Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
44 Cards in this Set
- Front
- Back
|
Anaphora |
Repetition of words or groups of words in initial position of a phrase (or verse, in poetry)
Ex. terruit urbem, terruit gentis (Horace) |
|
|
Caesura
|
A particular relation between the semantic units - the words joined to form the verses - and the metrical units. Properly speaking, one has a caesura every time that the end of a word "cuts" the foot or the meter; but in fact every type of verse has its special places in which the caesura is regularly found, giving a rhythmic regularity and a particular architecture to the verse. Related to diaresis. |
|
|
Chiasmus |
Crossed arrangement of elements of the phrase that correspond to one another, forming the scheme abba. |
|
|
eclogue |
Greek term used by Latin grammarians to indicate the individual poems in which Vergil's Bucolics are articulated (the book of Bucolics vs. the first, second eclogue). A corresponding term in Greek literature is idyll, which, however, also had currency in a wider sense.
|
|
|
ekphrasis
|
Greek rhetorical term for set-piece descriptions. It is especially used for literary descriptions of works of art, a subject of which Hellenistic-Roman literature was very fond (bedcover with Ariadne story in Catullus 64; Aeneas' shield in Vergil Book 8) |
|
|
elegaic couplet
|
Strophe of two verses also called distich. It consists of two lines, a hexameter followed by a so-called ‘pentameter’ which in fact does not contain five meters or feet in sequence, as the name suggests, but apparently two and a half followed by two and a half. Spondees are excluded from the second half of the line. The position of the caesura is invariable. The sequence – ∪ ∪ – ∪ ∪ – is often described as a hēmiepĕs, ‘half a hexameter’.
(i) dactyl – ∪ ∪ (ii) spondee – – |
|
|
epithalamium |
A song (or speech) given ‘at the bridal chamber (Gk. thalamos)’; a regular feature of marriages (see marriage ceremonies). Strictly speaking, it is distinct from the general ‘wedding song’, and from the ‘hymenaeus’, the processional song which accompanied the newly ‐married couple to their house. In literature, however, the title ‘epithalamium’ predominates. The tradition is old. Sappho's wedding songs were famous. Comedy and tragedy provide examples. Among Hellenistic poems Theocritus 18 (Helen and Menelaus) stands out. But Latin poetry offers more: e.g. Catullus 61, 62, and 64 (Peleus and Thetis). |
|
|
epyllion
|
Refers to a comparatively short narrative poem (or discrete episode within a longer work) that shows formal affinities with epic, but betrays a preoccupation with themes and poetic techniques that are not generally or, at least, primarily characteristic of epic proper. An epyllion is, in its most basic definition, a narrative poem written in dactylic hexameters that is comparatively short. An example of a classical epyllion may be seen in the story of Nisus and Euryalus in Book IX of The Aeneid. |
|
|
hexameter
|
A six footed poetic meter, often dactylic, which is the standard verse of Greek and Latin epic poetry. Last foot is catalectic (- - OR - u) Can have iambs (- -) or dactyls (- u u)
|
|
|
Menippean Satire
|
Kind of satire that goes back to the work of Greek polemicist Menippus of Gadara (second century BC) and was later practiced by Varro; it had profound influence on Petronius and particularly on Seneca (the Apocolocyntosis) and Lucian of Samosata. So far as we can tell from surviving examples, Menippean was characterized by a deliberately inharmonious mixture of prose and verse, seriousness and comedy, popular realism and sophisticated quotation or literary parody
|
|
|
mime (EDIT) |
Imitation of everyday life; a text intended for the stage, or for reading, that represents ordinary persons and situations. It may be a refined poetic genre, as often in Alexandrian poetry, or a form of farcical, commercial spectacle (the tendency that prevails in the end at Rome).
Originally a Greek word meaning ‘a mimic’, the term came to be applied in Greece to a dramatic sketch presenting a scene from daily life (‘The quack doctor’) or myth (‘Dionysus and Ariadne’). Mime in the ancient world should not be confused with ‘mime’ in the modern sense, which signifies a play in which the parts are performed by gesture and action alone, without words, and to the accompaniment of music. At Rome the name was applied to a kind of dramatic performance introduced there before the end of the third century BC, perhaps from Magna Graecia. The actors included both men and women, who acted in bare feet and without masks scenes from everyday life or from romance, spoken in prose. |
|
|
praeteritio |
Rhetorical figure by which one communicates that which one makes a show of wanting not to say.
