Chapter Four: Archaic and Classical Ceramics of Eleon

After a long gap in the ceramic record following the twelfth century bc, ceramic materials dating from the eighth through the fourth century bc are documented in our excavations. This contribution presents for the first time the key deposits of Archaic and Classical material identified on the acropolis of Eleon from 2011 to 2014, including the evidence for the dating of the polygonal wall, the only monumental construction of this period identified so far at the site. Attention is also drawn to the large quantities of votive materials recovered from the ramped entryway and other areas of the site, which appear to attest to one or more cults operating on the acropolis during the sixth through the fourth century bc, if not earlier.

Lucius Finally Hits the Anglophone Stage: Robertson Davies’ Operatic Golden Ass and the Reunification of Apuleius’ Asinus Aureus

The theatrical reception of Apuleius’ Asinus Aureus has largely been limited to the story of Cupid and Psyche because an adaptation of the entire novel challenges writers to “solve” the “problems” Apuleius puts before the reader, most of which involve the unity of the narrative. Canadian novelist Robertson Davies’ libretto for the posthumously produced The Golden Ass (1999) is the first attempt in English to present the entire novel onstage (and the first opera), and tries to solve the problems presented by Apuleius in a distinctly twentieth-century way, combining a life of reading and writing about the novel with the influence of Carl Jung and Robert Graves.

Chapter Five: The Archaic and Classical Figurines

The terracotta figurines and protomai from Eleon form a compelling corpus of evidence for activity on the acropolis during the Archaic and Classical periods. This chapter provides an overview of the figurines recovered in the first five years of excavation at Eleon. A chronological survey relies on stylistic analysis, as nearly all come from the ramped entryway to the site, either built into the fill of the ramp itself in secondary deposition, or in later pits disrupting these levels. The assemblage is composed of a range of handmade and moldmade female figurines in seated and standing postures; the lingering Archaic type of the early Classical period is prevalent among these. Given their quantity and the nature of the associated material, it can reasonably be assumed that the figurines are linked to votive activity on the hilltop, although specifics elude us beyond association with a female deity. Dedication of the figurines peaked in the mid-fifth century, at least 25 years after the construction of the polygonal wall. This may be indicative of shifts in votive practice over time, as well as developments in local terracotta production before the emergence of a “Boeotian” coroplastic style.

Non-Olympian Gods and Persuasive Speech in the Aeneid

Throughout Vergil’s Aeneid, non-Olympian gods, acting on behalf of Olympian gods, attempt to persuade mortals to undertake various destructive actions. Apart from Juturna (Book 12), non-Olympian gods such as Iris (Book 5), Somnus (Book 5), and Allecto (Book 7) are unable to persuade their audience with words alone and resort to their irresistible divine appearance or abilities to achieve their ends. Although these speeches rarely attract critical attention in their own right, we can be certain that Vergil complicates these episodes to convey information not only about the nature of the non-Olympian gods (and their relationship to mortals) but also about the character of the resisting mortals. In particular, I will demonstrate that Juturna is able to persuade the Rutulians to break the truce with the Trojans in Book 12 because she—both as a recent mortal and sister of Turnus—understands human behaviour, whereas the other non-Olympians fail precisely because their speeches do not reflect a true understanding of their audience’s humanity.

The Commemoration of Children in the Funerary Epigraphy of the Conventus Cluniensis (Hispania Citerior)

This article examines the funerary inscriptions dedicated to children in the Roman period in the Conventus Cluniensis. The rate of infant mortality was high in this period but only a low percentage of inscriptions were dedicated to children. This underrepresentation of infant mortality has been analyzed from different perspectives, including the emotional attachment of the parents or archaeological funerary remains connected to non-adults. The aim of this article is to contextualize the epitaphs dedicated to children within the general analysis of funerary epigraphy, comparing the representation of children with other social groups and the use of Latin epigraphy in the provinces.