols, Berlin.
Hummel, P. (ed.) (2012) De Fama. Études sur la construction de la
réputation et de la posterité, Paris.
Hutchinson, G.O. (2009) “Read the instructions: didactic poetry and
didactic prose”, CQ 59, 196-211.
Ingleheart, J. (2010a) “The Literary ‘successor’: Ovidian Metapoetry and
Metaphor”, CQ 60.1, 167-172.
—. (2010b) A Commentary on Ovid Tristia Book 2, Oxford.
Ingleheart, J. (ed.) (2011) Two Thousand Years of Solitude. Exile after
Ovid, Oxford.
Inwood, B. and Gerson, L.P. (1994) The Epicurus Reader. Selected
Writings and Testimonia. Translated and edited, with notes,
Indianapolis and Cambridge.
Jacob, D. (1994) Πινδάρου Πυθιόνικοι, Κείμενα Ελληνικά 7, Herakleion.
Janan, M. (1994) “‘There beneath the Roman Ruin Where the Purple
Flowers Grow’: Ovid’s Minyeides and the Feminine Imagination”,
AJPh 115, 427-448.
Jensen, C. (1906) Philodemi Peri oikonomias qui dicitur libellus, Leipzig.
Johnson, W.R. (1976) Darkness Visible: A Study of Vergil’s Aeneid,
Berkeley.
Jones, P. (2000) “Juvenal, the Niphates, and Trajan’s column (Satire
6.407-412)”, HSCPh 100, 477-486.
Karamalengou, H. (1996) “L’oeuvre poétique de Cicéron et le loisir
romain” in J.-M. André, J. Dangel and P. Demont (eds), 379-389.
Keane, C. (2006) Figuring Genre in Roman Satire, New York.
Keith, A. (2002) “Sources and Genres in Ovid’s Metamorphoses 1-5”, in
B.W. Boyd (ed.), 235-270.
Kennedy, D. (2011) “Sums in verse or a mathematical aesthetic?”, in S.
Green and K. Volk (eds), 165-187.
Kenney, E.J. (1965) “The Poetry of Ovid’s Exile”, PCPS 11, 37-49.
Kirk, G.S. (1985) The Iliad. A Commentary, vol. 1, Cambridge.
Klein, R. (ed.) (1971) Das frühe Christentum im römischen Staat,

Darmstadt.
Kline, A.S. (2003) Ovid. Poems from Exile, Tristia, ex Ponto, Ibis. A
translation.
http://www.poetryintranslation.com/PITBR/Latin/Ovidexilehome.htm
Knox, P.E. (ed.) (2009) A Companion to Ovid, Chichester.
Koep, L. (1952) Das himmlische Buch in Antike und Christentum, Bonn.
Körte, A. (1890) “Metrodori Epicurei fragmenta”, Jahrbücher für
Classische Philologie suppl. 17, 531–597.
Konstan, D., Clay, D., Glad, C.E., Thom, J.C., and Ware, J. (1998)
Philodemus on frank criticism. Introduction, translation by, Atlanta,
Georgia.
Kovacs, D. (2002) Euripides: Helen; Phoenician Women; Orestes (The
Loeb Classical Library, Euripides vol. v), Cambridge, MA and
London.
Kroll, W. (1924) Studien zum Verständnis der römischen Literatur,
Stuttgart.
Kubiak, D.P. (1994) “Aratean Influence in the De consulatu suo of
Cicero”, Philologus 138, 52-66.
Kurczyk, S. (2006) Cicero und die Inszenierung der eigenen
Vergangenheit: autobiographisches Schreiben in der späten
Römischen Republik, Köln- Böhlau.
Kyriakidis, S. (1998) Narrative Structure and Poetics in the Aeneid. The
Frame of Book Six, Le Rane 23, Bari.
—. (2002) “Georgics 4.559-566. The Vergilian sphragis”, Kleos 7, 275-
285.
—. (2004) “Middles in Lucretius’ DRN: The Poet and his Work”, in S.
Kyriakidis and F. De Martino (eds), 27-49.
—. (2006) “Lucretius’ DRN 1.926-50 and the Proem to Book 4”, CQ 56,
606-610.
—. (2007) Catalogues of Proper Names in Latin Epic Poetry, Pierides I,
Newcastle upon Tyne.
—. (2012) “Manilian Middles”, in D. Nikitas (ed.), 39-60.
—. (2013) “Ovid’s Metamorphoses: The text before and after”, LICS 11.1,
1-16: http://lics.leeds.ac.uk/2013/201301.pdf
—. (2014) “Musa iocosa: το παιχνίδι με τις λέξεις στα Tristia του
Οβιδίου”, in M. Voutsinou-Kikilia, A.N. Michalopoulos and S.
Papaioannou (eds), 170-177.
—. (2015) “Rome and the fata Asiae (Manilius, Astr. 1.512)”, in M.
Tziatzi, M. Billerbeck, F. Montanari and K. Tsantsanoglou, (eds), 265-
285.
220 Bibliography
Kyriakidis, S. and De Martino F. (eds) (2004) Middles in Latin Poetry, Le