Ex. Why recall the ships burnt along the Erycian coast? (Vergil) |
|
|
suasoriae (EDIT) |
Rhetorical exercise; analysis of the possible courses of action to be taken in a fictitious situation.
Advice offered in historical or imaginary situations; an exercise in rhetoric; a form of declamation in which the student makes a speech which is the soliloquy of an historical figure debating how to proceed at a critical junction in their life. It was used in ancient Rome, where it was, with the controversia, the final stage of a course in rhetoric at an academy. One famous instance was recalled by Juvenal in the first of his Satires.
|
|
|
tricolon |
Syntactic construction composed of three cola that correspond syntactically. |
|
|
annales maximi |
annales were year by year records kept at Rome by the pontifex maximus and inscribed on the tabulae pontificum outside his official residence, the regia. Around 130 BC in the time of the Gracchi the pontifex maximus P. Mucius Scaevola put an end to the annual display and authorized the publication of all the past annals, the previous 280 years, which amounted to eighty books. This collection, the annales maximi, formed a true collective memory of the Roman State which the earliest Roman historians used as a source. |
|
|
annalistic history |
The evocation of traditional Roman annals by Roman historiographers. Writers may have only rarely consulted the annales maximi themselves, but the texture of such material—bare lists of omens, magistrates, triumphs, etc.—was still familiar. The annalistic structure organizes material in a year‐by‐year fashion. |
|
|
Appendix Vergiliana |
A collection of spurious Latin poems of varied provenance and genre traditionally ascribed to Virgil. |
|
|
asianism and atticism |
Asianism was the name given to the rich, exuberant, and declamatory style of Greek oratory which spread into Asia (from the late fourth century BC) where the Asians used Greek circumlocutions when they did not know the precise words. Atticism describes the reaction against it in favor of using only the style and vocabulary of late fifth-century Attic oratory. The distinction came to be applied to Latin oratory also, and Cicero, with his Greek education and showy style, was criticized as ‘Asian’. Quintilian's view is that the style reflected the bombastic and boastful nature of the Asians, compared with Attic speakers who despised vapid and redundant speech. |
|
|
caesura and diaeresis |
Caesura usually occurs in the third foot but sometimes in the fourth (hiatus is allowed at the caesura). In some metres it is the practice to have word-end coincide with the end of a particular foot in the line, so that at this point a word never runs over into the next foot. This feature is known as diaeresis. In other metres it is the practice for word-end to occur regularly within, rather than at the end of, a particular foot. This is known as caesura, ‘cut’. A bucolic diaeresis occurs in the fourth foot. |
|
|
carmen et error |
By AD 8 Ovid, currently the leading poet of Rome, was suddenly banished by Augustus to Tomis on the Black (Euxine) Sea. Ovid refers to two causes of offence in his exile poetry: carmen, a poem, the Ars Amatoria; and error, an indiscretion. He has much to say concerning the first of these counts, especially in Tristia 2; concerning the second he repeatedly refuses to elaborate—though, since the Ars had already been out for some years in ad 8, the error must have been the more immediate cause. Amid the continuing speculation (cf. J. C. Thibault, The Mystery of Ovid's Exile (1964); R. Syme, History in Ovid (1978), 215–22), all that can be reconstructed from Ovid's own hints is a vague picture of involuntary complicity (cf. Tristia 2. 103–8) in some scandal affecting the imperial house. |
|
|
carpe diem |
An aphorism usually translated "seize the day", taken from a poem written in the Odes (1.11) in 23 BC by Horace. The phrase is part of the longer Carpe diem quam minimum credula postero. The ode suggests that the future is unforeseen and that one should not leave to chance future happenings, but rather one should do all one can today to make one's future better. This phrase is usually understood against Horace's Epicurean background. |
|
|
commentarii |
‘Memoranda’, were often private or businesslike, e.g. accounts, notebooks for speeches, legal notes, or teaching materials. Their public use developed in the priestly colleges (e.g. pontifices), and with magistrates (consuls, censors, aediles) and provincial governors. They apparently recorded decisions and other material relevant for future consultation: this could amount to a manual of protocol. Under the empire the ‘imperial memoranda’ provided an archive of official constitutions, rescripts, etc: entering a decision in the commentarii conferred its legal authority.
