Eight conventional slots, instantiated four times across the genre's surviving five inscriptions (Turia, Murdia CIL VI 10230, Magnia ILS 8398, and two later cases per Mantzilas 2017). The Laudatio Turiae is here the most-preserved type-specimen, not a one-off outlier. The unique passages — the proscription episode (II.30) and the divorce-offer counterfactual (Fragment IV, Gordon 1950) — are the philological residue that genre-formula does not predict.八个惯用栏位，在该文类现存的五篇铭文（图莉娅、Murdia CIL VI 10230、Magnia ILS 8398，以及 Mantzilas 2017 所列的两个较晚案例）中四次得到实例化。《图莉娅颂辞》在此是保存最完整的典型标本，而不是一次性的特例。其中独特的段落——“公敌宣告”插曲（II.30）与“提出离婚”的反事实假设（残篇 IV，Gordon 1950）——正是文类公式所无法预测的语文学残余。
The standard scholarly narrative treats the Laudatio Turiae as the exception — a unique novelistic narrative whose closest formal parallels are Cicero's letters to Atticus on Tullia's death, not other inscriptions. This case study argues the opposite: the Laudatio is the type-specimen of a formulaic genre, the laudatio funebris, and recognising it as such (a) makes its truly novel passages stand out, and (b) is what allows the left-margin restorations at I.30 (the virtue-catalogue) and II.39 (the 40-year marriage) to be confident at all.标准的学术叙述把《图莉娅颂辞》当作例外——一篇独特的、近乎小说式的叙事，其形式上最接近的平行文本是西塞罗写给阿提库斯、为女儿图莉娅的死而写的书信，而不是别的铭文。本案例研究主张相反的看法：这篇颂辞是一种公式化文类——葬礼颂辞——的典型标本；承认这一点（甲）会让它真正新颖的段落凸显出来，（乙）也正是使 I.30（德性清单）与 II.39（四十年婚姻）处左侧边栏复原得以确凿可信的依据。
Harvested from D. Mantzilas, Laudationes Mulierum: Lives and Virtues of Five Exceptional Women (2017) — the canonical comparison of five laudationes mulierum (Turia + Murdia + Magnia + two later cases). The 8-slot bank is the intersection of formulaic moves all five inscriptions share.取自 D. Mantzilas，Laudationes Mulierum: Lives and Virtues of Five Exceptional Women（2017）——对五篇“妇女颂辞”（laudationes mulierum：图莉娅 + Murdia + Magnia + 两个较晚案例）的经典比较。这套八栏位库，是五篇铭文共有的公式化手法的交集。
| # | Slot | Conventional Latin惯用拉丁文 | Where the Laudatio Turiae instantiates it《图莉娅颂辞》在何处实例化它 | Parallel-pool size平行文本池规模 |
|---|---|---|---|---|
| 1 | Subject-formula主题公式 | uxor optima / de coniuge mea / coniugi optimae | Implied (lost on the upper portion of the tablet)隐含（在碑板上部残失） | 5/5 (all laudationes mulierum) |
| 2 | Address opener称呼起语 | adsisto / loquor de te | Implied (lost)隐含（已残失） | 5/5 |
| 3 | Vita-narrative生平叙事 | — | Frag A (Col I): parents' murder, inheritance defence, marriage | 5/5; only the Laudatio fills it with juridical-political content |
| 4 | Virtue-catalogue德性清单 | pietas · modestia · comitas · religio · lanificium · cultus | I.30: [Quid de p]ietate, mode[stia, comitate], iucundissima [aequitate], sed[ula lanificio], reli[gione sine] superstit[ione], orna[tu non conspi]ciendo, cu[ltu modico nec d]ica[m]? | 5/5 in canonical order |
| 5 | Distinguishing-event praise标志性事件颂扬 | — | Frag B+C (Col II): proscription episode + Lepidus appeal | 5/5; only the Laudatio's specific episode is historically unique |
| 6 | Counterfactual closer反事实式收束 | quae melius / plura quae dicerem | Frag IV (Gordon 1950): the wife's offered divorce, the husband's refusal | 4/5; the divorce-offer specifically is rare |
