In these lines from the fourth poem of his first collection of satires, Horace defines his poetic identity against the figures of his satiric predecessor Lucilius and his contemporary Stoic rival Crispinus. Horace emerges as the poet of Callimachean restraint and well-crafted writing in contrast to the chatty, unpolished prolixity of both Lucilius and Crispinus. A proponent of the highly wrought miniature over the sprawling scale of Lucilius, Horace knows when enough is enough. And, owing to a playful (...) link between what is satis and satura, this makes Horace not only a skilful poet but also the consummate satirist. I suggest that this programmatic message is both emphasized and illustrated by a piece of wordplay beginning in line 14. In a previously unnoticed telestich, the last letters of lines 14–18 spell out the word satis. Moreover, this hidden word—made possible only by the particular arrangement of words in all five of its lines—anticipates and deepens the poem's later interest in the matter of compositio, or artful word-arrangement. While this may be unique as an example of a Horatian telestich, Horace does engage in various forms of wordplay elsewhere, and could look not only to Hellenistic poets but also to Lucretius as a predecessor in this regard. In the Satires, a collection in which problems of libertas make forms of implication and veiled speech especially significant, a wide range of hidden words and wordplay has been detected and suggested. The instance observed here reaffirms Horace's interest in wordplay, while its uniqueness as a telestich is, as I hope to show, particularly suited to its context in this poem. (shrink)

The last years of Michael Psellos' life are clouded in obscurity. He was certainly active at the court of his student Michael VII (1071–1078), but when Nikephoritzes, the logothetes tou dromou, became imperial advisor (Attaleiates, Historia, 200,12ff) he practically disappeared from the scene. One of the last chronological references found in his Chronographia is the death of Crispinus in 1075 (VII, b 39, 3–4). In that year he also wrote a description of the “usual miracle” which occurred regularly in (...) the church of Blachernai and somewhat later a funeral oration for Patriarch Ioannes Xiphilinos. Among his writings survives another funeral oration which he dedicated to the young Andronikos Doukas. This work is transmitted only in part by cod. Parisinus gr. 1182 and is dated in 1076. From that point on, practically nothing is known about his subsequent life. (shrink)

This paper argues that in Silvae 3.3, written to console Claudius Etruscus on the death of his beloved father, Statius reverses his own account of the contentious relationship between Tisiphone and Pietas in Thebaid Books 1 and 11 to present his patron's affectionate bond with his father as antithetical to Oedipus’ resentful relationship with his sons. In the Thebaid, Oedipus summons Tisiphone from the Underworld to punish his own children by stirring up civil war, and the Fury promptly obeys, banishing (...) Pietas from earth to prevent her from stopping the conflict. In Silvae 3.3, on the other hand, the poet asks Pietas to come back to earth, and urges the Furies to stay away from the deceased. The return of Pietas, also portrayed in Silvae 5.2, shows that in his collection of occasional poetry Statius rewrites his own epic to restore cosmos: while in the chaotic narrative universe of the Thebaid all fundamental values, including filial devotion, are turned upside down, the Silvae describe a more conventional and reassuring world, founded on virtue rather than vengeance. (shrink)