DOCSLIB.ORG

Studio Preliminare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Studio Preliminare Dipartimento di Scienze della Comunicazione, Studi Umanistici e Internazionali: Storia, Culture, Lingue, Letterature, Arti, Media (DISCUI) CORSO DI DOTTORATO DI RICERCA IN STUDI UMANISTICI – CURRICULUM SCIENZE DEL TESTO XXX ciclo PER UNA NUOVA EDIZIONE DI CORINNA DI TANAGRA: STUDIO PRELIMINARE Settore Scientifico Disciplinare L-FIL-LET/02 Relatore Dottoranda Chiar.ma Prof.ssa Liana Lomiento Dott. Tullia Spinedi Anno Accademico 2016-2017 Premessa Diverse sono state le edizioni di Corinna, ma in due casi soltanto sono opere monografiche: l’edizione di Page del 1953 (D. L. Page, Corinna, The Society for the promotion of the Hellenic Studies, Londra 1953) e quella, recente, di Torres del 2005 (R. Torres, M. Capellà, J. Portulas, Testimonis i fragments / Corinna de Tànagra, introducció i edició de Ricard Torres i Ribé; traducció de Margalida Capellà i Soler; pròleg, supervisió i notes de Jaume Pòrtulas, Barcelona 2005). Le altre sono edizioni che comprendono diversi poeti lirici, tra le quali la più celebre è l’edizione di Page dei Poetae Melici Graeci del 1962, che è a tutt’oggi l’edizione di riferimento per quanto riguarda i carmi della poetessa beotica. Nessuna delle monografie è specificamente un’edizione commentata, seppur vi siano introduzioni e discussione di diversi argomenti; nessuna, inoltre, comprende tutta l’opera di Corinna, per diverse ragioni: l’edizione di Page del 1953 è anteriore alla pubblicazione dei Papiri di Ossirinco editi nel 1956; l’edizione di Torres esclude i papiri più frammentari. Questo studio si presenta come preparatorio per una edizione italiana commentata dei componimenti di Corinna e delle testimonianze sulla sua vita e sulla sua opera. Esso comprende un’introduzione mirata a esporre 1) i problemi relativi alla datazione e al genere letterario, 2) la lingua, 3) il metro, 4) la tradizione manoscritta e 5) il commento dei testimonia; nella sezione introduttiva si trova, in via provvisoria, il commento delle testimonianze indirette, che saranno poi edite a parte e con commento specifico (per questa ragione, nel presente lavoro, le testimonianze indirette sono indicate secondo la numerazione dell’edizione di Page 1962). Segue l’edizione con commento di tutti i papiri di lirica beotica, prodotta in seguito all’analisi autoptica di tutti gli originali, ad esclusione del Papiro di Berlino 13284 che, in questi anni, è stato in restauro. Si è scelto, per ora, di mantenere la numerazione dell’edizione di Page 1962, a cui si accosta una proposta di rinumerazione immaginando un’edizione monografica. I testi sono seguiti dall’apparato critico e dalla traduzione, che è stata fornita solo ove fosse possibile ricostruire il significato del contesto. L’apparato è di tipo negativo; comprende al suo interno la registrazione degli scolî marginali o interlineari (sempre per primi) e dei segni di lettura dei papiri (sempre per ultimi); i segni di lettura sono registrati in apparato nei casi in cui sia stato comprensibile il testo e si sia proceduto alla divisio verborum e all’edizione del testo secondo i criteri editoriali moderni. La struttura del volume si fonda sui criteri adottati nella collana Lyricorum Graecorum quae exstant, Edizioni dell’Ateneo. i 1. Introduzione 1.1 La datazione e il genere Fino ai primi del ‘900 ben poco si conosceva della produzione di Corinna, poetessa nota solo grazie a fonti indirette che la celebravano come una delle nove donne dalla voce divina e soprattutto come maestra e rivale di Pindaro, che con lei condivideva la provenienza beotica. Le scoperte papiracee (1907, 1931 e 1956) hanno portato alla luce diversi frammenti, alcuni anche piuttosto ampi, che hanno permesso di confermare, o confutare, il giudizio degli antichi sulla poesia e la personalità di Corinna. Tra i diversi contributi che gli studiosi hanno offerto, di notevole