By Julia Haig Gaisser
Oxford Readings in Catullus is a set of articles that signify a sampling of the main attention-grabbing and demanding paintings on Catullus from round 1950 to 2000, including 3 very brief items from the Renaissance. The readings, chosen for his or her intrinsic curiosity and value, are meant to be thought-provoking (and now and again provocative) and to problem readers to examine Catullus in several methods. They display a couple of methods - stylistic, ancient, literary-historical, New serious, and theoretical (of numerous flavours). Such hermeneutic variety is especially applicable relating to Catullus, whose oeuvre is famously - a few could say notoriously - diversified in size, style, tone, and material. the gathering as a complete demonstrates what has Catullus' readers within the final part century and indicates a number of the ways that they could method his poetry sooner or later. it truly is observed via an advent via Julia Haig Gaisser on issues in Catullan feedback from 1950-2000.
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Extra info for Catullus (Oxford Readings in Classical Studies)
35 See Grassmann (1966: 1–12); Hipponax frr. 14, 16, 17, 84 Masson, West. 36 [In his addenda Macleod would delete notes 34 and 35 and replace this sentence with the following: ‘So too there are love-poems earlier on in Virgil’s volume (esp. Ecl. ] 37 I am much indebted to Mr. Francis Cairns and Professor R. G. M. Nisbet for their comments on an earlier draft of this article; it is not to be assumed that they agree with all of its conclusions. 33 3 Metrical Variations and Some Textual Problems in Catullus Otto Skutsch Catullus is fairly free in his treatment of aeolic bases, and the distribution of their different forms can be instructive.
This adjective, too, we are told, is to be taken literally: it is a ‘pretty, new book’, what the book-sellers call a ‘crisp, clean copy’—that and nothing more. 3 Thus when Catullus calls his book lepidus, he is thinking of 1 See, for example, Kroll’s note ad loc. 1), quid faciat laetas segetes, quo sidere terram vertere (‘what makes the ﬁelds fertile, under what star to turn the earth’, G. ), and arma uirumque cano (‘I sing of arms and the man’, A. 1). 3 Cf. Cat. 1–2, Gallus habet fratres, quorum est lepidissima coniunx/alterius, lepidus ﬁlius alterius (‘Gallus has brothers, of whom one has a most charming wife, the other a charming son’), where the biting sarcasm of the lines is utterly lost if the adjectives are made to refer merely to the appearance of the individuals involved.
Od. ). 12 Deducere, a metaphor from spinning, can be used of poetic composition in general (cf. L. v  282. ); but in some other contexts too it is associated with ‘ﬁne-spun’ writing like the Neoterics’ (cf. Corniﬁcius frg. 1 Morel; Hor. Ep. 225). [Cf. W. Eisenhut in Properz, ed. Eisenhut (Wege der Forschung 237), 1975; bibliography in D. Flach, Das literarische Verhältnis von Horaz und Properz (1967), 79; cf. also F. 106). C. W. Macleod 39 satire and comedy, genres also rich in invective, from imitations of Calvus and Catullus, whom he is conceiving simply as ‘neoteric’ poets.
Catullus (Oxford Readings in Classical Studies) by Julia Haig Gaisser