A series of interconnected conjectures to the text of Ps.-Maur. VII B 17. 2,12 (8, 9–10, 33– 34 Dennis) is proposed, which makes the text more understandable: ἤτοι τὰ βά<θη> τῶν ἀκιῶν <ἤτοι τὰς ἀκίαςin mg>… ἀπὸ παλαιῶν [δὲ] καὶ νέων <ἔχοντα ἴσως καὶ ἀναλόγως τοὺς νεωτέρους>…. τὸν λεγόμενον ἰλάρχην [ἔχοντα ἴσως καὶ ἀναλόγως τοὺς νεωτέρους ἤτοι τὰς ἀκίας]. To explain this, author proposes the hypothesis of a transcription error in the archetype (ἤτοι τὰ βάθη > ἤτοι τὰ βάνδα), of compensatory asterisk and of the later marginal gloss (ἤτοι τὰς ἀκίας), as well as of the transmission of the passage ἔχοντα ἴσως καὶ ἀναλόγως τοὺς νεωτέρους ἤτοι τὰς ἀκίας from § 2 to § 12. The proposed hypothesis assumes a multiple processing (glosses, added leafs) of the codex of the archetype ξ, its active use and subsequent rewriting into a new codex (α), which is the precursor of both uncial families (λ and β). The five phases of the development of the discussed passages are proposed: (1a) the Urtext with the books I–III, V, VII A und VII B 1–15; (1b) creation of the text VII B 16–17 (4952 characters) on the three bifolia with a reading error (βάθη > βάνδα), the source for the § 12 being the passage II 20/19, 1 (4–7 Dennis), where are no parallels for the words “ἔχοντα ἴσως καὶ ἀναλόγως τοὺς νεωτέρους ἤτοι τὰς ἀκίας”; (1c) the appearance of marginalia — “ἤτοι τὰς ἀκίας” to the words “ἤτοι τὰ βάνδα τῶν ἀκιῶν”, as well as asteriskos to § 12 and § 2 after παλαιῶν; (2) moving the text “ἔχοντα ἴσως καὶ ἀναλόγως τοὺς νεωτέρους ἤτοι τὰς ἀκίας” from § 2 to § 12, replacement of the asteriskos with δὲ in § 2; (3) division of the tradition between λ (without marginalia) and β (integration of marginalia)
In chapter 41 of Petronius’ Satyricon, a boar is served in a hat (pilleatus) during Trimalchio’s feast, which puzzles the protagonist Encolpius. The interpretation of the passage considered in the article (Petron. Sat. 41. 3) involves a number of difficulties, which all commentators note. Firstly, the reader needs to decide whether the case of summa cena is accusative or nominative. The second difficulty has to do with the meaning of the adjective summus. The third question concerns the meaning of the verb vindicasset. And the last and most crucial question deals with the fact that both cena and aper can function as the subject of the verb vindicasset. The author of the article looks into the opinions of various scholars and offers several arguments for the manuscript reading, which enables us to restore the final -m in summa. The author examines examples with the verb vindico which means “to claim a legal right to” and draws attention to the fact that in such cases the subject is more often an animate noun. In order to understand which word cena or aper is a more suitable candidate for the function of the subject in the passage under consideration, the author analyses the use of these words as subjects in other texts. The examples of the personification of cena are found mainly in poetry, whereas the word aper is discovered in one example which contains a verb usually used with animate subjects (intrare). The latter can be regarded as an additional argument for animateness of aper and its functioning as the subject of the sentence cum heri… vindicasset
The only two surviving poems by Sulpicius Lupercus still remain practically unexplored. Until now, the main object of researchers’ attention has been the portrait of the avids, wherewith Sulpicius Lupercus’ elegy “De cupiditate” is concluded; despite this, the identity of these avids has not yet been proven. This paper makes another attempt to analyse this portrait. Into account is taken not only the ecphrasis itself, but also its place in the elegy. The analysis of the elegy’s composition shows that the poem is structured in general in accordance with the rhetorical canon of epideictic speech. The previously advanced hypotheses that the portrait depicts a certain barbarian tribe seem unconvincing: thus, the expression barbaricae opes, the literal understanding of which serves as one of the main arguments for the attempts to identify the avids from the poem with a certain barbarian tribe, can also be understood idiomatically, which casts doubt on the seemingly unconditional mention of barbarians in the poem. It is more reasonable to assume that the ecphrasis, which is clearly based on the device of grotesque, depicts the teachers of rhetorics mentioned in the elegy shortly before the portrait; this assumption is supported, among other things, by the tradition of Renaissance editions of this Sulpicius Lupercus’ elegy. A cumulative consideration of the elegy from a compositional point of view allows a conclusion that the discussed portrait serves as a final figurative argument in an ethical invective against avidity as such
A large group of adjectives in Apicius’ De re coquinaria is formed with the suffix -atus. Although they contain a suffix which is typical of the perfect participle, their base is not verbal, but nominal: this is their peculiarity. They are all adjectives referring to food; their meaning is possessing “the quality/condition expressed by the base-noun” (e. g. Apic. 8. 7. 14 liquamen piperatum). Many of them are Apicius’ creations and attested only in his cooking book (e. g. allecatum, coriandratus, syringiatus); a great number of them have a Greek origin. This paper proposes not only a semantic analysis of denominal adjectives with the suffix -atus, but also a comparison with adjectives ending in -osus, which have the meaning “full of ”. The formations in -atus of De re coquinaria are also examined according to the qualia theory, the principles of which are clearly recognisable in these adjectives. Apicius’ denominal adjectives in -atus can be compared to suffixed adjectives in some modern languages (Italian -ato, Spanish -ado, French -é), which express the concept of possession of a quality, and which derive from a noun, not from a verb, although they are formally identical to past participle, as it happens in Latin
This article compares the use of two similar ways of expressing relative future tense in Latin: the future passive infinitive and the construction fore/futurum (esse) ut. This construction is regularly found in the same contexts as the future infinitives, and may serve as an alternative for verbs lacking a supine form. What appears to be of particular interest is its widespread use in cases where a supine is available, and the future infinitive could have been used. Up to the present day, there have been very few studies on this topic. In the present study, the author aims to fill this gap and to examine the relevant syntactic constructions in the passive voice, to begin with a limited corpus of examples. Cicero’s texts were chosen as the material for the study, since they preserve the largest number of these forms, furthermore, such material allows us to conduct the study within the language of one author. The study was conducted with the help of the computer database PHI-5. Having examined the resulting sample, the author identifies tendencies typical for the use of the infinitive and the construction, as well as their pragmatic features and differences. The infinitive is used in objective contexts with a high degree of epistemic support and, as a rule, when there are valid reasons to believe that a certain event will happen. The fore ut construction in our corpus is chosen either to denote the events that were not destined to happen or to convey someone else’s opinion, and introduces a subjective and sometimes counterfactual overtone into the embedded predication. The set of verbs that occur as future infinitives and those used in the predication embedded under fore ut does not overlap, with few exceptions, which may be due to the different aspectual characteristics of these verbs.