importanza fu quello di Lobel1: egli, infatti, propose di disconoscere la testimonianza degli antichi, che voleva Corinna contemporanea del suo conterraneo Pindaro, suggerendo una cronologia ben più tarda, coincidente con quella che si riteneva fosse, in base a dati linguistici, la data di redazione dell’archetipo dei papiri, ossia la seconda metà del III sec. a.C. Contestata immediatamente da Bowra2, la cronologia di Corinna è ancora oggi dibattuta tra chi corrobora la tesi di Lobel e tra chi prosegue a dare credito alle testimonianze degli antichi3. Oggetto di dibattito è anche il genere a cui appartengano i componimenti della poetessa: Wilamowitz, considerata la profonda differenza che intercorre tra Corinna e Pindaro, ha ritenuto che fossero componimenti monodici, dato anche l’uso del dialetto locale4; altri studiosi hanno proposto invece di riconoscere odi di tipo corale con contenuto spiccatamente narrativo5. Ciò che emerge dallo studio dei testi di Corinna e dalla lettura delle fonti induce a propendere per una cronologia non più bassa del IV secolo a.C. e per un tipo di componimenti destinati a occasioni cultuali cittadine, probabilmente eseguiti da cori di fanciulle. Difatti, seppur spiccatamente narrativi, i poemi di Corinna contengono, per quanto è possibile leggere, incipit che definiscono l’ambito performativo, con invocazioni alla divinità e determinazione del luogo e del tempo della festa, oltre a indicazioni di carattere tecnico-musicale6; si articolano poi in lunghe sezioni narrative relative a vicende mitiche declinate nel contesto locale beotico. I suoi componimenti, dunque, che sembra superassero i 150 versi, ma probabilmente non di molto, poiché nei rotoli che possediamo erano raccolti due o più poemi (e un volume, in genere, poteva contenere circa 1000 versi)7, possono quindi 1 Lobel 1930. 2 Bowra 1931. 3 A difesa della cronologia alta Harvey 1955, Latte 1968, Lesky 1957, Gallavotti 1957, Allen-Frel 1972, Davies 1988, Burzacchini 1991, Palumbo 1993, Gentili-Lomiento 2001, Vottero 2012; sostenitori di una datazione più bassa Bolling 1956, Guillon 1958 e 1959, Segal 1975. West 1970 propende per una datazione ‘intermedia’, ossia il IV secolo a.C., e così più di recente anche Schachter 2005. 4 Wilamowitz 1907. 5 Per citarne alcuni, West 1970, Burzacchini 1991, Palumbo 1993. 6 Si vedano i commenti a 1 b, 2, 3, 4, 5 ( = PMG 654b, 655, 690, 692, 693). 7 Due componimenti sono preservati sicuramente nei papiri che riportano rispettivamente 1a e 1b ( = PMG 654 = PBerol. 13284), 3 ( = PMG 690 = PSI X 1174), 6 ( = PMG 694 = POxy. 2374); almeno due sono ii essere accostati, almeno per un confronto, alla poesia di Stesicoro: la sezione narrativa – che sia essa eseguita a solo o da un coro – era preceduta da un’introduzione certamente corale destinata a collocare il racconto nel contesto concreto della festa8. 1.2 La lingua La lingua utilizzata da Corinna è una Kunstsprache fondata sulla lingua poetica comune, densa di termini epici e di forme antiche, che accoglie beotismi fonetici e morfologici percepiti già dagli antichi come fortemente caratterizzanti: è difatti l’unica fonte letteraria citata dai grammatici per esemplificare il dialetto beotico. Le caratteristiche del dialetto che il testo di Corinna presenta, e soprattutto la peculiare grafia ‘fonetica’ di vocali e dittonghi, sono state a lungo ritenute elementi validi per datare l’edizione del testo quale è giunto fino a noi: in poche parole la veste grafica dei poemi di Corinna rappresenterebbe uno stadio preciso dell’evoluzione del dialetto beotico, esattamente il periodo che va dal 225 al 175 a.C., come ha ipotizzato per primo Page9. In realtà, come ha recentemente notato Vottero, se si analizza la grafia delle iscrizioni è impossibile trovare un periodo totalmente coerente con il sistema grafico adottato nell’edizione dei testi di Corinna: essi infatti tendono a presentare assieme e con scarsa coerenza pressoché