In the late republic a more literary usage developed, ‘memoir’ rather than ‘memoranda’. Various records, handbooks, and other learned works were so described, but esp. autobiographies: thus perhaps the work of Sulla, more certainly Cicero's accounts of his consulship and above all Caesar's commentarii. Such works favoured a plain style, ostensibly concentrating on content rather than the more obvious forms of rhetoric: they might purport to provide raw material for others to work up, but that pretence was sometimes thin. |
|
|
comic lyricism |
? |
|
|
consolatio (EDIT) |
This literature took a number of forms. Philosophers wrote treatises on death and the alleviation of grief. Letters of consolation were written to comfort those who had suffered bereavement or some other loss‐experience, such as exile or illness; they might be highly personal, or possess the more detached character of an essay. Funeral speeches (see laudatio funebris) often contained a substantial consolatory element. Poets sometimes wrote verse consolations. Greek cities voted prose‐decrees of consolation for the kin of deceased worthies.
Consolation proper is regularly associated with the expression of sympathy (in itself a form of consolation), and with exhortation; eulogy of the deceased is also a frequent ingredient. Arguments typically employed include the following: all are born mortal; death brings release from the miseries of life; time heals all griefs; future ills should be prepared for; the deceased was only ‘lent’—be grateful for having possessed him. Normally grief is regarded as natural and legitimate, though not to be indulged in.
The best surviving examples of pagan material are probably Servius Sulpicius Rufus' letter to Cicero on the occasion of the death of his daughter Tullia, and Seneca the Younger's To Marcia. In Boethius' Consolations of Philosophy, Philosophy herself consoles the author for his misfortunes. Christian writers make full use of pagan topoi, but firm belief in a blissful afterlife and the wealth of relevant material available in Scripture ensured that consolation acquired a different character in Christian hands. |
|
|
declamatio (EDIT) |
In Roman oratory under the empire (but originating with the Greek sophists of the late fifth century bc), the chief means employed to teach young would-be orators in the rhetorical schools. These pupils were required to deliver a speech arguing on one side of an invented law-suit—a controversia (‘argument’)—or a deliberative speech arguing for a course of action in an historical or mythical situation—a suasoria (‘speech of persuasion’). didactic poetry
The main means employed by rhetors to train their pupils for public speaking. It was invented by the Greeks, who brought it to Rome and the Roman world generally. Its developed forms were known in Latin as the contrōversia, a speech in character on one side of a fictional law case, and the suasōria, a deliberative speech advising a course of action in a historical, pseudo‐historical, or mythological situation; the first trained for the courts, the second for the political assembly or committee room.
The master would lay down a law, or laws, often imaginary, to govern the case, together with a theme detailing the supposed facts and stating the point at issue (e.g. ‘A girl who has been raped may choose either marriage to her ravisher without a dowry or his death. On a single night a man raped two girls. One demands his death, the other marriage’). The case would be fictional, and names would be given only if it concerned historical circumstances. The speaker, whether pupil or rhetor, would take one side or the other, sometimes playing the part of an advocate, usually that of a character in the case. Thus training was given in all branches of rhetoric. Attention was paid to the articulation of the speech and to the forging of a persuasive argument; style would be inculcated by precept and example; memory was trained too, for speeches were not read out, and delivery (experience of an audience was given by the occasional introduction of parents and friends). Esp. important was the ‘invention’ (finding) of arguments. The stasis system, which owed much to Hermagoras (c.150 bc), enabled a speaker to establish the type of the case (e.g. ‘conjecture’, did X do Y?) and draw on a check‐list of topics appropriate to that type (e.g. in the case of conjecture, motive and opportunity) with their associated arguments. The rhetor would teach the rhetorical system in abstract and exemplify it in his own model speeches. |
|
|
epigram |
A verse inscription. The early epigrams (of the seventh century bc) were placed on gravestones or votive tablets, composed so as to suggest that the dead person or the dedicator was directly addressing the reader, giving him the bare facts in a severely laconic style which became the artistic hallmark of the epigram. It was not until the fourth century bc that epigrams were written simply as literature (though real inscriptions in verse were still being composed) and the term was extended to mean a brief poem suggested by a single event, serious or trivial. The subjects they treated were very varied, but generally the themes of love and wine predominated. Whatever the subject matter, brevity and elegance of expression were essential.
