In any competition for monuments of wasted labour the collection of accidental acrostics in Latin poets published by I. Hilberg would stand a good chance of a prize. But amongst his examples of ‘neckische Spiele des Zufalls’ is one I am gullible enough to believe may be more significant. In Aeneid 7. 601–15 Vergil describes the custom of opening the gates of war in a long anacoluthic sentence, the first four lines of which run: Mos erat Hesperio in Latio, quern (...) protinus urbes Albanae coluere sacrum, nunc maxima rerum Roma colit, cum prima movent in proelia Mortem, Sive Getis inferre manu lacrimabile bellum…. (shrink)

In pi. 48 of his Facsimilés de manuscrits grecs des XVe et XVIe Siècles M. Otnont gives a specimen of what purports to be the hand of Valeriano Albini. The MS. from which it is reproduced, Paris, gr. 1687, has at f. 158v τατην δ ββλον Οαλερίανοσ фορολβεσ Άλβνου Ενετσ, ν τψ το αοΕνετου μοναστηρψ εˣραΨε, εˣτη του κυρίον ᾑμων … αμ … , which might be thought warranty enough. Unfortunately MS.

It is characteristic of A. to use words that occur only once in Homer, and such a word is ρρητος. In Od. 14. 466 it describes the remark that is better left unspoken, πέρ τ' ρρητον μεινον. But it has the distinction of occurring once also in Hesiod, and this time it is used of men without fame, ητοί τ' ρρητοί τε Διòς μεγάλοιο κατι . It is clearly this line in Hesiod's proem that A. is echoing in his own, (...) and in the same kind of sense, though, as Martin points out, A. ‘renverse en quelque sorte une expression d'Hésiode’. In the Phaenomena it is Zeus who is always being celebrated by men. The idiom with ν and negative is used by Plato, Lg. 793 b, οτε νόμους δε προσαγορεύειν ατ οτε ρρητα ν, and it may have been a familiar expression. But here in A., with the emphatic οδέποτε, it does seem rather contrived, and this may account for the fanciful explanation in the scholia that Zeus here represents the air we use every time we speak. The phrasing is certainly designed to give the maximum emphasis to ρρητον, which comes in enjambement at the beginning of the second line and is then followed by a strong sense pause. It is tempting, therefore, to suggest that the poet is indulging in a kind of pun on the sound of his own name, which usually has a long α in its first syllable and sometines η in its second: e.g. Call. Epigr. 27. 4 ρήτου σύντονος γρυπνίη, and Leonidas, A.P. 9. 25. 1 γράμμα τόδ' ρήτοιο δαήμονος. Other Hellenistic poets have contrived puns on the derivation oftheir names: Philodemusin A.P. 5. 115, Meleager in A.P. 12. 165, and Crates in A.P. 11. 218. 4. Closer to A. is the story recorded in the ancient biographical tradition of Antigonus complimenting the poet with the pun εδοξóτερον ποιες τòν Eδοξον. (shrink)