tutti i tratti caratteristici dell’ortografia beotica, escludendo fenomeni particolarmente recenti, e si incontra anche qualche ipercorrettismo10. Gli esiti consonantici appaiono coerenti con il dialetto beotico dalle origini in poi, e dunque non forniscono alcun dato utile per la datazione del testo11. Anche gli elementi morfologici conservati nel rotolo che riporta 5 ( = PMG 693 = POxy. 2373); forse quello che riporta 4 ( = PMG 692 = POxy. 2372) ne comprende più di due. Anche l’elenco di titoli presente nel fr. 36 del medesimo papiro induce a pensare che un rotolo comprendesse diversi componimenti. Si veda più avanti, nel par. ‘I papiri’. 8 Aloni 1990. I componimenti di Stesicoro erano sensibilmente più lunghi, se solo l’Orestea fu divisa dagli alessandrini, come sembrerebbe, in due libri; è possibile poi che le singole performance riguardassero singoli episodi e non un intero poema, come ipotizzato da Burnett 1988. Sulla questione dell’esecuzione monodica o corale sostengono la prima ad es. West 1971, Rossi 1983, mentre propendono per la seconda Cingano 1993 e D’Alfonso 1994; si veda anche Ercoles 2012. 9 Page 1953, p. 67. 10 Vottero 2012, pp. 147-148; sulla stessa linea anche Vessella 2012, p. 810. 11 Si tratta di: 1) esito della palatalizzazione –kj- > -ττ- (Buck 1955, pp. 69-70; Bechtel 1921, p. 249; Blümel 1982, p. 117); 2) sostituzione, nella desinenza media per la terza persona plurale, di τ con θ (Buck 1955, p. 113; Latte 1968, p. 500. Nell’opinione tradizionale il fenomeno è dovuto allo spostamento dell’aspirazione nella terza persona plurale del verbo essere - *ἑντι > ἐνθι; secondo García Ramón 1975 è una forma analogica su –μεθα/-σθε; Blümel 1982, p. 155 ss. fornisce una diversa spiegazione del fenomeno, ossia che esso sia uno sviluppo fonologico indipendente: sarebbe una palatalizzazione di [t]); 3) ζ > δδ; 4) *kwā > ππᾱ > πᾱ (Buck 1955, p. 127, Thumb-Scherer 1959, p. 31); 5) forme delle preposizioni (ἐν + accusativo, ἐσς = ἐξ, ἐς = ἐκ); 6) *gwel- > βείλ-ομαι (invece di βούλομαι < *gwol-); 7) conservazione del [w] iniziale (Blümel 1982, p. 83-84). iii sono attestati in beotico dall’età arcaica in poi12. Si presenta di seguito un quadro degli esiti vocalici. È da notare che molti fenomeni grafici si manifestano in maniera più uniforme in seguito all’introduzione, in Beozia, dell’alfabeto ionico, che può essere datata alla prima metà del IV secolo (al 395/4 a.C.
Load more

Recommended publications
  • Dissertation Master
    APOSTROPHE TO THE GODS IN OVID’S METAMORPHOSES, LUCAN’S PHARSALIA, AND STATIUS’ THEBAID By BRIAN SEBASTIAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Brian Sebastian 2 To my students, for believing in me 3 ACKNOWLEDGMENTS A great many people over a great many years made this possible, more than I could possibly list here. I must first thank my wonderful, ideal dissertation committee chair, Dr. Victoria Pagán, for her sage advice, careful reading, and steadfast encouragement throughout this project. When I grow up, I hope I can become half the scholar she is. For their guidance and input, I also thank the members of my dissertation committee, Drs. Jennifer Rea, Robert Wagman, and Mary Watt. I am very lucky indeed to teach at the Seven Hills School, where the administration has given me generous financial support and where my colleagues and students have cheered me on at every point in this degree program. For putting up with all the hours, days, and weeks that I needed to be away from home in order to indulge this folly, I am endebted to my wife, Kari Olson. I am grateful for the best new friend that I made on this journey, Generosa Sangco-Jackson, who encouraged my enthusiasm for being a Gator and made feel like I was one of the cool kids whenever I was in Gainesville. I thank my parents, Ray and Cindy Sebastian, for without the work ethic they modeled for me, none of the success I have had in my academic life would have been possible.
