John Percy Vyvian Dacre Balsdon and Barbara Levick
After the deaths of persons deemed by the senate enemies of the state, measures to erase their memory might follow. Originally there was no set package, as the phrase implies (cf. Ulp.Dig. 24. 1. 32. 7) but a repertoire (Tac.Ann. 3. 17. 8–18. 1): images might be destroyed (*Sejanus; *Valeria Messal(l)ina), and their display penalized (L. *Appuleius Saturninus, 98
‘Which of the gods was it that brought the two together in strife?’, asks the Iliad as it launches its narrative (1.8); early in the Odyssey*Zeus complains that mortals blame the gods when they are responsible for their own sufferings (1.32–3). Both poems however swiftly complicate any attempt to limit explanations to either the human or the divine level. Achilles and Agamemnon quarrel, Achilles kills Hector, and Odysseus gets home, largely because they are the people that they are, but gods often intervene too. The Greeks win because they are better fighters; they also win because more gods are on their side. The poems also suggest another form of explanation, not tracing events to their origins but relating them to a familiar pattern of human life. Suffering is the lot of humanity (Il. 24.525–6); outrages like those of the suitors are punished. Life is like that, and one should not be surprised.
W. Jeffrey Tatum
The reception of Caesar constitutes, for obvious reasons, an immense topic. As a political idea, Caesar exhibits from the very beginning a tension between his role as dictator and destroyer of the Republic and his standing as the political and military genius who founded the Empire. This contrariety, not least by way of the analytic category of Caesarism, is especially marked in the political discourse of the 19th and 20th centuries. Caesar’s literary reception, though influenced by contemporary political conflicts, is not always tethered to them in straightforward ways. The Caesar of literature is often a reaction to the Caesar of Shakespeare. And there are other important issues: Caesar as a problem in the recovery of authenticity, or Caesar, because he is a canonical author, as a symbol of the conservative claims of the established order. In art, Caesar the god and Caesar the chivalrous king gradually give way to Caesar the slain dictator or Caesar the imperious conqueror. In popular culture, however, Caesar’s manifestations vary wildly: although he continues to register at a political level, he can also signify imperial excess or martial prowess, and he is available as a medium for lampooning the various guises of his own reception.
Simon Hornblower and Antony Spawforth
Prosopography is a modern term for the study of individuals, and is derived from the Greek prosōpon, one meaning of which is ‘person’. There is no agreed or official definition of prosopography, which goes under different names in different disciplines (to the social scientist, prosopography in one of its manifestations is ‘multiple career-line analysis’: see L. Stone in bibliog. below). Prosopography, as used in ancient history, is a historical method which uses onomastic evidence (see