In lieu of an abstract, here is a brief excerpt of the content:Note From A Narcissist (Amores 1.11) OVID (Translated by Caleb M. X. Dance) Yoohoo! Yes! You! You do her hair. Right? Not like the one who does her legs or nails, right? You know where she goes, right? And you can let her know, like before, to rush those lovely toes— Oh! I mean her hair, to me. Oh, you’ve always been a friend! Right! Take this little (...) note to her tomor— Oh! and hand it to her. Understand? No delay! You’ve got a heart, right? You might be softer than you think and not as “plain Jane” as you think? I think you’ve felt a bit of love, no? You see it in me too, no? So— anyway, if she wants to know what I’m thinking, tell her I can’t wait to hold her close tonight. Right! Enough. My note will say the rest. Oh, it’s late! I’m blabbing. Go! No! Wait! Catch her in a good mood—when she’s free. Oh! but make her read it right away. Watch her eyes! And her face, reading. I mean as she reads. Oh, you learn a lot, even from dumb faces. Don’t be slow! When she’s read it, arion 27.1 spring/summer 2019 make her write right back. Lots. Tell her! It’s the worst when every page is filled with loads of empty space. She should pack them in—lines—so eyes linger on words in the margins. My eyes! No! Wait! Tell her not to tire fingers writing long. Let her only write: “Come!” No delay—I’ll praise these letters right away. I’ll dedicate them to... oh... you know, Lady Love herself, and I’ll note, “To Love: Ovid offers up these loyal saviors— you who just were scraps of paper.” 154 note from a narcissist... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Two Creations: Metamorphoses: i.5–162, 274–415 OVID (Translated by C. Luke Soucy) The Metamorphoses of Ovid opens with the creation of the world, only to recount its destruction and recreation almost immediately after. These stories begin Ovid’s mythic anthology with a sustained exploration of the uncertain origin of humanity, the conflicts in its nature, and its uneasy place in a world governed by divine forces. The (...) following excerpts endeavor to reproduce and contextualize that exploration in a blank verse translation, preserving much of the original wordplay and employing the same number of lines as in the Latin. Before there were seas, lands, and arching skies, Throughout the whole world, nature bore one face, Which was called Chaos, an unordered, rough And tumble mass of lifeless weight, wherein Lay packed the jangling elemental seeds. 10 No Titan1 then brought sunlight to the earth, No Phoebe2 yet wrought full her lunar curve; Nor hung the Earth self-poised in swaddling air, With Amphitrite’s3 arms stretched round her banks. For though the land, the sea, and air were there, 15 The land could bear no tread, the waves no stroke, The mist no light. No being retained its shape, And each opposed with each, for in one self arion 28.3 winter 2021 1. The Sun, son of the Titan Hyperion. 2. Diana, here representing the moon. 3. A Nereid and the wife of Neptune, here representing the sea. 46 the two creations Heat battled cold, wet strove with dry, soft parts Struck against hard, and weight fought weightless things. 20 A god—and better nature—broke this strife. He tore the lands from sky and seas from land, And from the dense air split the crystal heaven. Then, after he released the separate forms, Plucked from that sightless mass, he fastened them 25 In place with common peace. Next, weightless fire Leapt up and claimed its place in vaulting heaven, With air beneath, the next by lightness placed. But denser earth sank under its own weight And drew down heavy masses by its side. 30 The circling water took hold last of all, And wrapped the solid earth inside its flow. Once he, whichever of the gods he was, Had so reduced the whole to living parts, He spun the land into a giant sphere, 35 And, to begin, lest all sides be alike, He ordered straits to stream and swell beneath The sweeping winds and clasp the circled earth. And he made springs and lakes and boundless pools, And tilted banks hemmed in by slanting streams, 40 A share of which the earth absorbs; the rest Runs to the sea, where, in a freer flood, It pounds no banks, but breaks on ocean shores. He ordered fields unrolled and valleys sunk, The forests wreathed with leaves, the mountains raised; 45 And, as two regions on both left and right Divide the sky (a fiery fifth between), So did the might of god segment its load: The same five bounds are stamped upon the earth. The middle zone is home to heat alone, 50 The outer two to snow, but those between He gave both flame and frost in measured fare, And over all, the air—as great a weight Compared to fire as water feels from earth. Ovid 47 He ordered there the mists and there the clouds, 55 And thunder, soon to frighten mortal minds, And, mixed with bolts of light, the flashing Winds. To them, the maker did not grant the air Outright (for even now, when each one blows In his own realm, the brothers quarrel so 60 They scarce withhold from shattering the world). So Eurus sought Arabian lands of dawn And Persian peaks aglow with morning rays, While near the western shores by sunset warmed, Dwells Zephyrus; and wintry Boreas seized 65 The Scythian north, while southern lands drip wet With constant clouds and rain by Auster’s hand. Above them all, the god let aether flow, A liquid lacking weight or earthly trace. Such boundaries had he scarcely set in place 70 Before the stars, which had so long been crushed In sightless gloom, began to light the sky. And... (shrink)