    [Show full text]
  • Reading and Writing Gellius: the Act of Composition in the Attic Nights by Austin Chapman M.A
    Reading and Writing Gellius: The Act of Composition in the Attic Nights by Austin Chapman M.A. (Classics, University of Cincinnati) B.A. (History, Furman University) A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF CINCINNATI In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CLASSICS) Committee Chair: Holt Parker, Ph.D. September 2015 Abstract Here I argue that Gellius uses the loose design of his Attic Nights to interact both playfully and instructively with his reader, and that he does so in such a way that the purpose of the Nights is found to be reproductive, replicating the activities of its author (Gellius) in the minds and, ideally, the activities of its readers. To demonstrate how Gellius creates this unique author-reader relationship as the ordo of the text unfolds, I read the Nights sequentially. In close readings of three books of the Attic Nights (Books 1, 2, and 14), I explore how Gellius develops themes over the course of each book and uses those themes to articulate his relationship with the reader. In order to pick out sequences that supply meaning to a sequential reading of such an apparently disordered text, I take advantage, at least initially, of the approach of Gibson and Morello (2012) to the Letters of Pliny the Younger, where a multitude of units (epistles, in Pliny’s case) are placed so as to appear well-mixed but also create sequences in which certain patterns emerge, suggesting a loose design. Following Gibson and Morello’s model, I begin by noticing a more-or-less obvious pattern in Book 2 and “re-read” the book with that pattern in mind; through that re-reading, I discover that Gellius highlights a father-son relationship as an analogue for the relationship between himself and his reader.
    [Show full text]
  • Imitatio and Intertextuality in Sixteenth- Century English Receptions of Classical Latin Love Elegy
    ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output Turning others leaves: imitatio and intertextuality in sixteenth- century English receptions of classical Latin love elegy http://bbktheses.da.ulcc.ac.uk/74/ Version: Full Version Citation: Grant, Linda (2014) Turning others leaves: imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy. PhD thesis, Birkbeck, University of London. c 2014 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email 1 ‘Turning others’ leaves’: imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy Linda Grant PhD Thesis Birkbeck, University of London 2014 2 Statement of originality I declare that this thesis is the product of my own work, and that any work used from other authors has been properly acknowledged. ------------------------------------------------------ Linda Grant, April 2014 3 Abstract This thesis situates itself within the field of classical reception, and explores the appropriation and imitation of Latin erotic elegy (Catullus, Propertius, Ovid, Sulpicia) in the love poetry of sixteenth-century England. It shows imitatio to be a dynamic, rich and sophisticated practice, one which may be productively read as both a form of intertextuality and reception, terms which capture its contingent and active nature. The readings here re-calibrate Petrarch’s canzoniere suggesting that this influential sequence of love sonnets is itself a moralised re- writing of Roman erotic elegy. By re-framing the ‘Petrarchan’ love poetry of Thomas Wyatt, Philip Sidney, John Donne and Mary Sidney as elegiac receptions, the readings here re-open these familiar texts and offer fresh interpretations of how they can be made to mean.
    [Show full text]
  • A Dictionary of Mythology —
    Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science.
    [Show full text]
  • Euripidis Erechthei Quae Exstant Introduzione
    FACOLTÀ DI LETTERE E FILOSOFIA DIPARTIMENTO DI STUDI SUL MONDO ANTICO DOTTORATO DI RICERCA IN CIVILTÀ E TRADIZIONE GRECA E ROMANA XXII CICLO MAURIZIO SONNINO Euripidis Erechthei quae exstant Introduzione. Testo Critico. Commento. Traduzione TUTORE: DOTTORANDO: PROF. ADELE TERESA COZZOLI DOTT. MAURIZIO SONNINO ANNO ACCADEMICO 2009 2 לילה יורד לאט ורוח שושן נושבה 3 Sommario Premessa ............................................................................................................. 8 Introduzione ...................................................................................................... 10 1. Prospettive metodologiche ....................................................................... 10 2. Datazione dell'Eretteo ............................................................................... 16 3. Contenuto dell'Eretteo .............................................................................. 22 4. Una tragedia veramente...Attica. L'Eretteo e la tradizione del Logos Epitaphios ...................................................................................................... 24 5. Mito e innovazione nell'Eretteo ................................................................. 28 6. Ione innanzi tutto ...................................................................................... 30 7. L'arrivo di Eretteo ...................................................................................... 42 8. Eumolpo ....................................................................................................