Rane 38, Bari.
Labate, M. (1987) “Elegia triste ed elegia lieta. Un caso di riconversione
letteraria”, MD 19, 91-129.
LaFleur, R.A. (1976) “Umbricius and Juvenal Three”, Živa Antika 26,
383-431.
Laird, A. (1999) Powers of expression. Expressions of power, Oxford.
Laks, A. and Schofield, M. (eds) (1995) Justice and Generosity: Studies in
Hellenistic Social and Political Philosophy. Proceedings of the Sixth
Symposium Hellenisticum, Cambridge.
Landolfi, L. (2003) Integra Prata. Manilio, i Proemi, Bologna.
Larran, F. (2011) Le Bruit qui vole. Histoire de la rumeur et de la
renommée en Grèce ancienne, Toulouse.
Leonardi, C. and Munk Olsen, B. (eds) (1995) The Classical Tradition in
the Middle Ages and the Renaissance, Proceedings of the first
European Science Foundation Workshop on “The Reception of
Classical Texts” (Florence, Certosa del Galluzzo, 26-27, June 1992),
Centro Italiano di Studi sull’Alto Medioevo, Spoleto.
Levene, D.S. and Nelis, D.P. (eds) (2002) Clio and the Poets. Augustan
Poetry and the Traditions of Ancient Historiography, Leiden, Boston
and Köln.
Levine, R. (1991) “Prudentius’ Romanus: the rhetorician as hero, martyr,
satirist, and saint”, Rhetorica 9, 5-38.
Liotta, F. (1964) “Barbazza, Andrea”, in Dizionario biografico degli
italiani. VI, 146-148, Roma.
Liuzzi, D. (1992) M. Manilio Astronomica Libro III, Lecce.
—. (1995) M. Manilio Astronomica. Libro I, Lecce.
Long, A.A. (1995) “Cicero’s politics in De officiis”, in A. Laks and M.
Schofield (eds), 213-240.
Loraux, N. (1999) La voix endeuillée. Essai sur la tragédie grecque,
Paris.
Louden, B. (1995) “Categories of Homeric wordplay”, TAPhA 125, 27-46.
Luck, G. (1961) “Notes on the language and text of Ovid’s Tristia”,
HSCPh 65, 243-261.
—. (2003) Ancient Pathways and Hidden Pursuits. Religion, Morals, and
Magic in the Ancient World, Michigan.
MacGillivray, E. (2012) “The Popularity of Epicureanism in Elite Late-
Republic Roman Society”, The Ancient World 43, 151-172.
Macleane, A.J. (1881) Quinti Horatii Flacci Opera Omnia, London.
Maffei, S. (ed.) (2012) Cesare Ripa, Iconologia (a cura di Sonia Maffei,
Testo stabilito da Paolo Procaccioli), Torino.
Mahoney, A. (1934) Vergil in the Works of Prudentius, Washington.

