This chapter has a simple argument: Pliny’s Epistles is a work of many intertextual parts. Neither beholden to Cicero’s Epistles, its professed generic forebear, nor privileging ‘poetic memory’ over prose, it integrates a broad range of predecessors, old and new, verse and prose. In a larger study of Plinian intertextuality Whitton has argued that Quintilian’s Institutio Oratoria is its unsuspected protagonist, with Tacitus’ Dialogus tightly caught up in the same weave. Rather than rehearsing those claims, he uses this short contribution to pick out some other ingredients to his mix. Three short passages (from Ep. 4.3, 5.16 and 7.1) include a long-forgotten reworking of Cicero’s Orator and hitherto unremarked imitations of Lucretius’ De Rerum Natura, Valerius Maximus’ Facta et Dicta Memorabilia and Tacitus’ Agricola. In examining these liaisons, the chapter exemplifies some modes and norms of Plinian imitatio and demonstrates that these works and authors all have a role in his pages (so, incidentally, adding to their reception histories). More broadly – if very selectively – it argues that Pliny’s generic self-positioning is a literary act of high ambition: for all its professed simplicity, the Epistles integrates a wide range of exemplary texts into its blend. We just need to start plumbing its depths.

This chapter argues that Pliny’s description of his Tuscan villa (Ep. 5.6) engages in a complex intertext with Statius’ villa descriptions in the Silvae (1.3 and 2.2). The intertext involves Pliny recognizing and ‘correcting’ Statius’ combinatorial appropriation of Lucretius and Vergil’s Georgics. Statius alludes to the concept of nature in Lucretius and Vergil in order to justify his (polemical) celebration of the domination of nature by positioning it within the didactic tradition. In doing so Statius is able to praise the extravagance of his patrons and their villas. Chinn argues that Pliny acknowledges and elaborates this intertext by ‘correcting’ Statius’ Lucretian allusion and thereby positioning himself as the controller of nature and hence the object of praise.

This paper is concerned with the presence of early Latin linguistic and stylistic elements in a first-century BC text, Lucretius’ De Rerum Natura. The poem notoriously features a variety of optional archaic forms, such as the terminations -ai for the genitive singular of the first declension, and -ier for the passive infinitive. These are found alongside their more standard equivalents -ae and -i, resulting in a mixed style that combines archaisms and non-archaisms. This study offers 1) a full reconsideration of these optional archaisms, providing richer data on their distribution both in the poem and in the hexameter line, and methodological consideration of ‘metrical convenience’, an explanatory concept which is often invoked when dealing with such forms but rarely explored in detail or depth; and 2) a new analysis of features of vocabulary and phraseology that are shared by Lucretius and early Latin authors. A particular concern will be distinguishing, where possible, between the influence of Latin and Greek: Lucretius’ use of compounds is demonstrably influenced by Empedocles, but also by Ennius; his use of tmesis finds some parallels in Homer, and some in Early Latin.

Human beings become scarcer than before in the simile world of the Aeneid, contributing to a tale about the loneliness and sorrow of human beings who struggle to connect with each other or to affect the world around them. Both Aeneas and the characters in the simile world are marked by solitude and isolation. The human characters in the simile world of the Aeneid share few strong ties with other creatures, and they often fail to affect the world around them in ways that their fellows in Greek epic would take for granted. In the story world, similes highlight moments of furor, the overpowering rage that underlies both love and war and threatens not simply Aeneas’ mission to found Rome but also the existence of a rational world order. Similes draw out isolation and overwhelming passion as two poles of emotion in the poem with little in between. They use new storytelling techniques that appear rarely or not at all in the similes of earlier epics, and they often lack an exit expression joining a simile to the story. These features weaken the conventional distinctions between similes and other components of epic narrative.

“The Ties that Bind,” takes us in a new direction as we begin to explore Lucretius’ curative efforts toward his male audience. Quite naturally then, we train our focus on the famous honey-rimmed cup of medicine metaphor of 1.921–50 (4.1–25). We find that the verses present a figure denser than the simple doctor-patient-medicine schema. Rather surprisingly, Lucretius has woven into the image a complex set of allusions to mythical female characters. In overlapping ways, Lucretius identifies his authorial voice with Circe, Helen, and the Sirens as he seeks to seduce, drug, and divert his audience away from what they might imagine to be their dearest goals in life. Lucretius reveals that the emasculating web of deceit he spins becomes a safety net to rescue his audience from the trap of self-delusion and superstition in the face of nature’s laws.

This chapter serves as an introduction to the polemical dismissal of Epicurean teachings as sub-masculine and morally suspect. Epicureans are shown to figured as sexually receptive and effeminate by their ideological opponents. I argue that Lucretius accepts these criticisms and turns them around to show that Roman men are equally effeminate and penetrable. Objective, empirical observation of nature and physics proves that everyone, regardless of biological sex and sociological gender, is rendered penetrable and vulnerable by the constant issue and reception of atoms.

We resume the above discussion about sense perception and violence and delve further into the campaign Lucretius wages against presumed subjectivity. This chapter is a combination of two previously published articles (“Ocular Penetration, Grammatical Objectivity, and an Indecent Proposal in De Rerum Natura” and “Seminal Verse: Atomic Orality and Aurality in De Rerum Natura” ) both of which have undergone revision and expansion for the present volume. The weight of inquiry falls especially on sight and hearing, which are, perhaps not coincidentally, the primary modes of experiencing the poem or – to put it more in Lucretius’ parlance – the senses being assailed by the poem itself. Shown to be less than powerful in the womb in Chapter 2, here we find that Lucretius alters this uterine imagery to prove that men and their sense orifices are involuntary, womb-like repositories for nature’s inseminating forces.