What the nineteenth century knew of attamen or at tamen it did not learn from dictionaries. The two last revisions of Forcellini, Corradini's and De-Vit's, provided eight examples between them, of which three were false. Klotz added one, Georges two, Smith two: one of these five was false, and two more lie under much suspicion. Freund gave no instance whatsoever. In preparing his first volume, which appeared in 1834, he turned, like a good compiler, to the first volume of Hand's (...) Tursellinus, published in 1829. What he found there, on p. 450, was ‘de at tamen uide in tamen’; so he sat down quickly and wrote ‘attamen adv., s. tamen’. But Hand's Tursellinus, which never reached tamen, had proceeded no further than multum when Freund in 1840 produced the last volume of his dictionary; so he did not redeem his promise, and when you got there the cupboard was bare. This perfidy was faithfully imitated by the English and American dictionaries of Andrews, White and Riddle, Lewis and Short. To all intents and purposes one was left to depend on one's own reading and on the observations of Madvig at Cic. de fin. pp. 286 and 425 and opusc. I p. 491. (shrink)

Acontius rhetorically addresses the young man to whom Cydippe's parents have betrothed her, whom he imagines as showing excessive familiarity while visiting the girl's sickbed. In line 146, ‘spes’ may be considered the vulgate reading; the noun can be used concretely, of the object of one's hopes , a person in whom hopes are centred , or sometimes as an endearment . For application to a girl with suitors, cf. Ovid, Met. 4.795 ‘multorumque fuit spes invidiosa procorum’. Or one (...) could take ‘spes’ in Her. 20.146 generally, = id quod spero. But, in any case, ‘spes’ is somewhat disappointing. After the strong imagery of 145 , we expect something no less definite in the pentameter, and, in particular, a word which will cohere with, and reinforce, the notion of providing access . In this respect ‘spes’ fails to contribute anything. Nor does the manuscript evidence point unambiguously to ‘spes’. Some manuscripts have the unmetrical ‘spem’, while Heinsius found in a Medicean manuscript the reading ‘sepem’, which was taken up by Burman, and by a number of other editors. To this, however, A. Palmer made an objection which seems not merely pedantic: ‘I should rather have expected per sepem; for a man has a right to go up to, as far as, another man's boundary.’. (shrink)

The text is taken from Georg Luck's edition . I have also consulted P. Burman , S. G. Owen's editio maior , A. L. Wheeler's Loeb edition in the 2nd edition revised by G. P. Goold , and Georg Luck's commentary . I have also had a preview of J. B. Hall's forthcoming Teubner edition and I have used his apparatus, in which the traditional sigla for the principal manuscripts are retained.

The text is taken from Georg Luck's edition. I have also consulted P. Burman, S. G. Owen's editio maior, A. L. Wheeler's Loeb edition in the 2nd edition revised by G. P. Goold, and Georg Luck's commentary. I have also had a preview of J. B. Hall's forthcoming Teubner edition and I have used his apparatus, in which the traditional sigla for the principal manuscripts are retained.

Part I examines various readings about which there persists editorial or other disagreement, Part II argues that six couplets are not from Ovid's hand. The lemmata give the reading of the Oxford Classical Text , followed by the rejected variants and any conjectures. ‘Goold’ = G. P. Goold, ‘Amatoria Critica’, HSCP 69 , 1–107. ‘Geisler’ = H. J. Geisler, P. Ovidius Naso Rentedia Amoris mit Kommentar zu Vers 1–396 . Normally only the principal manuscripts are cited individually.