Mair, A.W. (1955) Callimachus: Hymns and Epigrams. Lycophron.
Aratus (The Loeb Classical Library) Cambridge, MA and London.
Malamud, M.A. (1989) A Poetics of Transformation. Prudentius and
Classical Mythology, Ithaca and London.
—. (2011) The Origin of Sin. An English Translation of the Hamartigenia,
Ithaca and London.
Maltby, R. (1991) A Lexicon of ancient Latin etymologies, ARCA 25,
Leeds.
—. (2002) Tibullus: Elegies. Text, Introduction and Commentary, ARCA
41, Cambridge.
Marg, W. (1959) “Zur Behandlung des Augustus in den Tristien”, in Atti
del Convegno Internazionale Ovidiano, vol. II, Sulmona and Roma,
345-354.
Marker, F.J. and Marker, L.-L. (1996) A History of Scandinavian Theatre,
Cambridge.
McGowan, M.M. (2009) Ovid in exile. Power and Poetic Redress in the
Tristia and Epistulae ex Ponto, Leiden and Boston.
McKeown, J.C. (1989) Ovid: Amores. Text, Prolegomena and
Commentary, vol. II, A Commentary on Book One, Leeds.
McLynn, N. (1996) “The fourth-century taurobolium”, Phoenix 50, 312-
330.
Melion, W.S. (1995) “Memorabilia aliquot Romanae strenuitatis exempla:
The Thematics of Artisanal Virtue in Hendrick Goltzius’s Roman
Heroes”, Modern Language Notes 110.5 (French Issue), 1090-1134.
Meltzer, G.S. (1994) “Where is the glory of Troy?’ Kleos in Euripides’
Helen”, Classical Antiquity 13, 234-255.
Michalopoulos, A. (2001) Ancient etymologies in Ovid’s Metamorphoses:
a commented Lexicon, Leeds.
—. (2011) “Ovid’s last wor(l)d”, in J. Ingleheart (ed.), 275-288.
—. (2014) “Laudatio Tomitana: Praising the Emperor from the Black
Sea”, in S. Tzounakas (ed.), 140-153.
Michel, A. (1960) Rhétorique et philosophie chez Cicéron, Paris.
Miller, F.J. (1984) Ovid IV, Metamorphoses IX-XV, 2nd edition, rev. by
G.P. Goold (The Loeb Classical Library) Cambridge, MA and London.
Miller, P.A. (2005) Latin Verse Satire: An Anthology and Critical Reader,
London.
Möller, M. (2003) “Der staunende Achill: Eine poetologische Lektüre der
Cygnus-Episode (Ov. Met. 12, 64-167)”, Göttinger Forum für
Altertums-wissenschaft 6, 51-66.
222 Bibliography
Moodie, E.K. (2012) “The Bully as Satirist in Juvenal’s Third Satire”,

AJPh 133, 93-115.
Moretti, G. and Bonandini, A. (eds) (2012) Persona ficta. La
personificazione allegorica nella cultura antica fra letteratura,
retorica e iconografia, Trento.
Morgan, L. (2010) Musa Pedestris. Metre and Meaning in Roman Verse,
Oxford.
Murgatroyd, P. (1994) Tibullus II, Oxford.
Musgrove, M. (1998) “Nestor’s Centauromachy and the Deceptive Voice
of Poetic Memory (Ovid Met. 12.182-535)”, CPh 93, 223-231.
Myers, K.S. (1994, repr. 1997) Ovid’s Causes, Cosmogony and Aetiology
in the Metamorphoses, Michigan.
Mynors, R.A.B. (1990) Virgil Georgics, Oxford.
Nagle, B.R. (1980) The Poetics of Exile: Program and polemic in the
Tristia and Epistulae ex Ponto of Ovid (Collection Latomus 170),
Brussels.
Nelis, D. (2001) Vergil’s Aeneid and the Argonautica of Apollonius
Rhodius, ARCA 39, Cambridge.
Neubauer, H.-J. (20092) Fama: Eine Geschichte des Gerüchts, Berlin The
Rumour. A Cultural History, trnsl. by Christian Braun, London – New
York 1999].
Newlands, C. (1997) “The role of the book in Tristia 3.1”, Ramus 26, 57-
79.
Nikitas D. (ed.) (2012) Laus et Gratia. In memoriam Κωνσταντίνου
Γρόλλιου, Thessaloniki.
Nisbet, R.G.M. and Hubbard, M. (1970) A Commentary on Horace: Odes
Book I, Oxford.
—. (1978) A Commentary on Horace: Odes Book II, Oxford.
Nisbet, R.G.M. and Rudd, N. (2004) A Commentary on Horace: Odes
Book III, Oxford.
Obbink, D. (1996) Philodemus On Piety. Part I. Critical Text with
Commentary, Oxford.
Obbink, D. (ed.) (1995) Philodemus and Poetry: Poetic Theory and
Practice in Lucretius, Philodemus and Horace, Oxford.
O’Connell-Davidson, J. (2002) “Prostitution, Power and Freedom,” in J.
Weeks, J. Holland and M. Waites (eds), 204-215.
O’ Dell, I. (1993) Jost Ammans Buchschmuck-Holzschnitte für Sigmund
Feyerabend. Zur Technik der Verwendung von Bild-Holzstöcken in den
Drucken von 1563-1599, Wiesbaden.
Ogle M.B. (1924) “Dame Gossip’s Rôle in Epic and Drama”, TAPhA 55,
90-119.
Oliensis, E. (1997) “Return to Sender: The Rhetoric of nomina in Ovid’s

