Juno

Brigitte and Jean Massin, editors, in their Histoire de la Musique Occidentale, explain in details that musical period in England. We will only retain a few remarks. First a definition by Thomas Morley, that we only have in French. The madrigal is:

“la forme la plus subtile et la plus délicieuse pour un homme de bon entendement. (...) La musique en doit être indécise comme le vent, parfois lascive et parfois languissante, parfois grave et solennelle, à d’autres temps, efféminée. (...) Vous pouvez y montrer l’extrême de la variété, et plus de variété vous montrerez, plus vous recueillerez d’estime.” (Brigitte and Jean Massin, op cit, Vol I, p. 215)

And they go on explaining the great importance of music in Shakespeare’s and Ben Jonson’s plays. What we have done in this article is a demonstration that Shakespeare pushed the music a long way beyond simple notes and songs, simple measures and instruments, and developed it into the text, the language, the very dramatic situation. Shakespeare is thus a musician of the language and the dramatic stage.

This article aims to analyse and interpret three poets of Pseudo-Claudianus. The first one, „De Liberalibus", is about the festival of the Liberalia in which Pater Liber and Libera were worshiped. However we note that a poem is more about a god than the festival. The feast seen by the poet is similar to the Anthesteria in Greece. We can found
characteristic phrase „da reditum nobis: sic" which is also visible in second of poems „De Iunonalibus". Unfortunately, this poem is preserved only in fragments. We found out that Pseudo-Claudianus called Hera a wife and a sister of Zeus. The third one, „De Vinalibus", is differ in structure from the previous but refers to the Roman Vinalia that were similar to the Anthesteria. These three poems allow us to better understand pagan cults in Late Antiquity.