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The Greek grammarian Epaphroditus, trained in Alexandria and prominent as a teacher in Rome of the Neronian-Flavian era, continued the tradition of Hellenistic scholarship in his study of Homer, the Hesiodic Shield of Herakles, and the Aitia of Kallimachos as well as in his treatise on etymology and in the compilation of a glossary of unfamiliar words. Numerous fragments from these works have been preserved in the Ethnika of the sixth-century grammarian Stephanos of Byzantium, the scholia on Homer and other authors, and, notably, in Byzantine etymological lexica, not all of which are fully accessible in print. The present edition presents a critical text of the fragments within the broader context in which they have been transmitted. Each text is supplied with a critical apparatus and a list of the more important parallels. To make the edition more easily accessible to non-specialists an English translation has been given not only of the fragments but also of longer texts quoted in the notes, features which should be of use to specialists as well. After each fragment a short commentary summarizes the results. An extensive introduction presents the life, works, and scholarship of Epaphroditus and explains the reasons for the classification of the fragments. A concordance to the edition of Lünzner (1866), a full bibliography, and indices facilitate the use of the work. The aim of the edition has not only been to set the grammarian in his rightful place in the history of scholarship but to encourage further work in this neglected field by demonstrating its intrinsic interest and by explaining methods and technical terms which are often taken for granted in specialist works. Edited and Translated with Introduction, Notes, and Commentary.

The late Bruce Karl Braswell worked on Pindar for decades. Besides many smaller contributions, his research resulted in fundamental commentaries on Pythian Four (1988), Nemean One (1992), and Nemean Nine (1998), and his last monograph, dedicated to Didymos of Alexandria and his ancient commentary on Pindar (2013). Two substantial, self-contained manuscript fragments were found in his papers after his death. Their originality and innovative methodological approach justify their posthumous publication. Part I of the present volume contains the fragment of Braswell's planned study, A Contribution to the History of Pindaric Scholarship. Using the example of Nemean Nine, Braswell traces the history of Pindar interpretation from Antiquity to the end of the 16th century. The source texts for his exegesis appear as an appendix to the study. Part II contains the completed fragment of A Commentary on Pindar Nemean Ten. Alongside the original text and translation of the first two triads of this ode, this section includes a detailed verse-by-verse commentary and the text and translation of the relevant scholia. The commentary on the first triad is supplemented by an extensive appendix on the Argive legends and monuments reported by Pausanias. In brief introductions, the editor recounts the origins of the manuscripts and their preparation for print.

L¿art narratif a-t-il pour mission d¿orienter et de modifier les pensées et l¿affectivité des lecteurs ? C¿est l¿un des projets que Longos assigne à sa fiction, en un prologue où il démarque l¿ambition instructive de Thucydide. Il désire ainsi rivaliser avec une peinture. Dans la description de celle-ci, les circonstances pastorales ne sont indiquées que comme un épisode, dont la situation chronologique est incertaine, parmi les aventures figurées. Pourtant, l¿histoire de Daphnis et Chloé raconte l¿apprentissage de l¿amour et le mariage de deux jeunes pastoureaux dans un cadre campagnard. S¿agit-il d¿une mise en scène romanesque de thèmes de la poésie bucolique ? Ce livre analyse les multiples emprunts de Longos à la tradition littéraire, à l¿historiographie, mais aussi aux différents genres poétiques (épique, hymnique, lyrique, bucolique, épigrammatique), au théâtre, à Platon, à Plutarque, et sa participation aux débats de la critique littéraire. De telles analyses montrent comment Longos joue du décalage, de la transposition, du paradoxe, de l¿inversion, du contraste et de la contradiction, afin d¿illustrer une esthétique littéraire et de défendre une conception morale et religieuse associée à un mythe paradisiaque.