Tristia”, Ramus 26, 172-193.
Owen, S.G. (19023) Ovid’s Tristia Book 1, Oxford.
Palmer, A.-M. (1989) Prudentius on the martyrs, Oxford.
Papaioannou, S. (2002) “Nestors Rede in Ovid Metamorphosen, Buch 12”,
Gymnasium 109.3, 213-234.
—. (2007) Redesigning Achilles, ‘Recycling’ the Epic Cycle in the ‘Little
Iliad’ (Ovid, Metamorphoses 12.1-13.622), Berlin – New York.
Papanghelis, Th., Harrison, S.J. and Frangoulidis, S. (eds) (2013) Generic
Interfaces in Latin Literature. Encounters, Interactions and
Transformations, Berlin and Boston.
Parry, M. (1937) “About Winged Words”, CPh 32, 59-63.
Paschalis, M. (1997) Virgil’s Aeneid. Semantic Relations and Proper
Names, Oxford.
Peraki-Kyriakidou, E. (2004) “Ζεύγη διπολικά: η οβιδιανή εκδοχή”, in A.
Vasileiades, P. Kotzia, A. Mauroudes and D. Christides (eds), 343-368.
Perret, J. (1977) Énéide, livres I-IV, texte établi et traduit (Les Belles
Lettres) Paris.
Peterson, D. and Bornstein, D. (eds) (2008) Florence and Beyond. Culture,
Society and Politics in Renaissance Italy. Essays in Honour of J.M.
Najemy (Centre for Reformation and Renaissance Studies) Toronto.
Peterson, W. (1914) The Dialogus of Publius Cornelius Tacitus (The Loeb
Classical Library), London and New York.
Pietsch, C. (2001) “Aeternas temptare uias: zur Romidee im Werk des
Prudentius”, Hermes 129, 259-270.
Plaza, M. (2006) The Function of Humour in Roman Verse Satire:
Laughing and Lying, Oxford.
Plezia, M. (1983) “De la philosophie dans le De consulatu suo de Cicéron”
in H. Zehnacker and G. Hentz (eds), 383-392.
Poignault, R. (ed.) (1999) Présence de Lucrèce: Actes du colloque tenu à
Tours 3-5 Décembre 1998 (Centre de Recherches A. Piganiol), Tours.
Pucci, P. (1979) “The Song of the Sirens,” Arethusa 12, 121-132.
—. (1987) Odysseus Polytropos: Intertextual Readings in the Odyssey and
the Iliad, Ithaca.
Rabb, Th. K. (1960) “Sebastian Brant and the First Illustrated Edition of
Vergil”, The Princeton University Library Chronicle 21, 187-199.
Rackham, H. (1971) Cicero de finibus bonorum et malorum (The Loeb
Classical Library) London and Cambridge, MA.
Ramelli, I. (2014) “Manilius and Stoicism”, in M. Garani and D. Konstan
(eds), 161-186.
224 Bibliography
Reed, J.D. (2013) Ovidio Metamorfosi, vol. V, libri X-XII, traduzione di

