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The southeastern United States and Florida support an unusually large number of endemic plant species, many of which are threatened by anthropogenic habitat disturbance. As conservation measures are undertaken and recovery plans designed, a factor that must be taken into consideration is the genetic composition of the species of concern. Here we describe the levels, and partitioning, of genetic diversity in 17 populations of the rare and threatened Florida endemic, Euphorbia telephioides (telephus spurge). Species-wide genetic diversity was high (P s  = 91%, AP s  = 3.81, A s  = 3.57 and H es  = 0.352) as was mean population genetic diversity (P p  = 81%, AP p  = 2.98, A p  = 2.59 and H ep  = 0.320) which ranks it among the highest 10% of plant species surveyed. Partitioning of genetic variation (G st  = 0.106) was low compared to other herbaceous outcrossing perennials indicating high historical gene flow across its limited geographic range. Among population G st values within the three Florida counties in which it occurs, Gulf (0.084), Franklin (0.059) and Bay Counties (0.033), were also quite low. Peripheral populations did not generally have reduced genetic variation although there was significant isolation by distance. Rarefaction analysis showed a non-significant relationship between allelic richness and actual population sizes. Our data suggest that E. telephioides populations were probably more continuously distributed in Bay, Gulf and Franklin Counties and that their relative contemporary isolation is a recent phenomenon. These results are important for developing a recovery plan for this species.

The aim of this paper is to analyze Euripides’ use of mechanema and disguise as a dramatic and metatheatrical device in Telephus and its reception both as a plot element and an object of parody in Aristophanes’ Acharnians.

The paper deals with the disputed authorship of two iambic fragments, frr. trag. adesp. 284, 394 N.2 = Diog. Sin. frr. dub. 4-5 Sn.-K. On account of lexical, stylistic, and content affinities especially, the attribution to Euripides’ Telephus, among other Euripidean fragmentary dramas, is proposed.

Elegiac lyrics celebrating the love of boys, which the translator termsPuerilities, comprise most of the twelfth book ofThe Greek Anthology. That book, the so-calledMusa Puerilis, is brilliantly translated in this, the first complete verse version in English. It is a delightful eroticopia of short poems by great and lesser-known Greek poets, spanning hundreds of years, from ancient times to the late Christian era. The epigrams--wry, wistful, lighthearted, libidinous, and sometimes bawdy--revel in the beauty and fickle affection of boys and young men and in the fleeting joys of older men in loving them. Some, doubtless bandied about in the lax and refined setting of banquets, are translated as limericks. Also included are a few fine and often funny poems about girls and women. Fashion changes in morality as well as in poetry. The sort of attachment that inspired these verses was considered perfectly normal and respectable for over a thousand years. Some of the very best Greek poets--including Strato of Sardis, Theocritus, and Meleager of Gadara--are to be found in these pages. The more than two hundred fifty poems range from the lovely to the playful to the ribald, but all are, as an epigram should be, polished and elegant. The Greek originals face the translations, enhancing the volume's charm. A friend of Youth, I have no youth in mind, For each has beauties, of a different kind. --Strato I've had enough to drink; my heart and soul As well as tongue are losing self-control. The lamp flame bifurcates; I multiply The dinner guests by two each time I try. Not only shaken up by the wine-waiter, I ogle too the boy who pours the water. --Strato Venus, denying Cupid is her son, Finds in Antiochus a better one. This is the boy to be enamored of, Boys, a new love superior to Love. --Meleager