Part I examines various readings about which there persists editorial or other disagreement, Part II argues that six couplets are not from Ovid's hand. The lemmata give the reading of the Oxford Classical Text, followed by the rejected variants and any conjectures. ‘Goold’ = G. P. Goold, ‘Amatoria Critica’, HSCP 69, 1–107. ‘Geisler’ = H. J. Geisler, P. Ovidius Naso Rentedia Amoris mit Kommentar zu Vers 1–396. Normally only the principal manuscripts are cited individually.

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art ,’ ‘I am ,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost ,’ ‘We are indebted to thee for .’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or (...) of the second person, for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art,’ ‘I am,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost,’ ‘We are indebted to thee for.’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or of the second person, (...) for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

Callimachus' Victoria Berenices has received a good deal of scholarly attention since its first publication in 1976, both from textual critics, attempting to clarify uncertain readings, and from specialists in Latin poetry, eager to trace allusions to Callimachus in Vergil, Statius, or Ovid. While the search for Callimachean influence on the later texts has proved quite fruitful, it opens up the possibility of reading certain issues inappropriately backwards into the Hellenistic material. The discovery of parallels may lead to an (...) assumption of complete agreement that misrepresents the earlier, more fragmentary text. I would like to consider one particular incident in the Victoria Berenices that has fallen prey to this fate, namely the reception of Heracles by the farmer Molorcus. (shrink)

Callimachus' Victoria Berenices has received a good deal of scholarly attention since its first publication in 1976, both from textual critics, attempting to clarify uncertain readings, and from specialists in Latin poetry, eager to trace allusions to Callimachus in Vergil, Statius, or Ovid. While the search for Callimachean influence on the later texts has proved quite fruitful, it opens up the possibility of reading certain issues inappropriately backwards into the Hellenistic material. The discovery of parallels may lead to an (...) assumption of complete agreement that misrepresents the earlier, more fragmentary text. I would like to consider one particular incident in the Victoria Berenices that has fallen prey to this fate, namely the reception of Heracles by the farmer Molorcus. (shrink)

In spite of the labours of Sedlmayer,1 Ehwald2 and Palmer,3 it cannot be said that there exists a completely satisfactory edition of Ovid's Heroides. One or all of these editors sometimes leave a corrupted text, sometimes adhere too closely to a manuscript reading, and sometimes introduce untenable emendations. A new edition is called for, with revised collati ons of the known manuscripts, and an augmented apparatus criticus, exhibiting the large class of what I may term the ‘Vulgate’ manuscripts, which (...) represents a tradition different from, and probably later than that of our chief authority, the excellent but unfortunately incomplete eleventh-century Parisinus , which, like all primary manuscripts of this type, contains many readings or corruptions which should not on account of its mere authority be accepted slavishly. Light is often thrown on the text from less important sources, and the truth may be recovered from manuscripts of the ‘Vulgate’ family, where our better authority fails. In this connexion the study of my own manuscript has led me to some conclusions in certain passages which I venture to set forth as suggestions towards an improved constitution of the text of the Heroides. Though it is clear from the preceding investigation into its nature that O is no primary manuscript, but belongs rather to that large class which has passed through various stages of reproduction involving alterations due either to carelessness of copyists or, more rarely, to deliberate alteration, it presents at the same time a phenomenon not unusual with such manuscripts, inasmuch as it often supports the best tradition, and in some cases preserves a reading which yields the truth, or from which the truth can be elucidated. I have used the following symbols: P = Parisinus 8242 s. xi. E = Etonensis s. xi. G = Gueferbytanus s. xii. V = Schedae Vindobonenses s xii. O = my manuscript s. xiv. D = Dresdensis s. xiii. ω = all or the majonly of the ‘Vulgate’ manuscripts. ζ = some of these manuscripts. (shrink)