G. Chiarini, Roma.
Rimell, V. (2005) “The Poor Man’s Feast: Juvenal”, in K. Freudenburg
(ed.), 81-94.
Roberts, D.H., Dunn, F.M., and Fowler, D. (eds) (1997) Classical
Closure: Reading the End in Greek and Latin Literature, Princeton.
Roberts, M. (1993) Poetry and the Cult of the Martyrs. The Liber
Peristephanon of Prudentius, Ann Arbor.
Roche, P. (2012) “Self-Representation and Performativity”, in S.M.
Braund and J. Osgood (eds), 190-216.
Rosati, G. (2007) see: Barchiesi, A. and Rosati, G. (2007).
—. (2009) Ovidio. Metamorfosi, vol. iii, libri v-vi, Roma.
Rosen, R.M. (2007) Making Mockery: The Poetics of Ancient Satire,
Oxford.
Roskam, G. (2007a): Live unnoticed (Λάθε βιώσας). On the Vicissitudes of
an Epicurean Doctrine (Philosophia antiqua, 111), Leiden and Boston.
—. (2007b) A Commentary on Plutarch’s De latenter vivendo, Leuven.
Ross, J. (1995) ‘Dynamic writing and martyrs’ bodies in Prudentius’
Peristephanon’, JECS 3.3, 325-355.
Rouse, W.H. (1992) Lucretius, edited and translated; rev. by M. F. Smith
(first edition 1924), London and Cambridge, MA.
Rudd, N. (1991) Juvenal. The Satires. A new translation. Introduction and
notes by W. Barr (Oxford World’s Classics) Oxford.
Russo, J., Fernández-Galiano, M. and Heubeck, A. (1992) A Commentary
on Homer’s Odyssey, vol. 3 (Books 17-24), Oxford.
Scarcia, R. (2002) Publio Virgilio Marone. Eneide, introduzione di A. La
Penna, traduzione e note di –, 2 vols, Milano.
Scheidegger-Lämmle, C. (2015) “Einige Pendenzen. Weben und Text in
der antiken Literatur”, in H. Harich - Schwarzbauer (ed.), 165-208.
Schiesaro, A. (1996) “Aratus’ Myth of Dike”, MD 37, 9-26.
Schneider, B. (1983)“‘Virgilius pictus’ – Sebastian Brants illustrierte
Vergilausgabe und ihre Nachwirkung. Ein Beitrag zur Vergilrezeption
im deutschen Humanismus”, Wolfenbütteler Beiträge 6, 202-262.
Schwindt, J.P. (2016) “The Magic of Counting: On the Cantatoric Status
of Poetry (Catullus 5 and 7; Horace Odes 1.11) in P. Hardie (ed.), 117-
133.
Segal, C. (1989) “Poetic Immortality and the Fear of Death: The Second
Proem of the De rerum natura,” HSCPh 92, 193-212.
—. (1990) Lucretius on Death and Anxiety: Poetry and Philosophy in De
Rerum Natura, Princeton.
Shackleton Bailey, D.R. (1965-1970) Cicero’s Letters to Atticus, vols 7,

Cambridge Classical Texts and Commentaries 3-9, Cambridge.
—. (1977) Cicero Epistulae ad Familiares, vols 2, Cambridge Classical
Texts and Commentaries 16-17, Cambridge.
—. (1978) Cicero’s Letters to his Friends, vols 2, trnsl. by, Penguin
Classics.
—. (1980) Cicero: Epistulae ad Quintum Fratrem et M. Brutum,
Cambridge.
—. (1993) Martial: Epigrams. Edited and Translated, vol. 2 (The Loeb
Classical Library) Cambridge, MA and London.
—. (1999) Cicero: Letters to Atticus (The Loeb Classical Library),
Cambridge, MA and London.
Shumate, N. (2013) Nation, Empire, Decline: Studies in Rhetorical
Continuity from the Romans to the Modern Era, London.
Sider, D. (1995a) “Epicurean Poetics: Response and Dialogue”, in D.
Obbink (ed.), 35-41.
—. (1995b) “The Epicurean Philosopher as Hellenistic Poet” in D. Obbink
(ed.), 42-57.
Skempis, M. and Ziogas, I. (eds) (2014) Geography, Topography,
Landscape. Configurations of Space in Greek and Roman Epic, Berlin
and Boston.
Skutsch, O. (1985) The Annals of Quintus Ennius, Oxford.
Sluiter, I. and Rosen, R. (eds) (2004) Free Speech in Classical Antiquity,
Leiden.
Sommerstein, A.H. and Fletcher, J. (eds) (2007) Horkos: The Oath in
Greek Society, Bristol.
Soubiran J. (1972) Cicéron. Aratea. Fragments poétiques, Paris.
Souter, A. (1932) “A probable fragment of Cicero’s De Gloria”, CR 46,
151-152.
Staley, G.A. (2000) “Umbricius’ Rome, Vergil’s Troy.” Memoirs of the
American Academy in Rome 45, 85-98.
Stark, C. (2011) “Renaissance receptions of Manilius’ anthropology”, in S.
Green, and K. Volk (eds), 261-277.
Steel C. (2005) Reading Cicero. Genre and Performance in Late
Republican Rome. London.
Steel, C. (ed.) (2013) The Cambridge Companion to Cicero, Cambridge.
Stevens, B. (2009) “Per gestum res est significanda mihi: Ovid and
Language in Exile”, CPh 104, 162-183.
Sudhaus, S. (1892-1896) Philodemus volumina rhetorica 2 vols, Leipzig.
Sullivan, F.A. (1941) “Cicero and gloria”, TAPhA 72, 382-391.
Syson, A. (2013) Fama and Fiction in Vergil’s Aeneid, Ohio.
226 Bibliography
Tarrant, R. (2002) “Ovid and ancient literary history”, in P. Hardie (ed.),

