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ESSAYS IN HONOUR OF JUDITH PETER HALLETT

This collection honours the life and career of Judith Peter Hallett. The breadth and the quality of the contributions in this volume attest to Hallett’s influence on classical scholarship. Nineteen essays are organised into three sections – Roman Literature, Gender and Reception – areas to which Hallett herself continues to make important contributions. In their introduction the editors offer an impressive biography of the dedicatee. The first section includes six original essays on Roman writers from Cicero to Petronius, applying diverse perspectives such as psychoanalysis and the celebrity paradigm. E.S. Gruen argues that Cicero’s deployment of xenophobic and racist stereotypes is opportunistic, used only in the interest of persuasion. G. points to a Roman ‘relativism’ found in Cicero’s De republica as evidence of the weakness of the stereotypes. M.C.J. Putnam focuses on Virgil’s engagement with Lucretius’ De rerum natura and the phrase frigidus sanguis (Virg. G. 2.482; Aen. 10.452). P. argues that the chill blood which comes over the poet faced with grand Lucretian themes expresses the universal fear of death. M.B. Skinner works from Quint’s 1993 Freudian reading of the Aeneid 1–6, in which he locates traumatic repetitions of the fall of Troy. S. applies this reading to Aeneid 7–12 in order to understand Venus’ furor and its association with the civil war between Caesar and Pompey. S. notes that the resolution of Juno’s furor is complicated by Venus’, which motivates Aeneas’ final act and is memorialised in Pompey’s and Caesar’s duelling Roman temples to the goddess. Two chapters on Ovid follow. L. carefully catalogues the rhetorical devices which mirror and augment the theme of duo in una in ‘Ceyx and Alcyone’ (Met. 11). L. argues that Ovid’s verse, in its ubiquitous doublings, demonstrates a lack of boundaries and a loss of selfhood. T.P. Wiseman explores the trope of the vates, comparing the historical use of the word and the experience of divine inspiration to passages in Fasti.W. paints a vivid picture of the potential performance context of Ovid’s Fasti, arguing for a diverse audience of Romans in the fora and circus, where poets and prophets recited verse side-by-side. Rounding off this section, S.K. Dickison offers a compelling reading of Petronius’ Widow of Ephesus (Sat. 111–12) as a celebrity, whose story turns on the tension between a performed public persona and private behaviour. The second group of essays offers five chapters on Roman gender as historical, discursive and constructed, spanning from the first century B.C.E. to the fourth century C.E. THE CLASSICAL REVIEW 468