1. Homer, Iliad, 12.30, 15.233 (8th cent. BCE - 7th cent. BCE) Tagged with subjects: •virgil, poet Found in books: Marek, In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World (2019) 92| 12.30. λεῖα δʼ ἐποίησεν παρʼ ἀγάρροον Ἑλλήσποντον, 15.233. φεύγοντες νῆάς τε καὶ Ἑλλήσποντον ἵκωνται. | 12.30. and made all smooth along the strong stream of the Hellespont, and again covered the great beach with sand, when he had swept away the wall; and the rivers he turned back to flow in the channel, where aforetime they had been wont to pour their fair streams of water. 15.233. and shake it fiercely over the Achaean warriors to affright them withal. And for thine own self, thou god that smitest afar, let glorious Hector be thy care, and for this time's space rouse in him great might, even until the Achaeans shall come in flight unto their ships and the Hellespont. From that moment will I myself contrive word and deed, |
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| 2. Cicero, Orator, 110 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
| 3. Accius, Poeta, 211 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220 |
| 4. Cicero, Letters To Quintus, 3.1.14 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
| 5. Cicero, Letters To His Friends, 7.23 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
| 6. Cicero, Letters, 1.6, 1.9 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
| 7. Cicero, De Oratore, 110 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
8. Cicero, Brutus, 4.10.1 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158| 24. praeclare, inquam, Brute, dicis eoque magis ista dicendi laude delector quod cetera, quae sunt quon- dam habita in civitate pulcherrima pulcherrime FOG , nemo est tam humilis qui se non aut posse adipisci aut adeptum putet; eloquentem neminem video factum esse victoria. Sed quo facilius sermo explicetur, sedentes, si videtur, agamus. Cum idem placuisset illis, tum in pratulo propter Platonis statuam con- sedimus. | 24. "Your remark," said I, "is very just; and I have a higher opinion of the merit of eloquence, because, though there is scarcely any person so diffident as not to persuade himself, that he either has, or may acquire every other accomplishment which, formerly, could have given him consequence in the State; I can find no person who has been made an orator by the success of his military prowess.- But that we may carry on the conversation with greater ease, let us seat ourselves."As my visitors had no objection to this, we accordingly took our seats in a private lawn, near a statue of Plato. |
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9. Horace, Sermones, 1.5.39-1.5.42, 1.5.93, 1.6.54-1.6.55, 1.9.22-1.9.23, 1.10.43-1.10.45, 1.10.81-1.10.84, 2.8.20-2.8.21, 2.8.63-2.8.64 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220 | 2.8.20. ‘I was there at the head, and next to me Viscus From Thurii, and below him Varius if I Remember correctly: then Servilius Balatro And Vibidius, Maecenas’ shadows, whom he brought With him. Above our host was Nomentanus, below Porcius, that jester, gulping whole cakes at a time: Nomentanus was by to point out with his finger Anything that escaped our attention: since the rest of the crew, that’s us I mean, were eating oysters, Fish and fowl, hiding far different flavours than usual: Soon obvious for instance when he offered me Fillets of plaice and turbot cooked in ways new to me. Then he taught me that sweet apples were red when picked By the light of a waning moon. What difference that makes You’d be better asking him. Then Vibidius said To Balatro: “We’ll die unavenged if we don’t drink him Bankrupt”, and called for larger glasses. Then the host’s face Went white, fearing nothing so much as hard drinkers, Who abuse each other too freely, while fiery wines Dull the palate’s sensitivity. Vibidius And Balatro were tipping whole jugs full of wine Into goblets from Allifae, the rest followed suit, Only the guests on the lowest couch sparing the drink.’ |
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| 10. Horace, Epodes, 7.17-7.20 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 225 |
11. Horace, Letters, 2.1.245-2.1.250 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220 | 2.1.245. But your judgement’s not discredited by your beloved Virgil and Varius, nor by the gifts your poets Receive, that redound to your credit, while features Are expressed no more vividly by a bronze statue, Than the spirit and character of famous heroes By the poet’s work. Rather than my earthbound pieces I’d prefer to compose tales of great deeds, Describe the contours of land and river, forts built On mountains, and barbarous kingdoms, of the end of all war, throughout the world, by your command, of the iron bars that enclose Janus, guardian of peace, of Rome, the terror of the Parthians, ruled by you, If I could do as much as I long to: but your greatness Admits of no lowly song, nor does my modesty Dare to attempt a task my powers cannot sustain. It’s a foolish zealousness that vexes those it loves, Above all when it commits itself to the art of verse: Men remember more quickly, with greater readiness, Things they deride, than those they approve and respect. I don’t want oppressive attention, nor to be shown Somewhere as a face moulded, more badly, in wax, Nor to be praised in ill-made verses, lest I’m forced To blush at the gift’s crudity, and then, deceased, In a closed box, be carried down, next to ‘my’ poet, To the street where they sell incense, perfumes, pepper, And whatever else is wrapped in redundant paper. |
