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A Statius Achilleis ében olvasható három hajnalleírás (1. 242–5; 1. 819–20; 2. 1–4) szorosan kapcsolódik Achilles „átváltozásaihoz” a műben. E részletek felidézik az Ilias 19. énekét nyitó hajnalt, valamint azt a homérosi metafora- és szimbólumrendszert is, mely a hős harcba való visszatérését a fény, illetve a hajnal érkezéséhez hasonlítja. Különösen összetett kapcsolat fedezhető fel Achilles hőssé való visszaváltozása és a napfelkelte között a harmadik statiusi hajnalleírásban, melyet Achilles mint epikus és mint elégikus hős jövőjének lehetséges előrejelzéseként is értelmezhetünk. Az ugyanitt említett genitor coruscae lucis Iuppiterrel, illetve Diespiterrel azonosítható; a hajnalleírás ezáltal a főisten által az Achilleis ben játszott szerepet is árnyalja.

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The embedded narrative of Adrastus (Stat. Theb. 1. 577–668) is full of verbal repetition and is echoed in later parts of the epic, especially the Nemean episode (Theb. 4–6). This paper investigates these intratextual parallels and tries to pin down the effects of these echoes. The verbal repetition highlights motifs that play an important role in the Thebaid as a whole and connects characters, events, motifs and episodes. This intratextuality sometimes creates unity, sometimes — contrarily — discontinuity or ambiguity. This article is a case study of Statius’ intratextual poetics, a field that has thus far received little attention in scholarship on the Thebaid.

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All three descriptions of dawn in Statius’ Achilleid (1. 242–5; 1. 819–20; 2. 1–4) are tightly connected to the “metamorphoses” of Achilles in the poem. These passages also recall the dawn opening Iliad 19, and the Homeric system of metaphors and symbols comparing the hero’s return to battle to the arrival of light and dawn. A particularly complex connection between Achilles’ exposure and the sunrise is established in the third Statian passage under discussion, which can also be interpreted as a possible prediction of Achilles’ future as an epic and elegiac hero. The genitor coruscae lucis mentioned in this passage can be identified as Iuppiter/Diespiter; as a consequence, the description sheds some light on the god’s role in the Achilleid as well.

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It has already been discussed in Statian scholarship that Achilles’ first song in the Achilleid has close intertextual ties to Catullus’ Carmen 64, the epyllion about the wedding of Achilles’ parents. My aim in this paper is to show that this special intertextual relationship with Catullus 64 is not confined to Achilles’ first song, but extends to the other two passages as well, where the hero is presented as a singer (1. 572–583 and 2. 157–158). In all three cases, furthermore, the intertextual connection is strengthened by the use of weaving metaphors, which were also of central importance in Catullus’ epyllion.

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Astronomical phenomena play a specific role in ancient literature to illustrate the internal chronology of the plot. It is obvious that especially poetical texts which deal with constellations and astronomical terms show a maximum of the so called poetical doctrina as – for example – can be seen in the work of Statius. The present paper thus tries to prove this thesis by analyzing the verses 692–693 of the first book of the Thebais. Therein the vanishing of the Great Bear/Big Dipper constellation seems to refer to a specific season.

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The present paper examines the crucial passages in Lucanus, Valerius Flaccus, Statius and Sily concerning suicide. Lucanus presents a fanatical eulogy of suicide, Valerius Flaccus a rather calculated approach which is guided by almost philosophical considerations resembling those given by the philosopher Seneca, Statius focuses on the problem of self determination and tyranny. Sily’s account of the Saguntine suicide combines and modifies different elements of the literary tradition, which sometimes makes it difficult to ascertain the value judgement his narrative is meant to convey to his readers.

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Petrarca Argus c. eclogájáról, jóllehet a Bucolicum carmen föltehetőleg legkorábban keletkezett darabja, mindeddig nem született önálló tanulmány. Az eddigi kutatás a mű antik előképei közül szinte kizárólag Vergilius pásztori költészetének hatásával számolt, a föltűnően nagyszámú epikus allúziót, Ovidius, Statius, Claudianus hatását azonban alig vizsgálták, ez az egyoldalúság pedig könnyen vezethet kevéssé helytálló értelmezésekhez. A dolgozat az allúziók alaposabb föltárásával a költemény szerkezetének és igen összetett jelképiségének értelmezésére tesz kísérletet.

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Satire 4 is one of the most-criticized poems of Juvenal. Because of its structural problems, certain scholars have even casted doubts on its unity considering it as two fragments patched together by a later editor. The key to understand the satire’s structure is the connection between its two main parts and the central figures thereof, Crispinus and Domitian. Apart from the structural problems, this paper also deals with certain features of the mock-epic as well as the targets of the invective.

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Iuvenalis 4. szatírája az életmű egyik legtöbbet kritizált darabja. A szerkezeti problémák miatt egyes kutatók a mű eredeti egységességét is kétségbe vonják azt feltételezve, hogy két, egy későbbi kiadó által összefércelt töredékből áll. A struktúra megértésének kulcsa a két fő szerkezeti egység, s ezzel együtt a két központi karakter, Crispinus és Domitianus közötti kapcsolat feltárása. Az alábbi tanulmány a szerkezeti problémák mellett a mű epikus jellegzetességeivel, illetve az invektíva célpontjaival foglalkozik.

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The article analyzes a simile of the Panegyric on the emperor Avitus by the Late Antique poet Sidonius Apollinaris (430–486 CE). The Vandals who sacked Rome in 455 become terrible wolves. Sidonius has to exaggerate the drama of the event experienced by Rome in order to exalt the salvific role played by the emperor Avitus. Sidonius echoes a lot of Vergil’s pastoral landscapes and other epic similes or phrases by Statius, Silius, Valerius Flaccus, Lucan. This simile is a good example of the poetry of Sidonius and of the literary conceptions of the Late Antique Literature.

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