In spite of the labours of Sedlmayer,1 Ehwald2 and Palmer,3 it cannot be said that there exists a completely satisfactory edition of Ovid's Heroides. One or all of these editors sometimes leave a corrupted text, sometimes adhere too closely to a manuscript reading, and sometimes introduce untenable emendations. A new edition is called for, with revised collati ons of the known manuscripts, and an augmented apparatus criticus, exhibiting the large class of what I may term the ‘Vulgate’ manuscripts, which (...) represents a tradition different from, and probably later than that of our chief authority, the excellent but unfortunately incomplete eleventh-century Parisinus, which, like all primary manuscripts of this type, contains many readings or corruptions which should not on account of its mere authority be accepted slavishly. Light is often thrown on the text from less important sources, and the truth may be recovered from manuscripts of the ‘Vulgate’ family, where our better authority fails. In this connexion the study of my own manuscript has led me to some conclusions in certain passages which I venture to set forth as suggestions towards an improved constitution of the text of the Heroides. Though it is clear from the preceding investigation into its nature that O is no primary manuscript, but belongs rather to that large class which has passed through various stages of reproduction involving alterations due either to carelessness of copyists or, more rarely, to deliberate alteration, it presents at the same time a phenomenon not unusual with such manuscripts, inasmuch as it often supports the best tradition, and in some cases preserves a reading which yields the truth, or from which the truth can be elucidated. I have used the following symbols:P = Parisinus 8242 s. xi.E = Etonensis s. xi.G = Gueferbytanus s. xii.V = Schedae Vindobonenses s xii.O = my manuscript s. xiv.D = Dresdensis s. xiii.ω = all or the majonly of the ‘Vulgate’ manuscripts.ζ = some of these manuscripts. (shrink)

This is the way to say in Latin ‘you see my face, though you cannot see the rest of me’. So her. X 53 ‘tua, quae possum, pro te uestigia tango’, 135 ‘non oculis sed, qua potes, aspice mente’, art. III 633 ‘corpora si nequeunt, quae possunt, nomina tangunt’, trist. IV 2 57 ‘haec ego summotus, qua possum,. mente uidebo’, 3 17 sq. ‘esse tui memorem… quodque potest, secum nomen habere tuum’, 10 112 ‘tristia, quo possum, carmine fata leuo’, ex (...) Pont. IV 4 45 ‘absentem, qua possum, mente uidebo’.1 But that is not what Ovid seeks to say: he means ‘you see my face in such fashion as you can’, not in the flesh but in counterfeit presentment; and Latin expresses this meaning otherwise. As Ovid here speaks of his own likeness on a ring, so in ex Pont. II 8 55 he speaks of the likenesses of Augustus Tiberius and Liuia on a medal; and he says ‘nos quoque uestra iuuat quod, qua licet, ora uidemus’. Arellius Fuscus in Sen. suas. 4 I puts the same thought in the same way, ‘cur non ab infantia rerum naturam deosque, qua licet, uisimus, cum pateant nobis sidera et interesse numinibus liceat ?’ In her. XIII 41 sq. ‘qua possum, squalore tuos imitata labores dicar’ many MSS have changed the adverb into quo agreeing with the substantive hard by; and similarly here the ‘quae potes’ of the text has come from ‘qua potes’. (shrink)

Act 4, scene 1 of Shakespeare's A Midsummer Night's Dream opens with the amorous dialogue between Titania and her newly beloved Nick Bottom. In a show of immoderate attention to one of the "hempen home-spuns,"1 Titania's affectionate imperatives add to the scene's dramatic irony: "Come, sit thee down upon this flow'ry bed / While I thy amiable cheeks do coy, / And stick musk-roses in thy sleek smooth head, / And kiss thy fair large ears, my gentle joy". Titania's pursuit (...) of Bottom is so excessive that the love scene becomes sadly comical: not only has the queen of the fairy world been tricked into falling in love with one of the "rude mechanicals" but he is one whose head, as we know, has... (shrink)

A careful, wide-ranging but basically unilluminating study of the medical, philosophical, and psychological literature on the concept of identity, beginning with Descartes and dwelling on Erik Erickson, who has pursued William James' approach to the problem. Erickson has investigated group identity in two Indian cultures, its connection with the ideals of the individual, and the development of this connection in the child. The middle of the book is an intermezzo which discusses Ovid's Metamorphoses and W. F. Hermans' The Dark (...) Room of Damocles as anthologies of human conflicts, and of identity problems of members of the resistance movements during the Second World War. In the last third of the book, De Levita attempts to clarify the mass of material he has presented. He makes a suggestive distinction between "identity" and "individuality," "identity" being the unique combination of roles which I call mine, and "individuality" being the manner in which I enact my roles. He comments that men too often stress which roles they play rather than how they are played. The book is best approached as a review of literature on the subject rather than as an attempt to directly confront the problem.--S. A. S. (shrink)