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12. Horace, Odes, 1.6, 1.16.17-1.16.18 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil (poet) •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220, 228 | 1.6. A TRIBUTE TO AGRIPPA You should be penned as brave, and a conqueror by Varius, winged with his Homeric poetry, whatever fierce soldiers, with vessels or horses, have carried out, at your command. Agrippa, I don’t try to speak of such things, not Achilles’ anger, ever unyielding, nor crafty Ulysses’ long sea-wanderings, nor the cruel house of Pelops, I’m too slight for grandeur, since shame and the Muse, who’s the power of the peaceful lyre, forbids me to lessen the praise of great Caesar and you, by my defective artistry. Who could write worthily of Mars in his armour Meriones the Cretan, dark with Troy’s dust, or Tydides, who with the help of Athene, was the equal of all the gods? I sing of banquets, of girls fierce in battle with closely-trimmed nails, attacking young men: idly, as I’m accustomed to do, whether fancy free or burning with love. |
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13. Horace, Ars Poetica, 54-55, 53 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •nan Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220| 53. Graeco fonte cadent parce detorta. quid autem | |
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| 14. Propertius, Elegies, 2.34, 3.9.50 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •virgil (poet) •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220, 225 |
15. Vergil, Aeneis, 1.1 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •virgil, poet Found in books: Bruun and Edmondson, The Oxford Handbook of Roman Epigraphy (2015) 96| 1.1. Arma virumque cano, Troiae qui primus ab oris | 1.1. Arms and the man I sing, who first made way, |
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| 16. Tacitus, Annals, 6.29.4-6.29.7 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 221 |
17. Pliny The Elder, Natural History, 35.9 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 | 35.9. But it was the Dictator Caesar who gave outstanding public importance to pictures by dedicating paintings of Ajax and Medea in front of the temple of Venus Genetrix; and after him Marcus Agrippa, a man who stood nearer to rustic simplicity than to refinements. At all events there is preserved a speech of Agrippa, lofty in tone and worthy of the greatest of the citizens, on the question of making all pictures and statues national property, a procedure which would have been preferable to banishing them to country houses. However, that same severe spirit paid the city of Cyzicus 1,200,000 sesterces for two pictures, an Ajax and an Aphrodite; he had also had small paintings let into the marble even in the warmest part of his hot baths; which were removed a short time ago when the Baths were being repaired. |
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18. Petronius Arbiter, Satyricon, 111 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil, poet Found in books: Marek, In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World (2019) 482 | 111. There was a married woman in Ephesus of such famous virtue that she drew women even from the neighbouring states to gaze upon her. So when she had buried her husband, the common fashion of following the procession with loose hair, and beating the naked breast in front of the crowd, did not satisfy her. She followed the dead man even to his resting-place, and began to watch and weep night and day over the body, which was laid in an underground vault in the Greek fashion. Neither her parents nor her relations could divert her from thus torturing herself, and courting death by starvation; the officials were at last rebuffed and left her; every one mourned for her as a woman of unique character, and she was now passing her fifth day without food. A devoted maid sat by the failing woman, shed tears in sympathy with her woes, and at the same time filled up the lamp, which was placed in the tomb, whenever it sank. There was but one opinion throughout the city, every class of person admitting this was the one true and brilliant example of chastity and love. At this moment the governor of the province gave orders that some robbers should be crucified near the small building where the lady was bewailing her recent loss. So on the next night, when the soldier who was watching the crosses, to prevent anyone taking down a body for burial, observed a light shining plainly among the tombs, and heard a mourner's groans, a very human weakness made him curious to know who it was and what he was doing. So he went down into the vault, and on seeing a very beautiful woman, at first halted in confusion, as if he had seen a portent or some ghost from the world beneath. But afterwards noticing the dead man lying there, and watching the woman's tears and the marks of her nails on her face, he came to the correct