| 7 | Lament / desideria哀悼／思念（desideria） | desideria / dolor noster | II.55: Quid mihi nunc accidisset, qui post te uixerim; II.63: tu uere uixisti dum eras, ego post tempus exegi | 5/5 |
| 8 | Ritual closer仪式性收束 | — | Implied (lost lower portion of the tablet) | 5/5 |
The most telling formula-mark of the genre's hold on the Laudatio is that the virtue-list at I.30 follows exactly the order found in the other four laudationes mulierum (per Mantzilas 2017): pietas · modestia · comitas · aequitas · lanificium · religio sine superstitione · ornatus non conspiciendus · cultus modicus. The husband does not innovate the catalogue; he instantiates it. This is what makes the left-margin restoration of I.30 confident — the missing words must complete the conventional sequence.这一文类对该颂辞的掌控，最能说明问题的公式标记，就是 I.30 的德性清单正好遵循其余四篇“妇女颂辞”中所见的次序（据 Mantzilas 2017）：pietas · modestia · comitas · aequitas · lanificium · religio sine superstitione · ornatus non conspiciendus · cultus modicus。丈夫并没有创新这份清单，而是在实例化它。这正是 I.30 左侧边栏复原能够确凿的原因——残失的词语必须把这个惯用序列补全。
[Quid de p]ietate, mode[stia, comitate], iucundissima [aequitate], sed[ula lanificio], reli[gione sine] superstit[ione], orna[tu non conspi]ciendo, cu[ltu modico nec d]ica[m]? Laudatio Turiae I.30, after Durry 1950 / Wistrand 1976 / Flach 1991
The Lepidus-appeal narrative at II.30 occupies the genre's distinguishing-event praise slot (slot 5). The slot is conventional — all five laudationes mulierum carry one. But the SPECIFIC episode the Laudatio fills it with — a private woman appealing to a triumvir during the proscriptions and being publicly brutalised by his lictors — is uncontrovertibly unique. It is the only inscription-attested account of how the Triumviral terror played out at street level.II.30 处向雷必达（Lepidus）求情的叙事，占据了该文类的标志性事件颂扬栏位（第 5 栏）。这个栏位是惯用的——五篇“妇女颂辞”都各有一处。但该颂辞用以填充它的那个具体插曲——一位私人身份的女性在公敌宣告期间向三头同盟中的一位求情、并被其扈从（lictores）当众施暴——则无可争议地独一无二。它是唯一一份由铭文佐证、记述三头同盟恐怖如何在街头层面上演的材料。
Lepidi consulis collegae praesentis pedibus aduoluta humi non modo non adleuata, sed tracta et seruil[em in modum rapsata] Laudatio Turiae II.30, after Wistrand 1976; cf. Gowing 1992 ad loc.
This is the pattern the case study makes visible across all four genre-slots-with-philologically-unique-content: genre supplies the slot, history supplies the filling, and the formula bank is what lets us know where to look.这就是本案例研究在所有四个“栏位惯用、内容语文学上独特”的地方所揭示的模式：文类提供栏位，历史提供填充内容，而公式库正是让我们知道该往何处看的东西。
The Laudatio sits in deep dialogue with three Imperial honorific-funerary editions in the matrix-hub governance corpus:这篇颂辞与 matrix-hub 政务语料库中三部帝国时期的荣誉—葬礼类校勘本有着深层对话：
Each of these state-capacity editions makes the same formulaic moves the Laudatio makes in private capacity. The four together demonstrate that the dimensional axis is not "public vs private" but "performed within a known genre or not".这些以国家身份写成的校勘本，各自都做出了与颂辞在私人身份下相同的公式化手法。四者合观，表明真正的维度轴线不是“公共 vs 私人”，而是“是否在一种已知文类内部进行表演”。
This case study draws on (all in documents/general knowledge/):本案例研究所依据的材料（全部位于 documents/general knowledge/）：