Discipleship is a responsibility of the Church. It is an outlet in which the regeneration of Church leadership to the younger generation is conducted. Before the COVID-19 pandemic, discipleship and mentoring of youth leaders, especially key persons of GKII (Gereja Kemah Injil Indonesia) youth were provided by means of in-person activities. During the pandemic, digital media has been utilised for various church activities, including mentoring these key persons. Hence, this research intends to explore: (1) the method by which key persons (...) practise digital discipleship and (2) the benefits of digital media in youth discipleship to facilitate faith growth. This research is a qualitative research. Data were collected by means of interviews and observations on several key persons’ digital media accounts. The research shows that social media significantly benefits the discipleship process. It was found that digital discipleship was quite often carried out during the pandemic, especially in urban areas, with WhatsApp and Zoom meetings as its two primary means. However, it slightly declined along with the lifting of social gathering restrictions. The main themes explored in the mentoring sessions were discipleship, soteriology, spiritual life, motivational and digital media materials, and youth ministry in the digital era. The discipleship practice used was the NM-SM (Nurtured, Matured, Served, Mission) pattern.Contribution: The results of this research contribute to the development of knowledge, especially in the field of youth discipleship, and digital media-based discipleship. This research also shows that digital media has become an effective theological space during the pandemic and post-pandemic periods. (shrink)

Study of the works of Devacandragaṇi, Jaina philosopher.

Neptunus et Apollo dicuntur Troiam muro cinxisse; his rex Laomedon uouit quod regno suo pecoris eo anno natum esset immolaturum. id uotum auaritia fefellit. alii dicunt †parum eum promisisse. The story that Neptune and Apollo together built the walls of Troy for Laomedon is well known from Homer. At the end of their year's service the perfidious king refused to pay the agreed wages. Ovid tells the familiar story in one of his transitional sections in the Metamorphoses. Hyginus' account (...) poses the textual problem indicated above. H. I. Rose comments on ‘parum’ as follows: ‘procul dubio corruptum hoc neque arridet Schmidtii coniectura promsisse. fuitne partum equarum? hoc enim plerumque narratur, equos quos a Ioue accepisset promisisse Laomedontem mercedis nomine…sed Herculi; quod facile ad deos mercennarios transferri potuit; atque non equos sed equas fuisse tradit Apollod. II, 104’. Rose rightly rejects Schmidt's emendation ‘promsisse’. ‘Promisisse’ has every sign of soundness and the difficulty lies, as Rose sees, with ‘parum’. Rose's own conjecture ‘partum equarum’, however, will not do. Apart from the oddity of the expression, one would need a good deal more persuasion than Rose offers to accept that the well-known promise of Zeus' horses which Laomedon made to Hercules was transferred from Hercules to Neptune and Apollo. There is no suggestion anywhere in the sources that Laomedon promised to give Neptune and Apollo the famous horses as payment for building the walls. (shrink)

Neptunus et Apollo dicuntur Troiam muro cinxisse; his rex Laomedon uouit quod regno suo pecoris eo anno natum esset immolaturum. id uotum auaritia fefellit. alii dicunt †parum eum promisisse. The story that Neptune and Apollo together built the walls of Troy for Laomedon is well known from Homer. At the end of their year's service the perfidious king refused to pay the agreed wages. Ovid tells the familiar story in one of his transitional sections in the Metamorphoses. Hyginus' account (...) poses the textual problem indicated above. H. I. Rose comments on ‘parum’ as follows: ‘procul dubio corruptum hoc neque arridet Schmidtii coniectura promsisse. fuitne partum equarum? hoc enim plerumque narratur, equos quos a Ioue accepisset promisisse Laomedontem mercedis nomine…sed Herculi; quod facile ad deos mercennarios transferri potuit; atque non equos sed equas fuisse tradit Apollod. II, 104’. Rose rightly rejects Schmidt's emendation ‘promsisse’. ‘Promisisse’ has every sign of soundness and the difficulty lies, as Rose sees, with ‘parum’. Rose's own conjecture ‘partum equarum’, however, will not do. Apart from the oddity of the expression, one would need a good deal more persuasion than Rose offers to accept that the well-known promise of Zeus' horses which Laomedon made to Hercules was transferred from Hercules to Neptune and Apollo. There is no suggestion anywhere in the sources that Laomedon promised to give Neptune and Apollo the famous horses as payment for building the walls. (shrink)