13-33.
—. (2012) Virgil. Aeneid Book XII, Cambridge.
Taylor, R. (2002) “Tiber river bridges and the development of the ancient
city of Rome,” The Waters of Rome 2, 1-19.
Thom, J. C. (2005) Cleanthes’ Hymn to Zeus, Tübingen.
Thomas, R.F. (1983) “Callimachus, the Victoria Berenices and Roman
Poetry”, CQ 33, 92-113.
—. (1985) “From Recusatio to Commitment: the Evolution of the
Virgilian Programme”, PLLS 5, 61-73.
—. (1988) Virgil Georgics, vol. 2, Books III-IV, Cambridge.
Thomson, H.J. (1953) Prudentius (Loeb Classical Library), vol. 2,
Cambridge, MA and London.
Thraede, K. (1965) Studien zu Sprache und Stil des Prudentius, Göttingen.
Tissol, G. (2002) “The House of Fame: Roman history and Augustan
politics in Metamorphoses 11-15” in B.W. Boyd (ed.), 305-335.
—. (2014) Ovid. Epistulae ex Ponto. Book I, Cambridge.
Toscano, G., (ed.) (1998) La Biblioteca Reale Di Napoli Al Tempo Della
Dinastia Aragonese: La Biblioteca Real De Nápoles En Tiempos De
La Dinastía Aragonesa (Napoli Castel Nuovo 30 settembre – 15
dicembre 1998), Valencia.
Tsitsibakou-Vasalos, E. (2007) Ancient Poetic Etymology: The Pelopids:
Fathers and Sons (Palingenesia 89), Stuttgart.
Tsouna, V. (2007) The Ethics of Philodemus, Oxford.
Tupet, A.-M. (1985) “Fama (La Fama divinizzata)”, in Enciclopedia
Virgiliana. II, 462, Rome.
Tziatzi, M., Billerbeck, M., Montanari, F. and Tsantsanoglou, K. (eds)
(2015) LEMMATA. Beitrӓge zum Gedenken an Christos Theodoridis,
Berlin and Boston.
Tzounakas, S. (ed.) (2014) Praises of Roman leaders in Latin
literature.Nicosia.
Umurhan, O. (2011) “Poetic Projection in Juvenal’s Satires”, Arethusa
44.2, 221-243.
Usener, H. (1887) Epicurea, Leipzig.
van Nortwick, T. (1980) “Aeneas, Turnus and Achilles”, TAPhA 110, 303-
314.
Vasileiades, A., Kotzia, P., Mauroudes, A. and Christides, D. (eds) (2004)
Δημητρίῳ στέφανος. Τιμητικός τόμος για τον καθηγητή Δημήτρη
Λυπουρλή, Thessaloniki.
Veyne, P. (2013) L’Énéide. Virgile, texte établi par J. Perret, introduction,
traduction et notes (Les Belles Lettres) Paris.
Volk K. (2001) “Pious and Impious Approaches to Cosmology in

Manilius”, MD 47, 85-117.
—. (2002) The Poetics of Latin Didactic: Lucretius, Vergil, Ovid,
Manilius, Oxford.
—. (2003) “Manilius’ Solitary Chariot-Ride (“Astronomica” 2.138-40),
CQ n.s. 53, 628-633.
—. (2009) Manilius and his Intellectual Background, Oxford.
—. (2011) “Manilian self-contradiction”, in S. Green and K. Volk (eds),
104-119.
—. (2013) “The Genre of Cicero’s De Consulatu suo”, in Th. Papanghelis,
S. J. Harrison and S. Frangoulidis (eds), 93-112.
Volk K. and Zetzel J.E.G (2015) “Laurel, Tongue and Glory (Cicero, De
Consulatu Suo fr. 6 Soubiran)”, CQ 65, 204-223.
Voutsinou-Kikilia, M., Michalopoulos, A.N. and Papaioannou, S. (eds)
(2014) Rideamus igitur: humour in Latin literature. Proceedings of the
9th Panhellenic Symposium of Latin Studies, Athens.
Walter, U. (2003) “Natam me consule Romam: Historisch-politische
Autobiographien in republikanischer Zeit. Ein Überblick”, AU 46.2,
36-43.
Warren, J. (ed.) (2009) The Cambridge Companion to Epicureanism,
Cambridge.
Wassermann, F. (1920) Geschichte eines Motivs der antiken Dichtung,
Freiburg im Breslau, Dissertation.
Watson, L. (2008) “Juvenal Satire 6: Misogyny or Misogamy? The
Evidence of Protreptics on Marriage”, PLLS 13, 269-296.
Watson, L. and Watson, P. (2014) Juvenal: Satire 6 (Cambridge Greek
and Latin Classics) Cambridge.
Watts, Ν.Η. (1923) Cicero: the Speeches with an English translation: Pro
Archia poeta –post reditum in senatu – post reditum ad Quirites –de
domo sua – de haruspicum responsis – pro Plancio (The Loeb
Classical Library), London and New York.
Weeks, J., Holland, J. and Waites, M. (eds) (2002) Sexualities and Society:
A Reader, Malden, MA.
Wegehaupt, H. (1932) Die Bedeutung und Anwendung von dignitas in den
Schriften der republicanischen Zeit. Diss. Breslau.
West D. (1995) Horace Odes I. Carpe Diem. Text, Translation and
Commentary, Oxford.
—. (1997) Horace. The Complete Odes and Epodes. Translation with an
Introduction and Notes by, Oxford.
—. (2002) Horace Odes III. Dulce Periculum. Text, Translation and
Commentary, Oxford.
228 Bibliography
—. (2003) Virgil. The Aeneid (Penguin Classics) London.

