This article aims to discuss how Lucretius arranges the four ‘roots’ at the end of successive lines of verse in the De rerum natura (henceforth, DRN) (1.5–8). In this passage Lucretius, alluding to Empedocles, puts the words in such an order that one can see the layers of the world by a vertical reading. In the same passage, Lucretius imitates the very beginning of Homer's ecphrasis (Il. 18.478–85), which the allegorical tradition will explain as an image of the world, related (...) to Empedoclean theory. The article also discusses the allusion to Daedalus by means of the adjective daedalus in DRN 1.7 (daedala tellus), which could be related to both Empedocles and Homer. This adjective is a keyword for discussing the image produced by the words on the written page. (shrink)

Many attempts have been made to define the precise philosophical outlook of Ovid's account of cosmogony from the beginning of the Metamorphoses, while numerous different and interconnected influences have been identified including Homer, Hesiod, Empedocles, Apollonius Rhodius, Lucretius and Virgil. This has led some scholars to conclude that Ovid's cosmogony is simply eclectic, a magpie collection of various poetic and philosophical snippets haphazardly jumbled together, and with no significant philosophical dimension whatsoever. A more constructive approach could see Ovid's synthesis of (...) many of the major cosmogonic works in the Graeco-Roman tradition as an attempt to match textually his all-encompassing history of the universe that purports to stretch from the first beginnings of the world up to the present day. Furthermore, if the beginning of the Metamorphoses is designed to be both cosmologically and intertextually all-encompassing, it is surprising that the influence of arguably the major philosophical work on cosmogony from the ancient world, Plato's Timaeus, remains to be evaluated. (shrink)

In the Speech of Pythagoras fromMetamorphoses15, Ovid uses a metaphor of how wax can be stamped with new images to illustrate how theanimacan remain substantially the same while altering in shape when undergoing transmigration. Shortly after he describes how all things are in a state of flux, and compares the flow of time to the movement of a river. In Plato’sTheaetetus, Socrates, in an extended analogy, tells us to imagine that the ψυχή contains a block of wax, upon which are (...) imprinted our memories, while the dialogue also contains a lengthy criticism of the Heraclitean doctrine of flux. This article will argue that Ovid adapts the wax-metaphor from theTheaetetusand that the dialogue also provides the context for Ovid’s allusion to the Heraclitean principle that πάντα ῥεῖ. It will analyse how the wax and river metaphors were transformed in the epistemological theories of the Stoics and the Epicureans in order to demonstrate how Ovid reformulates this series of philosophical discussions for poetic purposes. The final part of this article will discuss how the wax and river metaphors can be read in term of the wider intertextual agenda of the Speech of Pythagoras. (shrink)

This paper discusses continuity between ancient Pythagoreanism and the pseudo-Pythagorean writings, which began to appear after the end of the Pythagorean school ca. 350 BC. Relying on a combination of temporal, formal and substantial criteria, I divide Pseudopythagorica into three categories: 1) early Hellenistic writings ascribed to Pythagoras and his family members; 2) philosophical treatises written mostly, yet not exclusively, in pseudo-Doric from the turn of the first century BC under the names of real or fictional Pythagoreans; 3) writings attributed (...) to Pythagoras and his relatives that continued to appear in the late Hellenistic and Imperial periods. I will argue that all three categories of pseudepigrapha contain astonishingly little that is authentically Pythagorean. (shrink)

This article argues that the discovery of Pythagorean volumes in Numa's tomb in 181 b.c. may have played a significant role in the conception of the meeting between Numa and Pythagoras in the last book of Ovid's Metamorphoses, since several features of this event integrate very well into the discourse at the heart of Book 15 on the Greek origins of Roman culture and literature, on the immortality of poetry, and on the relationship between poetry and power. The article further (...) argues that Ennius’ Annals Book 15 may have covered the events up to 179, if that really was the year of Nobilior's dedication of the Aedes Herculis Musarum, and included the discovery of Numa's books in 181; and hence that Ovid may have used the Ennian account of this discovery as a model for the Numa–Pythagoras episode, appropriating the poetic and political meaning that it already had in Annals Book 15. (shrink)