conclusion, that she found her regret for the lost one unendurable. He therefore brought his supper into the tomb, and began to urge the mourner not to persist in useless grief, and break her heart with unprofitable sobs: for all men made the same end and found the same resting-place, and so on with the other platitudes which restore wounded spirits to health. But she took no notice of his sympathy, struck and tore her breast more violently than ever, pulled out her hair, and laid it on the dead body. Still the soldier did not retire, but tried to give the poor woman food with similar encouragements, until the maid, who was no doubt seduced by the smell of his wine, first gave in herself, and put out her hand at his kindly invitation, and then, refreshed with food and drink, began to assail her mistress's obstinacy, and say, 'What will you gain by all this, if you faint away with hunger, if you bury yourself alive, if you breathe out your undoomed soul before Fate calls for it?' 'Believest thou that the ashes or the spirit of the buried dead can feel thy woe? Will you not begin life afresh? Will you not shake off this womanish failing, and enjoy the blessings of the light so long as you are allowed? Your poor dead husband's body here ought to persuade you to keep alive.' People are always ready to listen when they are urged to take a meal or to keep alive. So the lady, being thirsty after several days' abstinence, allowed her resolution to be broken down, and filled herself with food as greedily as the maid, who had been the first to yield. |
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19. Petronius Arbiter, Satyricon, 111 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil, poet Found in books: Marek, In the Land of a Thousand Gods: A History of Asia Minor in the Ancient World (2019) 482 | 111. There was a married woman in Ephesus of such famous virtue that she drew women even from the neighbouring states to gaze upon her. So when she had buried her husband, the common fashion of following the procession with loose hair, and beating the naked breast in front of the crowd, did not satisfy her. She followed the dead man even to his resting-place, and began to watch and weep night and day over the body, which was laid in an underground vault in the Greek fashion. Neither her parents nor her relations could divert her from thus torturing herself, and courting death by starvation; the officials were at last rebuffed and left her; every one mourned for her as a woman of unique character, and she was now passing her fifth day without food. A devoted maid sat by the failing woman, shed tears in sympathy with her woes, and at the same time filled up the lamp, which was placed in the tomb, whenever it sank. There was but one opinion throughout the city, every class of person admitting this was the one true and brilliant example of chastity and love. At this moment the governor of the province gave orders that some robbers should be crucified near the small building where the lady was bewailing her recent loss. So on the next night, when the soldier who was watching the crosses, to prevent anyone taking down a body for burial, observed a light shining plainly among the tombs, and heard a mourner's groans, a very human weakness made him curious to know who it was and what he was doing. So he went down into the vault, and on seeing a very beautiful woman, at first halted in confusion, as if he had seen a portent or some ghost from the world beneath. But afterwards noticing the dead man lying there, and watching the woman's tears and the marks of her nails on her face, he came to the correct conclusion, that she found her regret for the lost one unendurable. He therefore brought his supper into the tomb, and began to urge the mourner not to persist in useless grief, and break her heart with unprofitable sobs: for all men made the same end and found the same resting-place, and so on with the other platitudes which restore wounded spirits to health. But she took no notice of his sympathy, struck and tore her breast more violently than ever, pulled out her hair, and laid it on the dead body. Still the soldier did not retire, but tried to give the poor woman food with similar encouragements, until the maid, who was no doubt seduced by the smell of his wine, first gave in herself, and put out her hand at his kindly invitation, and then, refreshed with food and drink, began to assail her mistress's obstinacy, and say, 'What will you gain by all this, if you faint away with hunger, if you bury yourself alive, if you breathe out your undoomed soul before Fate calls for it?' 'Believest thou that the ashes or the spirit of the buried dead can feel thy woe? Will you not begin life afresh? Will you not shake off this womanish failing, and enjoy the blessings of the light so long as you are allowed? Your poor dead husband's body here ought to persuade you to keep alive.' People are always ready to listen when they are urged to take a meal or to keep alive. So the lady, being thirsty after several days' abstinence, allowed her resolution to be broken down, and filled herself with food as greedily as the maid, who had been the first to yield. |
