Scipio’s downfall is superficially surprising: the charges were obviously invented, although he was not helped by his own arrogance. The disgrace and death in humiliating retirement of a successful, patriotic general seems a display of petty ingratitude. But in the Roman Republic, no individual, however gifted and successful, must be allowed to become too wealthy from booty or too politically powerful. The main agent of his disgrace (two phases, 187, 184), was Cato. Livy’s narrative is gripping but confused. Polybius treated the troubles of the Scipio brothers only as part of an anecdotal obituary. In 187, Cato put up two tribunes to demand an account of the money which Lucius received from Antiochus as part-payment of war indemnity. Publius, the real target, angrily tore up the account book which could have cleared him. He himself was prosecuted (184). It never came to trial. He died at his Campanian villa (183).

In his obituary of Silius Italicus (Ep. 3.7), Pliny uses a series of apposite intertextual allusions drawn from a variety of sources (especially from Seneca’s Dialogi and Epistles, Cicero’s Epistulae ad Familiares and Hesiod) which help him denigrate Silius’ posthumous reputation. Pliny evokes several titles of Senecan works and thus virtually creates an epistolary library with a section containing Stoic best sellers. In this letter, Pliny absorbs Seneca’s Stoicism, prompts his readers to evaluate Silius’ character through the lens of Stoic discourses and to notice an inconsistency between Silius’ Stoic death and his un-Stoic way of life, while all the while associating the epic poet with Epicureanism. He has good reasons to undermine Silius’ reputation, since the latter was Pliny’s rival for the title of Cicero’s heir. However, at the same time Pliny differentiates himself from Seneca by rejecting some of his central ideas, as e.g. his idea that human life is not short. The negative insinuations against Silius are further accentuated by intratextual links with other letters addressed to Caninius Rufus.

This chapter considers how Puccini has been commemorated through biographies and obituaries. It begins with a discussion of biographies or studies of the composer published during his own lifetime, in Britain, Italy, and Germany – some flattering, some decidedly hostile. The author then discusses international responses to Puccini’s death, via press obituaries, remembrance ceremonies, and other tributes. Puccini’s memorialisation in Italy was effusive; that abroad somewhat less so, with some French obituaries verging on the disparaging. Obituarists attempted to weigh up Puccini’s significance within music history and to assess the extent to which he represented a quintessentially Italian style. The chapter then discusses books of various types that were published about Puccini after his death, including biographies and collections of letters. It considers how Puccini was remembered on the occasion of various significant anniversaries and how Puccini’s reputation was reappraised over the century since his death.

From mid-1943 until late-1950, Eric Crozier was an essential asset to Britten’s industry. His work alongside director and radio producer Tyrone Guthrie not only introduced Crozier to the Old Vic in London, but to the BBC as well, where Guthrie also worked. Joan Cross invited Crozier and Guthrie to each direct two different productions at Sadler’s Wells in 1943. Crozier directed and produced Britten’s first two operas, Peter Grimes in 1945 at Sadler’s Wells, and The Rape of Lucretia in 1946 for the short-lived Glyndebourne English Opera Company. Crozier wrote the librettos for Albert Herring and the children’s entertainment Let’s Make an Opera (with its central opera, The Little Sweep), in addition to writing the text for the cantata Saint Nicolas, and with E. M. Forster, he was co-librettist for Billy Budd. Britten, Crozier, and designer John Piper founded the English Opera Group. The endeavour was based on ‘the Britten–Crozier doctrine’ that sought the group’s own autonomy and ultimately a home to produce such works. That home was largely realised in the founding of the Aldeburgh Festival of Music and the Arts in 1948, for which Crozier was a founder and co-artistic director.