West, M.L. (1978) Hesiod. Works and Days, Oxford.
Wheeler, A.L. (1988) Ovid. Tristia; ex Ponto (second ed. rev. by G.P.
Goold) (The Loeb Classical Library), Cambridge, MA.
Wheeler, S. (1999) A Discourse of Wonders. Audience and Performance
in Ovid’s Metamorphoses, Philadelphia.
—. (2000) Narrative Dynamics in Ovid’s Metamorphoses, Tübingen.
—. (2002) “Ovid’s Metamorphoses and Universal History”, in D.S. Levene
and D.P. Nelis (eds), 163-189.
Wigodsky, M. (1995) “The Alleged Impossibility of Philosophical
Poetry”, in D. Obbink (ed.), 58-68.
Williams, G.D. (1994) Banished Voices: Readings in Ovid’s Exile Poetry,
Cambridge.
—. (2002a) “Ovid’s exile poetry: Tristia, Epistulae ex Ponto and Ibis”, in
P. Hardie (ed.), 233-245.
—. (2002b) “Ovid’s exilic poetry: worlds apart”, in B.W. Boyd (ed.), 337-
381.
Wilamowitz-Moellendorf, U., von (1956 = 19311) Der Glaube der
Hellenen, Basel.
Wills, J. (1996) Repetition in Latin Poetry. Figures of Allusion, Oxford.
Winkler, M.M. (1983) The Persona in Three Satires of Juvenal,
Hildesheim.
Wirth, P. (ed.) (1966) Polychronion. Festschrift für F. Dölger zum 75.
Geburtstag, Heidelberg.
Wistrand, E. (1968) Sallust on judicial murders in Rome. A philological
and historical study. Studia Graeca et Latina Gothoburgensia XXIV,
Gothenburg.
Wlosok, A. (1992) Publius Vergilius Maro, Bucolica – Georgica – Aeneis,
Farbmikrofiche-Edition der Handschrift València, Biblioteca General i
Històrica de la Universitat, Ms. 837 (Einleitung und Beschreibung der
Miniaturen von Antonie Wlosok), Munich.
—. (1995) “Textkritische marginalien und allegorisierende Illustrationen
im Vergilcodex 837 der Universitätsbibliothek in Valencia”, in C.
Leonardi and B. Munk Olsen (eds), 75-110.
Woodman T. and Feeney D. (eds) (2002) Traditions and Contexts in the
Poetry of Horace, Cambridge.
Woolf, R. (2001) see J. Annas (2001).
Wright, M.R. (1995) Empedocles: the Extant Fragments, London.
Zehnacker, H. and Hentz, G. (eds) (1983) Hommages à Robert Schilling,
Paris.
Zetzel, J.E.G. (1983) “Catullus, Ennius and the Poetics of Allusion”, ICS
8.2, 251-266.
Ziogas, I. (2011) “The Myth is Out There: Reality and Fiction at Tomis
(David Malouf’s An Imaginary Life), in J. Ingleheart (ed.), 289-304.
—. (2013) Ovid and Hesiod. The Metamorphosis of the Catalogue of
Women, Cambridge.
—. (2014) “The Topography of Epic Narrative in Ovid’s
Metamorphoses”, in M. Skempis and I. Ziogas (eds), 325-348.
Zissos, A. (2008) Valerius Flaccus’ Argonautica. Book I, A Commentary,
Oxford.
Zumwalt, N. (1977) “Fama Subversa. Theme and Structure in Ovid,
Metamorphoses 12”, CSCA 10, 209-222.