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20. Lucan, Pharsalia, 1.95 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 225 | 1.95. Shall drive her chariot 'gainst her brother SunAnd claim the day for hers; and discord huge Shall rend the spheres asunder. On themselves Great powers are dashed: such bounds the gods have placed Upon the prosperous; nor doth Fortune lend To any nations, so that they may strike The sovereign power that rules the earth and sea, The weapons of her envy. Triple reign And baleful compact for divided power — Ne'er without peril separate before — |
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| 21. Juvenal, Satires, 2.4-2.5 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
| 22. Seneca The Younger, Dialogi, 3.20.4 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 221 |
23. Seneca The Younger, Letters, 64.9-64.10 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 | 64.9. Our predecessors have worked much improvement, but have not worked out the problem. They deserve respect, however, and should be worshipped with a divine ritual. Why should I not keep statues of great men to kindle my enthusiasm, and celebrate their birthdays? Why should I not continually greet them with respect and honour? The reverence which I owe to my own teachers I owe in like measure to those teachers of the human race, the source from which the beginnings of such great blessings have flowed. 64.9. Our predecessors have worked much improvement, but have not worked out the problem. They deserve respect, however, and should be worshipped with a divine ritual. Why should I not keep statues of great men to kindle my enthusiasm, and celebrate their birthdays? Why should I not continually greet them with respect and honour? The reverence which I owe to my own teachers I owe in like measure to those teachers of the human race, the source from which the beginnings of such great blessings have flowed. 64.10. If I meet a consul or a praetor, I shall pay him all the honour which his post of honour is wont to receive: I shall dismount, uncover, and yield the road. What, then? Shall I admit into my soul with less than the highest marks of respect Marcus Cato, the Elder and the Younger, Laelius the Wise, Socrates and Plato, Zeno and Cleanthes? I worship them in very truth, and always rise to do honour to such noble names. Farewell. |
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| 24. Seneca The Younger, Thyestes, 176-295, 297-403, 296 (1st cent. CE - 1st cent. CE) Tagged with subjects: •nan Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 221 |
| 25. Suetonius, Augustus, 45 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •virgil (poet) •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158, 219, 220, 221, 225, 228 |
26. Suetonius, Tiberius, 70.2 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 | 70.2. He also composed a lyric poem, entitled "A Lament for the Death of Lucius Caesar," and made Greek verses in imitation of Euphorion, Rhianus, and Parthenius, poets of whom he was very fond, placing their busts in the public libraries among those of the eminent writers of old; and on that account many learned men vied with one another in issuing commentaries on their works and dedicating them to the emperor. |
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| 27. Quintilian, Institutes of Oratory, 10.1.98 (1st cent. CE - 1st cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 219 |
| 28. Tacitus, Dialogus De Oratoribus, 3.3, 12.6 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 219, 221 |
| 29. Pliny The Younger, Letters, 3.7, 4.28 (2nd cent. CE - 2nd cent. CE) Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158 |
30. Cassius Dio, Roman History, 58.24.3-58.24.5, 59.5 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •virgil (poet) •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158, 219, 220, 221, 225, 228 | 58.24.3. Among the various persons who perished either at the hands of the executioners or by their own act was Pomponius Labeo. This man, who had once governed Moesia for eight years after his praetorship, was indicted, together with his wife, for taking bribes, and voluntarily perished along with her. Mamercus Aemilius Scaurus, on the other hand, who had never governed a province or accepted bribes, was convicted because of a tragedy he had composed, and fell a victim to a worse fate than that which he had described. 58.24.3. Among the various persons who perished either at the hands of the executioners or by their own act was Pomponius Labeo. This man, who had once governed Moesia for eight years after his praetorship, was indicted, together with his wife, for taking bribes, and voluntarily perished along with her. Mamercus Aemilius Scaurus, on the other hand, who had never governed a province or accepted bribes, was convicted because of a tragedy he had composed, and fell a victim to a worse fate than that which he had described. 4 "Atreus" was the name of his drama, and in the manner of Euripides it advised one of the subjects of that monarch to endure the folly of the reigning prince. Tiberius, upon hearing of it, declared that this had been written with reference to him, claiming that he himself was "Atreus" because of his bloodthirstiness; and remarking, "I will make him Ajax," he compelled him to commit suicide. 