In the sixth and final chapter, we continue to trace how Lucretius rehabilitates Roman men and their performed gender. Although I resume exploring the sexual language and figures by which Lucretius depreciates male presumptions of anatomical and sociological advantage, in “Vir Recreandus” I also tease out from the poem a positive argument about masculinity. Following the poet’s cues, I construct what an Epicurean man is, what he can do, what he is for, and how he can flourish in Lucretius’ reordering of the world. This Epicurean homo turns out to be manly in behaviors that, in part, map onto traditional scripts for a vir even while acting and self-regarding in ways that Romans would deem strange indeed. Much to Cicero’s vexation, Epicurean men become Rome’s true patriots.

From conception and lived experience, we proceed to death in Chapter 4. Although my focus is on Lucretius’ treatment of death and men’s fears of it, in “The Hole that Gapes for All” I persist with analyzing the themes of wombs, semen, fecundity and the ways by which Lucretius weaves this imagery into his criticism of human appetite for consumables, sex, and protracted life. In Lucretius’ poetics, the universe, the world, and individual human bodies all become sites of decomposition, insemination, and (re)birth. Death itself is shown to be pathologically eroticized as the final object of a man’s fear and lust – a desire Lucretius seeks to reform into an ethical acceptance of death. Lucretius’ point, I argue, is that, regardless of biological maleness and the security it bestows on Roman men, nature’s laws make wombs and tombs of them all in a never-ending cycle of death and rebirth.

The chapter takes us to the moment of biological conception and explores the question of male autonomy in embryonic fertilization and development. We will follow Lucretius’ lead into the reproductive organs of men and women to show how generative material supplied by female and male sexual partners both competes and cooperates at conception. What Lucretius reveals in forceful language and imagery is that men are impotent in the face of universal physics and that female reproductive assertiveness gives the lie to exclusive male dominion from the moment when genetic material from both parents first coheres in utero.

This paper reexamines the intertextual connection between Lucretius and Ennius from a multi-medial angle. Ennius’ tragedies were regularly revived in the late Republic, and selections from his epic Annals appear to have been recited in public contexts as well. These performances seem to have stood in a relationship of reciprocal influence with wall paintings, as stagings inspired painters, and their artwork influenced actors in turn. Accordingly, Lucretius treats Ennius’ works as particularly influential expressions of a harmful philosophy that threatens Epicurean ataraxia in a variety of contexts. Analyzing familiar points of contact between the two authors in Book One of On the Nature of Things and highlighting a number of as-yet undiscussed allusions, I argue that Lucretius equips his readers with the tools to challenge Ennius in all three of the relevant media, be it on the page, on the stage, or in images.

This paper offers a provocative re-reading of the passage about the sizes of the sun, moon, and stars late in Lucretius’ De Rerum Natura (5.564-613). Attention to not only details of argumentation but also shades of meaning and contorted syntax shows a more complex, ambiguous presentation than generally acknowledged. This paper suggests that Lucretius' narrator—rather than merely parroting wrong, ridiculed doctrines—pulls student-readers into the process of inquiry. It becomes the didactic audience’s task to receive data from sense-perception and use lessons learned earlier in the poem in making correct judgments based upon that data. In Epicurean and Lucretian accounts of reality, the senses themselves are infallible; so the Lucretius-ego’s assertion that the sun as big as perceived by our senses must also be infallible. But our interpretation of what that assertion entails about the sun’s actual size is a matter of judgment, and thus fallible and uncertain indeed.

Focusing on the revelation of Epicurean thanatology in the third book of On the Nature of Things, this essay argues that the most vehement strains of Lucretius’ diatribe against the fear of death are a polemic against kitsch. It explicates the pervasively frank, anti-kitsch stance of Epicureanism and explores how Lucretius combats kitsch, even as kitsch was enthusiastically circulated in other Roman contexts in the form of Epicurean objects and clichés. In the vignettes of the departed father and the maudlin drinkers in DRN 3, Lucretius draws our attention to the way that kitsch (the image of the stereotypically sweet children, the trite lamentation, the pseudo-philosophy, the falseness) occludes reality. The denunciation of kitsch is fundamental to Epicurean teaching: to deny that our metaphorical city has penetrable walls and to bemoan the eventuality of one’s own death is to refuse the nature of things.

This book examines the role and influence of Greek philosophy in the final days of the Roman republic. It focuses primarily (although not exclusively) on the works and views Cicero, premier politician and Roman philosopher of the day, and Lucretius, foremost among the representatives and supporters of Epicureanism at the time.

Catullus’ collection contains several clear echoes of the work of two contemporary Epicurean poets, Lucretius and Philodemus. Indeed, several of the neoteric poet’s central themes (the attractions of otium and disengagement from public life; patronage by members of the high elite and its pitfalls; dissatisfaction with the mos maiorum) bring him potentially into close alignment with Epicurean ideals. In this chapter, however, I argue that, on closer consideration, Catullus’ intertextual engagement with his two contemporaries points rather to a self-consciously antagonistic stance towards Epicurean ethics. Catullus’ attack on ‘Socration’ in Poem 47, combined with parodic echoes of Philodemus’ epigrams in Poems 13 and 43, bears comparison with Cicero’s deployment of anti-Epicurean clichés in the In Pisonem; similarly, Philodemean and Lucretian echoes underline a striking divergence both from Epicurean ideals of friendship and from the rejection of romantic love explicit in Lucretius and arguably implicit in Philodemus’ Xanthippe cycle.