The Romans had their own tradition of funerary epigrams written in Saturnians in the third and second centuries bc, and Ennius wrote a few in elegiac couplets. The first Roman literary epigrams, written in the late second century bc in elegiacs, were Greek in inspiration and were all on the theme of love. Catullus wrote epigrams of both love and hate, and after him epigrams were said to have been written by most of the prominent men of the late republic and early empire, but very few have survived. The literary form of the Latin epigram culminated in the work of Martial, who cultivated especially the witty, paradoxical ending that is imitated by modern writers of epigrams. |
|
|
epistulae (EDIT) |
Writing directed or sent to a person or group of people, usually an elegant and formal didactic letter.
Normally written with a reed pen and ink on papyrus, which was then rolled up and sealed with a thread.
There was never a public postal service for private correspondence, although Augustus instituted a system of post‐couriers for official correspondence along the main routes of the empire: private individuals might have their own slave couriers, who could cover 50 Roman miles (c. 76 km.) a day, and the companies of tax‐farmers (see publicani) had their own postal service. |
|
|
fabula palliata/togata |
Any of the Roman comedies that were translations or adaptations of Greek New Comedy. Refers to a type of ancient Italian comedy where the actors were dressed in Greek garments, the social conventions were Greek, and the stories, heavily influenced by Greek New Comedy. Andronicus translated Greek plays into Latin. Naevius made more of an effort to add Roman context to the comedies. Plautus interjected Roman humor and made the fabula palliata very popular, but when he died, fabula palliata lost favor. Caecilius had limited success, but after Terence, whose efforts at reviving fabula palliata had been supported by Scipio Aemilianus and his Scipionic circle, in the second half of the second century B.C., the fabula palliata gave way in popularity to fabula togata, where the actors were dressed in Roman garb. A style that is characterized by boisterous humour, nimbleness and suppleness of diction, and high spirits. |
|
|
Fescennine verses |
One of the earliest kinds of Italian poetry, subsequently developed into satire and Roman comic drama. From the name of the ancient Etruscan town of Fescennia, noted for the "Fescennine Verses," a tradition of scurrilous songs performed on special occasions. Originally sung at village harvest-home rejoicing, they made their way into the towns, and became the fashion at religious festivals and private gatherings especially weddings, to which in later times they were practically restricted. Specimens of the Fescennines used at weddings are the Epithalamium of Manlius and the four poems of Claudian in honor of the marriage of Honorius and Maria; the first, however, is distinguished by a licentiousness which is absent in the latter. |
|
|
genethliacon (EDIT) |
A birthday poem/ode. Both Greeks and Romans celebrated birthdays (γενέθλιος ἡμέρα, dies natalis), and there was a religious aspect to the celebration, especially in Rome, where each person's genius natalis was an object ... |
|
|
Graeca capta |
Graecia capta ferum victorem cepit et artes intulit agresti Latio. Conquered Greece took captive her savage conqueror and brought her arts into rustic Latium. Book II, Epistle I, lines 156-157. |
|
|
hendecasyllable |
The hendecasyllable metre (having a line ‘of eleven syllables’) was originally Greek; it has the form: × × – ∪ ∪ – ∪ – ∪ – – |
|
|
indignatio |
Often, artists and poets have been pushed, in the past as in the present, to write their works on the basis of a complaint to the status quo (customs, political personalities, behaviors, ...) in which they do not recognize themselves. The “angry persona.” |
|
|
invective (EDIT) |
Literature which, having regard to the customs and convictions of a given society, sets out to denigrate a named individual. Such denigration or abuse follows well‐articulated rhetorical guidelines. The target is attacked on the grounds of birth, upbringing, ‘banausic’ occupation, moral defects such as avarice, corruption, profligacy, pleasure‐seeking, sexual perversion, gluttony, or drunkenness, physical shortcomings, eccentricities of dress, ill fortune, offensiveness to the gods, and so on. These same categories of abuse are found irrespective of the genre in which the invective is couched. This might be a senatorial or forensic speech, iambic poem, political pamphlet, curse‐poem, or epigram.