InEpistulae ex Ponto4.8, one of the last poems written from exile (dated to 15 or 16c.e.), Ovid expresses his increasing hopes for Germanicus' assistance in effecting his recall to Rome. Though ostensibly addressed to his stepdaughter's father-in-law, P. Suillius Rufus, the poem contains a petition to Germanicus (27–88), as a poet to a poet, which promises future commemoration in Ovid's poetry if he is removed from Tomis:clausaque si misero patria est, ut ponar in ullo,qui minus Ausonia distet ab (...) Vrbe loco,unde tuas possim laudes celebrare recentesmagnaque quam minima facta referre mora. (85–8)and if my country is closed against me in my misery, may I be placed in any place less distant from the Ausonian city, whence I might celebrate your praises while they are recent and relate your great deeds with the least delay. (shrink)

When I refer to ‘modern editors’ I mean the following: S. G. Owen, who edited the Tristia thrice and produced a small commentary on the first book and a large one on the second ; C. Landi ; R. Ehwald-Fr. W. Levy ; A. L. Wheeler ; J. André ; Georg Luck, 1968–72, 1977 ).

When I refer to ‘modern editors’ I mean the following: S. G. Owen, who edited the Tristia thrice and produced a small commentary on the first book and a large one on the second ; C. Landi ; R. Ehwald-Fr. W. Levy ; A. L. Wheeler ; J. André ; Georg Luck, 1968–72, 1977 ).

By nature we are all addicted to love... meaning we want it, seek it and have a hard time not thinking about it. We need attachment to survive and we instinctively seek connection, especially romantic connection. [But] there is nothing dysfunctional about wanting love.Throughout the ages, love has been rendered as an excruciating passion. Ovid was the first to proclaim: “I can’t live with or without you”—a locution made famous to modern ears by the Irish band U2. Contemporary film (...) expresses a similar sentiment: as Jake Gyllenhaal’s character famously says in Brokeback Mountain, “I wish I knew how to quit you.” And everyday speech, too, is rife with such expressions as “I need you” and “I’m addicted to you.”... (shrink)

The purpose of this paper is, first, to demonstrate to future editors of the Metamorphoses , whether conservative or sceptical, just how improbable is the reading of the majority of MSS, illas , and how strong are the claims of the variant ilia , first recommended by P.Lejay in 1894 and vigorously championed by E.J.Kenney in 1976; and, second, to suggest an interpretation of this reading that is open to fewer objections than the one proposed by Kenney.I have given above (...) the beginning of Ovid's longest poem as it ought to stand in all modern editions and as it stands in fact in only one, the French school edition of selections edited by Lejay in 1894: ‘Gods, on my undertakings breathe your favour.’ To be sure, all of Ovid's MSS read illas in line 2, and ilia is attested only as a variant in two of them.But majorities, in textual as in other matters, are frequently wrong.Even before the minority report of the Urbinas had been heard, Lejay adopted ilia , av.1.in the Erfordensis.1. (shrink)

The most reliable manuscript of Statius' Achilleid is the Puteaneus , and its authority, against the group QKC, is frequently upheld only by the Codex Etonensis . The readings of this manuscript , which contains, apart from the Achilleid, Maximian, Ovid's Remedium Atnoris and other poems, were collated by C. Schenkl, Wiener Studien, iv , 96 ff., and were used by H. W. Garrod for the O.C.T. of Statius: Klotz in the Teubner 2nd edition merely notes the readings of (...) Schenkl and of the Oxford text. Unfortunately these are neither complete nor always accurate; and the latter should be corrected as follows: 1. In three passages the Oxford text differs from the reading of PEKQ without noting the fact: Ach. i. 145 Non superant is not, as implied, the MS. reading, but Havet's conjecture: PEKQ have nam superant. 306 PEKQ have impulsam , not impulsum. 680 PEKQ ibi, not ubi. (shrink)

The purpose of this paper is, first, to demonstrate to future editors of the Metamorphoses, whether conservative or sceptical, just how improbable is the reading of the majority of MSS, illas, and how strong are the claims of the variant ilia, first recommended by P.Lejay in 1894 and vigorously championed by E.J.Kenney in 1976; and, second, to suggest an interpretation of this reading that is open to fewer objections than the one proposed by Kenney.I have given above the beginning of (...) Ovid's longest poem as it ought to stand in all modern editions and as it stands in fact in only one, the French school edition of selections edited by Lejay in 1894: ‘Gods, on my undertakings breathe your favour.’ To be sure, all of Ovid's MSS read illas in line 2, and ilia is attested only as a variant in two of them.But majorities, in textual as in other matters, are frequently wrong.Even before the minority report of the Urbinas had been heard, Lejay adopted ilia, av.1.in the Erfordensis.1. (shrink)