Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the 'recognition scene', than has previously been attempted, with the aim of moving towards a better-structured understanding of the 'syntax' of type-scenes generally. The structure of the recognition scene is dissected into motifs and 'moves', all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and assumptions built into the analysis. Following this is an assessment of the 'syntax' and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of the Odyssey.

‘Diktys of Crete’ is a fictionalised prose account of the Trojan War. It does not enjoy a high profile in modern thought, but looms large in Byzantine and mediaeval histories of the Troy matter. Although the ‘Latin Dictys’ has enjoyed a moderate revival in recent scholarship, the Byzantine testimony to Diktys is still badly neglected. The present article focuses on: (1) a general overview of the Greek Diktys, including up-to-date information on dating; (2) a comprehensive list of witnesses to Diktys (the first list of its kind for over a century, and the first ever in English); (3) some problems relating to Book 6 of the ‘Latin Dictys’; and (4) an overview of theSisyphosfrage, that is, the question of the role of ‘Sisyphos of Kos’ in the transmission of the Greek Diktys.

semplicamente potenzialità illimitate di esecuzione del canto di lode?' L. argues for the µrst alternative and begins by examining evidence for repeated performance 'nel tempo'. An example of this is Nem. 4.13-16, where he retains νξοξ against Bergk's φ ξ and stresses the importance of ραν0. This passage provides evidence that an epinician could be often repeated in the form of a monody by a family member. Repetition within the household is said to be implied by other passages, although I do not see how Pyth. 1.97-8 can be considered evidence for 'la riedizione di un epinicio in forma corale'. Some epinicia appear to have been performed at festivals (e.g. Pyth. 5.77-81), and L. suggests that they were also performed at subsequent festivals. When it comes to repetition, 'nello spazio', the evidence is much more problematic. In a passage such as Nem. 6.29-34 he assumes that Pindar expected the victor's clan would transport the ode, along with other cargo, for repeated performance wherever their ships put in. This is, I suppose, possible, but when Pindar proclaims in Olym 9.21-5 that he will send his message everywhere (παξυ), the most we are entitled to assume is that he envisions the ode being sung at various places in the future. To what extent an ode was actually sung in places di ¶erent from the victor's homeland we have no means of knowing. The boast of pan-Hellenic di ¶usion of his odes in Olym. 9 and elsewhere is both a proud claim of his superiority as a poet and an encomiastic technique, one way of assuring the victor that his achievements will be widely recognized. The third chapter, entitled 'La Musa artigiana', is the least signiµcant, since it contains little that is new or controversial. Here he discusses metaphors associated with '(1) la costruzione di ediµci, (2) il thesaurós, (3) la stele, (4) i prodotti dell'arte toreutica, (5) l'intreccio di corone, la tessitura e il ricamo, altre forme di artigianato', and he provides 'alcuni elementi di analisi sulla polemica con la statuaria'. It should be stressed, however, that there is considerable value in the thoroughness with which some

At the end of the episode on the Island of the Blessed in Lucian's True Histories, Kinyras, a recent addition to Lucian's crew, elopes with Helen. At Menelaos' request Rhadamanthys sends a ship in pursuit of the conspirators, and catches them; Helen is returned to her husband and Kinyras is punished. The story closely mimics an episode in Diktys, and this parody seems not to have been detected previously. "Diktys of Crete" is the pseudonymous author of the Ephemeris, a quasi-novelisation of the Trojan War told from Diktys' perspective as a soldier in the Achaian army. The present article addresses three points relating to the use Lucian makes of Diktys: (1) it is always welcome to understand a new joke in Lucian; (2) the parody slightly narrows down the date of the original Greek Diktys; (3) the episode is an instance of Lucian's parody reaching beyond the realm of the pepaideumenos, the educated Hellenised élite.The original Greek Diktys has been dated 1 to between 66 CE (the date mentioned in the pseudo-documentary prologue to the novel) and 200 (the approximate date of p. Tebt. 268, which preserves a fragment of what seems to be the original Greek text). Lucian's parody of the novel helps push the later date back by a decade or so; we know that Lucian was alive after 180, but it is unlikely that his death was much later than 190, when he would have been about seventy years old.There is no shortage of other parodies to detect in the story of Kinyras. The most obvious parody is that of the original seduction (or rape) of Helen by Paris; and it does not take much effort to see also a parody of the story of Jason and Medea, in the pursuit by the woman's family, and the ship made from a single log. VON MÖLLENDORFF has also detected a looser set of satirical references to Kinyras, the mythical king of Cyprus and grandson of Pygmalion 2 . But Lucian's parody of Diktys is closer than all of these.Adding Diktys to the -already substantial -list of Lucian's targets certainly illustrates Lucian's skill at combining multiple jokes. This is in keeping with his style. Lucian routinely darts between several targets with dazzling speed. Take, for example, the very short DMort. 6: the last eight exchanges in the dialogue, in the space of a few lines, satirise Plato's Apology (Sokrates as the one who "knows nothing") and Symposium (Alkibiades), Herodotos book 1 (Kroisos), and Ktesias (Sardanapalos). Lucian rarely fails to show off his particular variety of effortless brilliance.

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