The primary object of invective was to persuade the audience that one's accusations were true. Plausibility was thus more important than veracity. At the same time, invective aimed to give pleasure to the listeners. Despite the existence of legislation against defamation in Greece and Rome, invective flourished in both cultures. |
|
|
Menippean Satire -EDIT |
In the sense of a mixture of prose and many verse forms was, acc. to Quintilian, introduced by Varro, who in early compositions freely adapted works of Menippus of Gadara, combining jocularity with social comment and popular, esp. Cynic philosophy. In ad 54 Seneca the Younger wrote Apocolocyntōsis (‘Pumpkinification’), a compact and savage satire on the recent apotheosis of Claudius, which is the only near‐complete classical Menippean to have survived. The prose narrative is studded with quotations placed in incongruous situations; the verses include parody of a tragic speech and a mock funeral lament. The Satyrica of Petronius Arbiter is a unique fusion of two genres, Menippean satire and the comic novel. Menippean elements are found in the mockery of a tasteless dinner party, the Cena Trimalchionis. Literary criticism and the long verse excerpts are spoken by a disreputable vagabond. |
|
|
Neoteric poets -EDIT |
Greek term often used to describe a postulated ‘modern school’ of poets at Rome, in imitation of Cicero, who, writing in 50 BC, referred to some of them sarcastically in Greek as hoi neōteroi (‘the young ones’); elsewhere he referred to probably the same people as poetae novi, ‘new poets’. Of their writings only the poems of Catullus survive. They avoided epic and drama as old-fashioned, and turned for their models to Callimachus and the Hellenistic Greek poets, aiming at perfection in miniature, and experimenting with new metres, different kinds of language, new words (often Greek), new themes (romantic, exotic, some bizarre), and a mannered style. As well as Catullus the neoterics would have included Calvus, Cinna, Bibaculus, and Cornificius. Virgil felt their influence but their style lived on chiefly in the works of the elegiac poets Cornelius Gallus, Tibullus, Propertius, and Ovid, and to some extent in Virgil and Horace. |
|
|
paraclausithyron |
The exclusus amator ("shut-out lover") theme. A motif in Greek and especially Augustan love elegy, as well as in troubadour poetry. The details of the Greek etymology are uncertain, but it is generally accepted to mean "lament beside a door", from παρακλαίω, "lament beside", and θύρα, "door". A paraklausithyron typically places a lover outside his mistress's door, desiring entry. The appeal of the paraclausithyron derives from its condensing of the situation of love elegy to the barest essentials: the lover, the beloved and the obstacle, allowing poets to ring variations on a basic theme. |
|
|
parasite (EDIT) |
A stock character of Greek and Roman comedy. At first called kolax (‘toady’, ‘flatterer’, as in Eupolis' Kolakes of 421 bc, named after its chorus), the type acquired as a joke in the 4th cent. the alternative label parasitos or ‘sponger’ (in origin a ‘fellow diner’, esp. denoting certain religious functionaries). Thereafter the two terms were largely interchangeable. Parasites attach themselves to their social superiors for their own advantage, esp. for free meals; in return they flatter or entertain their patron, run errands, and suffer much ill‐treatment. Sometimes the patron is a vainglorious soldier, and soldier and parasite made a stock pair.
stock character of Greek and Roman comedy. At first he was called kŏlax, ‘flatterer’, one who earns a meal by flattering and humouring his socially superior host. Sometimes he makes a pair with his patron, a boastful soldier, whose vanity he flatters in return for being kept. The names of notorious parasites in real life appear in some comedies. See comedy [Greek]. |
|
|
propempticon |
The propempticon or propemptikon (ancient Greek: προπεμπτικόν the verb προπέμπω (propémpō), "send forward") is a type of poem where the ancient poet said goodbye and wished a good trip to someone who was leaving , most often by sea. The topoi associated with the genre are the complaint of whoever remains behind, praise of the motherland, the conspiracy of the dangers and disadvantages of the journey. Best wishes are of course addressed to the traveler. |
|
|
recusatio |
[Refusal to handle a topic]. A poem (or part thereof) in which the poet says he is supposedly unable or disinclined to write the type of poem which he originally intended to, and instead writes in a different style. The recusatio is something of a topos in ancient literature. Its use has often been interpreted as a persona deliberately adopted by the poet, allowing him to express ironic self-deprecation or feigned humility. |
|
|
satura -EDIT |
[Lat. satura, feminine form of the adjective satur, ‘full’. Beyond this the origin of the word ‘satire’ is obscure, but like a stuffed sausage—one possible meaning—satire displays ‘variety’, ‘mixture’]. Satura was first classified as a literary form in Rome. ‘Satire, at any rate, is all our own,’ boasted Quintilian of the genre that presented Rome in the least flattering light. Originally simply a hotch‐potch (in verse, or in prose and verse mixed), satire soon acquired its specific character as a humorous or malicious exposé of hypocrisy and pretension; however, it continued to be a hold‐all for mismatched subjects, written in an uneven style and overlapping with other genres. The author himself figured prominently in a variety of shifting roles: civic watchdog, sneering cynic, mocking or indignant observer, and social outcast.