58.24.4. "Atreus" was the name of his drama, and in the manner of Euripides it advised one of the subjects of that monarch to endure the folly of the reigning prince. Tiberius, upon hearing of it, declared that this had been written with reference to him, claiming that he himself was "Atreus" because of his bloodthirstiness; and remarking, "I will make him Ajax," he compelled him to commit suicide. 59.5. This was the kind of emperor into whose hands the Romans were then delivered. Hence the deeds of Tiberius, though they were felt to have been very harsh, were nevertheless as far superior to those of Gaius as the deeds of Augustus were to those of his successor., For Tiberius always kept the power in his own hands and used others as agents for carrying out his wishes; whereas Gaius was ruled by the charioteers and gladiators, and was the slave of the actors and others connected with the stage. Indeed, he always kept Apelles, the most famous of the tragedians of that day, with him even in public., Thus he by himself and they by themselves did without let or hindrance all that such persons would naturally dare to do when given power. Everything that pertained to their art he arranged and settled on the slightest pretext in the most lavish manner, and he compelled the praetors and the consuls to do the same, so that almost every day some performance of the kind was sure to be given., At first he was but a spectator and listener at these and would take sides for or against various performers like one of the crowd; and one time, when he was vexed with those of opposing tastes, he did not go to the spectacle. But as time went on, he came to imitate, and to contend in many events,, driving chariots, fighting as a gladiator, giving exhibitions of pantomimic dancing, and acting in tragedy. So much for his regular behaviour. And once he sent an urgent summons at night to the leading men of the senate, as if for some important deliberation, and then danced before them. < 59.5. 1. This was the kind of emperor into whose hands the Romans were then delivered. Hence the deeds of Tiberius, though they were felt to have been very harsh, were nevertheless as far superior to those of Gaius as the deeds of Augustus were to those of his successor.,2. For Tiberius always kept the power in his own hands and used others as agents for carrying out his wishes; whereas Gaius was ruled by the charioteers and gladiators, and was the slave of the actors and others connected with the stage. Indeed, he always kept Apelles, the most famous of the tragedians of that day, with him even in public.,3. Thus he by himself and they by themselves did without let or hindrance all that such persons would naturally dare to do when given power. Everything that pertained to their art he arranged and settled on the slightest pretext in the most lavish manner, and he compelled the praetors and the consuls to do the same, so that almost every day some performance of the kind was sure to be given.,4. At first he was but a spectator and listener at these and would take sides for or against various performers like one of the crowd; and one time, when he was vexed with those of opposing tastes, he did not go to the spectacle. But as time went on, he came to imitate, and to contend in many events,,5. driving chariots, fighting as a gladiator, giving exhibitions of pantomimic dancing, and acting in tragedy. So much for his regular behaviour. And once he sent an urgent summons at night to the leading men of the senate, as if for some important deliberation, and then danced before them. < |
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| 31. Florus Lucius Annaeus, Epitome Bellorum Omnium Annorum Dcc, 1.1.8 Tagged with subjects: •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 225 |
| 32. Epigraphy, Roesch, Ithesp, 358 Tagged with subjects: •virgil (poet) •virgil (poet), aeneid •virgil (poet), georgics Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 158, 219, 220, 221, 225, 228 |
| 33. Epigraphy, Ils, 915, 3895 Tagged with subjects: •nan Found in books: Bruun and Edmondson, The Oxford Handbook of Roman Epigraphy (2015) 776 |
| 34. Epigraphy, Didyma, 233, 163 Tagged with subjects: •nan Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 219, 220, 221, 225, 228 |
| 35. Epigraphy, Cil, 2.4967.31, 4.1904, 4.2361, 4.3198, 4.3337, 4.4757, 4.4832, 6.941, 6.960, 6.36908, 6.37077, 6.40310, 8.212, 9.2845-9.2846, 10.7296, 12.3261, 14.86 Tagged with subjects: •virgil, poet Found in books: Bruun and Edmondson, The Oxford Handbook of Roman Epigraphy (2015) 96, 121, 747, 776 |
| 36. Epigraphy, Inscriptiones Graecae Ad Res Romanas Pertinentes, Ed. René Cagnat Et Al.. 3 Vols. Paris 1911-1927. Vol. I, 1911, 2.503 Tagged with subjects: •virgil, poet Found in books: Bruun and Edmondson, The Oxford Handbook of Roman Epigraphy (2015) 747 |
| 37. Numismatics, Rib, 2110 Tagged with subjects: •virgil, poet Found in books: Bruun and Edmondson, The Oxford Handbook of Roman Epigraphy (2015) 121 |
| 38. Varius Rufus, De Morte, 147 Tagged with subjects: •virgil (poet) Found in books: Csapo et al., Theatre and Autocracy in the Ancient World (2022) 220 |
| 39. Epigraphy, Cle, 957, 252 Tagged with subjects: •nan Found in books: Bruun and Edmondson, The Oxford Handbook of Roman Epigraphy (2015) 776 |