    [Show full text]
  • Ovid, Amores 1.1.1-18
    1 CRITICAL VID MORES 1 LOSSARY (Ortwin Knorr) O , A 1.1.1-18 APPARATUS G arma gravi numero violentaque bella parabam 1-2 om. R arma, ōrum n. pl. weapons, arms; gravis, e heavy, dignified; numerus, ī m. meter; parāre to prepare; ēdō, ēdere, ēdidī, ēditum edere, materia conveniente modis. to give out, to publish; materia, ae f. material, subject; conveniō, venīre, convēnī, ventum to fit; modus, ī m. the measure of tones, par erat inferior versus; risisse Cupido melody; par, paris equal, equally long; inferior, ōris lower; rīdeō, rīdēre, rīsī, rīsum to laugh; Cupīdō, inis m. Cupid (= Desire), son dicitur atque unum surripuisse pedem. of Venus; surripiō, ripere, ripuī, reptum to secretly snatch away; pēs, pedis m. foot; metrical foot; 5 “Quis tibi, saeve puer, dedit hoc in carmina iuris? 5 hoc in carmina saevus, a, um wild, cruel, savage; hoc … iūris (gen. part.) this iuris R : hoc in right; Pierides, um f. pl. the Pierids, daughters of Pierus, a Pieridum vates, non tua turba sumus. carmine iuris Y: Macedonian king, i.e., the Muses; vātes, is m. seer, prophet, (poet.) hoc in carmine vires poet; turba, ae f. crowd; praeripiō, ripere, ripuī, reptum to take quid, si praeripiat flavae Venus arma Minervae, Sω sth. away before another; to tear away, carry away; ventilāre to brandish in the air; to fan; accendō, cendere, censī, censum to ventilet accensas flava Minerva faces? kindle, ignite; fax, facis f. torch; probāre to approve; probet, quis probet in silvis Cererem regnare iugosis, instruat: potential subj.s; Cerēs, Cereris f. Ceres, goddess of agriculture, esp.
    [Show full text]
  • PLACE, PROPHECY, and POWER in AENEID VIII by Ricardo Andres
    ROME’S BUCOLIC LANDSCAPES: PLACE, PROPHECY, AND POWER IN AENEID VIII by Ricardo Andres Apostol A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in The University of Michigan 2009 Doctoral Committee: Associate Professor Joseph D. Reed, Chair Professor Ruth S. Scodel Associate Professor Benjamin Acosta-Hughes Associate Professor Frederick R. Amrine copyright Ricardo Andres Apostol 2009 Table of Contents Chapter I. Introduction 1 II. Echoes from the cave: Bucolic allusion and the Cacus episode 15 III. Lucumque diemque: Time, place, and the shield 53 IV. Saturn and the Golden Age 101 V. The Bucolic Metropolis 143 VI. Conclusion 175 Bibliography 180 ii Chapter I Introduction This dissertation was born of an observation and an intuition; the former, that Aeneid book VIII is filled with bucolic imagery; and the latter, that this was such a patent and recurring feature of the text, that it could be no accident. After all, book VIII is where Aeneas comes face to face with Greek Arcadians, who were associated with the bucolic tradition from its inception. This line of research is important because it would explore how Vergil goes back to his earlier work and builds upon it. From these observational roots springs the basic organization of this work. Each of the next three chapters deals with an instance of sustained bucolic allusion in the text (the story of Hercules and Cacus, the grove in which Aeneas receives the Shield, Evander’s story of Italian prehistory and the Golden Age), analyzing it in terms of its intertexts and formal characteristics in order to develop a reading of the passage that takes the bucolic material properly into account.