Pictures of Virgilian Fama

Uploaded by

Copyright:

Available Formats

You might also like

Pictures of Virgilian Fama

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Pictures of Virgilian Fama

Uploaded by

Copyright:

Available Formats

Libera Fama

Edited by Stratis Kyriakidis

This book first published 2016

Cambridge Scholars Publishing

Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK

British Library Cataloguing in Publication Data

Copyright © 2016 by Stratis Kyriakidis and contributors

ISBN (10): 1-4438-1099-1

CONTRIBUTORS .................................................................................... vii

CHAPTER TWO ....................................................................................... 45

CHAPTER THREE ................................................................................... 55

CHAPTER FOUR ..................................................................................... 71

CHAPTER FIVE ....................................................................................... 94

CHAPTER SIX ....................................................................................... 111

CHAPTER SEVEN ................................................................................. 144

CHAPTER EIGHT .................................................................................. 166

CHAPTER NINE ................................................................................... 193

ILLUSTRATIONS .................................................................................. 203

AFTERTHOUGHT ................................................................................. 206

BIBLIOGRAPHY ................................................................................... 208

INDEX LOCORUM ................................................................................ 230

GENERAL INDEX ................................................................................. 246

Séverine Clément-Tarantino is Lecturer in Latin Literature at the

Myrto Garani (BA Thessaloniki, MA and PhD London) is Assistant

Gianni Guastella teaches Latin literature and language at the University

Philip Hardie is a Senior Research Fellow at Trinity College, Cambridge,

Eleni Karamalengou is the Dean of the School of Philosophy at the

Stratis Kyriakidis is Emeritus Professor of Latin Literature at the

Martino) of Middles in Latin Poetry (Bari, 2004). His publications mainly

Andreas N. Michalopoulos is Associate Professor of Latin at the Classics

Sophia Papaioannou is Associate Professor of Latin Literature at the

Eleni Peraki-Kyriakidou is a retired Assistant Professor of Latin

PICTURES OF VIRGILIAN FAMA1

a. Virgil’s Fama in Literature and Iconography

invented this figure,3 there is no doubt that already by the time of

Finally, our personage appears in a more easily decodable form in a

d. Transferences and contaminations

1479 by Sperandio Savelli from Mantua in commemoration of the jurist

wings). These instruments apparently have the function of spreading to

manifestations. We can get an idea of this by consulting the first entry on

Fig. 1 – Peder Hegelund’s Susanna og Calumnia, Udgivne af S. Birket

Fig. 2 – Frontispiece of Cesare Ripa’s Iconologia Overo Descrittione Di

Abry, J.-H. (1999) “Présence de Lucrèce : Les astronomiques de

Audano, S. and Cipriani, G. (eds) (2011) Aspetti della fortuna dell’antico

Braswell, B.K. (1988) A Commentary on the fourth Pythian Ode of

Delignon, B. and Roman Y. (eds) (2009) Le poète irrévérencieux. Modèles

Ewbank, W.W. (1933 [repr. 1997]) The poems of Cicero, Bristol.

Freudenburg, K. (2001) Satires of Rome: Threatening Poses from Lucilius

—. (2013a), "Cicero's Poetry" in C. Steel (ed.), 88-106.

Gummere, R.M. (1917): Seneca ad Lucilium Epistulae Morales, with an

—. (1991) Aeneid 10. Virgil, with introduction, translation and

—. (1987) The Metamorphosis of Persephone. Ovid and the Self-

Klein, R. (ed.) (1971) Das frühe Christentum im römischen Staat,

Kyriakidis, S. and De Martino F. (eds) (2004) Middles in Latin Poetry, Le

Mahoney, A. (1934) Vergil in the Works of Prudentius, Washington.

Moodie, E.K. (2012) “The Bully as Satirist in Juvenal’s Third Satire”,

Oliensis, E. (1997) “Return to Sender: The Rhetoric of nomina in Ovid’s

Reed, J.D. (2013) Ovidio Metamorfosi, vol. V, libri X-XII, traduzione di

Shackleton Bailey, D.R. (1965-1970) Cicero’s Letters to Atticus, vols 7,