Quintilian claimed satire as ‘entirely our own’, i.e. a Roman creation: satura quidem tota nostra est. The mixed literary form of ‘satire’ was a literary commentary from a personal viewpoint. The author figures prominently, being good-humoured, biting, or moralizing, discoursing on current topics, social life, literature, and the faults of individuals, in a variety of assumed roles. Roman sources say Ennius (239–169 bc) was the first to write satires in verse (among much else) but apparently without including invective. Lucilius (c.180–c.102 bc) was the first to confine himself entirely to this genre, and it was he who gave it its outspoken character as well as establishing the hexameter as the appropriate metre for it. All later Roman satirists regarded him as their founding father and a symbol of republican liberty. He was followed by M. Terentius Varro (116–27 bc), who took as a model the satires of Menippus in which prose and verse in a variety of metres were rather oddly intermingled, but who wrote in a less bitter, mildly didactic vein. |
|
|
saturnian verse -EDIT |
Form of verse employed in the 3rd and 2nd centuries BC for epitaphs and triumphal commemorations. According to Ennius, the utterances of prophetic mediums had once been cast in it. A politician of the late 3rd cent. underlined a threat with its rhythm: malum dabunt Metellī Naeviō poētae, ‘the Metelli will give the poet Naevius a thrashing’. Livius Andronicus set in it a translation of Homer's Odyssey, and Naevius a narrative account of the First Punic War. The poets of the Augustan period talked of its shaggy and unclean rhythm.
The Saturnian metre, the oldest Latin verse form, was so named by later poets to suggest its origin in a remote past (such as the Golden age, when Saturn was king of the gods). It was the metre used by Livius Andronicus for his translation or adaptation of the Odyssey into Latin, by Naevius for his original Latin epic poem on the First Punic War, and is also found in the hymn of the arval priests. Later poets expressed repugnance for it. There is no agreement about its metrical form, except that each line fell into two parts, roughly iambic and trochaic respectively. |
|
|
sententia (EDIT) |
whose basic meaning is ‘way of thinking’, came to have specialized senses, such as an opinion expressed in the senate, the judgement of a judge, and the spirit (as opposed to the letter) of the law. In literary criticism, it came to mean a brief saying embodying a striking thought. Such sayings could be gnomic and moralizing; a collection attributed to Publilius Syrus survives. But they were often specially coined for a particular context. They probably played a part in ‘Asianic’ rhetoric and declamation ; but Latin, with its terseness and love of antithesis and wordplay, took to them with especial enthusiasm. In his book on rhetoric Seneca the Elder makes sententiae a main rubric. At their worst, they descend to puerile punning; at their best they are pointed, allusive, witty. They are typical of Silver Latin. Where declaimers might use them merely for pleasurable effect, orators and philosophers found they could be persuasive too, because they stuck in the mind; and they were perfectly designed to give emphatic closure to speech or section. Tacitus used them masterfully (sōlitūdinem faciunt, pācem appellant, ‘they make a desert and call it peace’). So too in verse of different kinds: Seneca the Younger's drama, Lucan's epic (victrix causa deīs placuit, sed victa Catōnī, ‘the victor had the gods on his side, but the vanquished had Cato’, typically hard to translate), Juvenal's satire (probitās laudātur et alget, ‘integrity is praised—and left in the cold’), and Martial's epigrams rely heavily on them. |
|
|
Tusculum |
An ancient Italian town in the mountains near Frascati about 24km (15 miles) south-east of Rome. Under the late republic and early empire it was a fashionable resort. Cicero had a villa there (his favourite), as did Lucullus and Maecenas.
|