    [Show full text]
  • Table 1: Classical Albedo Names from Ancient Geography
    Gangale & Dudley-Flores Proposed Additions to the Cartographic Database of Mars 18 Table 1: Classical Albedo Names From Ancient Geography Feature Name Type Latitude East Longitude Origin Usage Abalos Undae Undae 78.52 272.5 A district of Scandinavia, thought to be an island, noted for amber. Abalos Colles Colles 76.83 288.35 A district of Scandinavia, thought to be an island, noted for amber. Abalos Mensa Mensa 81.17 284.4 A district of Scandinavia, thought to be an island, noted for amber. Abalos Scopuli Scopuli 80.72 283.44 A district of Scandinavia, thought to be an island, noted for amber. Abus Vallis Vallis -5.49 212.8 Classical name for Humber River in England. Acheron Catena Catena 37.47 259.2 "Joyless" in Greek. 1) A river of Bithynia, falling into the Euxine near Heraclea. 2) A river of Bruttium, falling into the Crathis flume near Consentia. 3) A river of Epirus, falling into the Adriatic at Glykys portus. There was an oracle on its banks, where the dead were evoked. In Greek mythology, the son of Gaea and Demeter, turned into the river of woe in the underworld as a punishment for supplying the Titans with water in their struggle with Zeus. 4) a River of Triphylia, falling into the Alpheus near Typana. Gangale & Dudley-Flores Proposed Additions to the Cartographic Database of Mars 19 Feature Name Type Latitude East Longitude Origin Usage Acheron Fossae Fossae 38.27 224.98 "Joyless" in Greek. 1) A river of Bithynia, falling into the Euxine near Heraclea. 2) A river of Bruttium, falling into the Crathis flume near Consentia.
    [Show full text]
  • Edition and Translation of Clm 4610
    B The Bavarian Commentary and Ovid ÖCKERMAN The Bavarian Commentary and Ovid ROBIN WAHLSTEN BÖCKERMAN ROBIN WAHLSTEN BÖCKERMAN The Bavarian Commentary and Ovid is the fi rst complete cri� cal edi� on and transla� on of the earliest preserved commentary on Ovid’s Metamorphoses. T Today, Ovid’s famous work is one of the touchstones of ancient literature, but we have only a handful of scraps and quota� ons to show how the earliest medieval readers received and discussed the poems—un� l the Munich Bayerische Staatsbibliothek clm 4610. This commentary, which dates from around the year 1100 is the fi rst systema� c study of the Metamorphoses, founding a tradi� on of scholarly study that extends to the present day. Despite its signifi cance, this medieval commentary has never before been HE published or analysed as a whole. Böckerman’s groundbreaking work includes a cri� cal edi� on of the en� re manuscript, together with a lucid English transla� on B and a rigorous and s� mula� ng introduc� on, which sets the work in its historical, AVARIAN geographical and linguis� c contexts with precision and clarity while off ering a rigorous analysis of its form and func� on. C The Bavarian Commentary and Ovid is essen� al reading for academics concerned with the recep� on of Ovid or that of other ancient authors. It will also be of great OMMENTARY interest for Classical scholars, those inves� ga� ng medieval commentaries and media history, and for anyone intrigued to know more about how the work of Ovid has echoed through history.
    [Show full text]
  • Manes Verulamiani
    Showing contemporary opinion of Francis Bacon as Author, Statesman, Upright Judge, Philosopher and POET Manes Verulamiani (Shades of Verulam) 32 Elegies written on the Death of Francis Bacon by his Colleagues of Cambridge and Oxford. 1626 Published in Latin by Bacon’s Chaplain, William Rawley 1626 Transcribed into English Verse 1927 by Willard Parker, President, Bacon Society of America * Electronically typed and edited by Juan Schoch ([email protected]) for educational research purposes. Join us at http://eeng.net and http://groups.yahoo.com/group/baconslist Please do not remove this notice. Published by BACON SOCIETY OF AMERICA 119 E. 19th St., New York City Price 50 cents Reprinted from American Baconiana No. 5, November 1927 Copyright 1927 by Willard Parker MANES VERULAMIANI (SHADES OF VERULAM) Interpreted in English Verse by WILLARD PARKER This is the title given collectively to thirty‐two Latin elegies written by twenty‐seven of Bacon’s University contemporaries on the occasion of his passing away in April, 1626. They were collected by William Rawley, D. D., Bacon’s first and last chaplain, and published by John Haviland, London, the same year. They were translated into German by Edwin Bormann and Harvard University, in 1903, and again by William A. Sutton, S. J., and were published in the Tercentenary number of Baconiana, London, April, 1926. But so far as I am aware, no effort has heretofore been made to reproduce these remarkable poems in verse, thus preserving in part at least the musical rhythm of the Latin originals. This I have endeavored to accomplish and I am glad to give all credit to the four distinguished and scholarly translators—two German and two English—who have preceded me, and to whose renderings I have referred with great freedom in formulating my own.
    [Show full text]
  • Ovid: the Poems of Exile (Tristia, Ex Ponto, Ibis)
    Ovid: The Poems Of Exile (Tristia, Ex Ponto, Ibis) Home Download Translated by A. S. Kline 2003 All Rights Reserved This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non-commercial purpose. 2 Contents Tristia Book I.................................................................. 11 Book TI.I:1-68 The Poet to His Book: Its Nature ........... 11 Book TI.I:70-128 The Poet to His Book: His Works...... 14 Book TI.II:1-74 The Journey: Storm at Sea.................... 17 Book TI.II:75-110 The Journey: The Destination........... 21 Book TI.III:1-46 The Final Night in Rome: Preparation 23 Book TI.III:47-102 The Final Night in Rome: Departure25 Book TI.IV:1-28 Troubled Waters.................................. 28 Book TI.V:1-44 Loyalty in Friendship ........................... 30 Book TI.V:45-84 His Odyssey........................................ 32 Book TI.VI:1-36 His Wife: Her Immortality .................. 34 Book TI.VII:1-40 His Portrait: The Metamorphoses ...... 37 Book TI.VIII:1-50 A Friend’s Treachery........................ 39 Book TI.IX:1-66 A Faithful Friend................................. 41 Book TI.X:1-50 Ovid’s Journey to Tomis ...................... 44 Book TI.XI:1-44 Ovid’s Apology for the Work ............. 46 Tristia Book II................................................................. 48 Book TII:1-43 His Plea: His Poetry................................ 48 Book TII:43-76 His Plea: His Loyalty............................ 50 Book TII:77-120 His Plea: His ‘Fault’............................ 53 Book TII:120-154 His Plea: The Sentence ..................... 55 Book TII:155-206 His Plea: His Prayer.......................... 57 Book TII:207-252 His Plea: ‘Carmen et Error’............... 59 Book TII:253-312 His Plea: His Defence ......................
    [Show full text]
  • CAT Paper 2019
    OXFORD UNIVERSITY CLASSICS ADMISSIONS TEST Wednesday 30 October 2019 INSTRUCTIONS TO CANDIDATES This booklet contains all the tests required for Classics, in this order: 1 Latin Unseen Translation 2 Greek Unseen Translation 3 Classics Language Aptitude Test (CLAT) Time allowed You have one hour (60 minutes) per test. If you need to take two or three tests, you should complete them in the order in which they appear in the booklet (the same order as they are listed above). Your invigilator will notify you when you should begin the second test and/or third tests, if applicable. Question papers The Latin and Greek translation test papers each contain two passages. Please write your translations on the answer sheets provided. You must use a black pen. The Classics Language Aptitude Test (CLAT) is six pages long. Please write your answers in the spaces provided. You must use a black pen. After you have finished, the whole booklet should be returned. Do not attempt any tests not required for your course; no extra credit can be gained. If you are studying Latin or Greek to A-level or equivalent school-leaving qualification you should take the test(s) in the language(s) you are studying. If you are not studying Latin or Greek to A- level or equivalent, you should take the Classics Language Aptitude Test (CLAT). You should also take the CLAT, in addition to the Latin and/or Greek test(s), ONLY if you are applying to study Classics with Oriental Studies AND intend to study Arabic, Turkish, Hebrew, or Persian.
    [Show full text]