Professor R. J. Getty has drawn attention to a tenth- or early eleventh-century manuscript of Statius’ Thebaid, hitherto examined only in Book I, namely Turonensis . Dr. Klotz, in his Teubner edition of 1908, gave citations from Book I, and wrote , ‘dolendum est sane de hoc codice primum tantum librum innotuisse, sed cum Roffensis libri maxime affinis accuratiorem notitiam haberemus, collatione quamvis -aegre careri posse nobis visum est.’ I have collated both T and Roffensis in full, and find firstly (...) that the citations of r by Klotz are far from accurate, especially in the last six books, and secondly that while it is indeed true thatT and r are very closely related, T is a much better representative than r of their common source. (shrink)

Shortly after his arrival at Carthage, while he is waiting for Dido to meet him, Aeneas finds that the walls of her temple are adorned with pictures of the Trojan War. Sunt hie etiam sua praemia laudi, he cries to Achates, sunt lacrimae rerum et mentem mortalia tangunt. The description of the pictures which follows is a remarkable example of Virgil's ability to use a traditional device in such a way as to strengthen and illuminate the main themes of his (...) poem. It is my object here first to reinterpret one of the scenes which has been misunderstood, and then to discuss how Virgil has chosen and arranged his episodes so that the description of a picture gallery becomes a part of an epic poem. (shrink)

In his note on Hesiod, WD 705 M. L. West tentatively suggests adeo for deo, saying rightly that ‘Charon is not a god in the literary tradition generally or in Virgil's scheme’ . Palaeographically nothing could be more attractive than this emendation. But for all Virgil's fondness for adeo he does not use it in this intensifying sense with adjectives other than those indicating number , nor does he ever use it later than the second foot . The difficulty which (...) West is combating is a very real one, but it is not solved by the removal of deo. Virgil's dilemma was that the old ferryman must be as timeless as all the other members of Pluto's establishment, and to achieve this object of portraying an unchanging picture of the machinery of the underworld he has elevated Charon to the rank of dues. In Olympus the gods are frozen at the point suitable for the anthropomorphic vision of them: Cupid is always a boy, Apollo young and handsome, Neptune older and more austere. Similarly Charon is frozen just as he has reached vigorous old age. He may not be, indeed is not, a real god, but he is a necessary part of the world of the gods and so must share their agelessness. (shrink)

Professor R. J. Getty has drawn attention to a tenth- or early eleventh-century manuscript of Statius’ Thebaid, hitherto examined only in Book I, namely Turonensis. Dr. Klotz, in his Teubner edition of 1908, gave citations from Book I, and wrote, ‘dolendum est sane de hoc codice primum tantum librum innotuisse, sed cum Roffensis libri maxime affinis accuratiorem notitiam haberemus, collatione quamvis -aegre careri posse nobis visum est.’ I have collated both T and Roffensis in full, and find firstly that the (...) citations of r by Klotz are far from accurate, especially in the last six books, and secondly that while it is indeed true thatT and r are very closely related, T is a much better representative than r of their common source. (shrink)

The list of Italian forces1 with which Virgil concluded Aeneid 7 was a piece of the ‘machinery’ of epic, that is to say an expected part of the content of an epic poem, established by Homer and expected of his successors; cf. Apollonius 1. 20–228, Silius 3. 222 f., Statius, Th. 4. 32 f., Milton, P.L. 1. 376 f. The straightforward enumeration of Homer was naturally appropriate in the Iliad both because oral technique sought this kind of directness and because (...) of the immediate relationship of the subject-matter to a heroic community. But Virgil was well aware that the Homeric manner would not fit satisfactorily into the sophisticated and elaborate structure of literary and contemplative epic. Two essential requirements had to be met in the transplanting of such ‘machinery’ into a new milieu. The first was one of function: the piece should blend with the whole intricate pattern of theme and tone which a poem like the Aeneid possesses. The second was one of structure: it must possess within itself artistic symmetries and designs of a carefully organized kind. (shrink)

Of the unusual grammatical constructions which Statius employs for the sake of variety and novel effect, among the most remarkable is his use of the ablative case. There are striking instances at Th. 8. 157, Th. 10. 309, Ach. 1. 219, Ach. 2. 129; and W. C. Summers was led to say: ‘We see some traces in Valerius of the lax use of this case which became almost a disease with Statius, who employs it for almost any kind of idea.’ (...) There are three passages in Statius which have been misinterpreted or emended through the failure to recognize a use of the ablative to which he was especially prone—the local ablative where the poetic dative of ‘motion towards’ would seem more normal. I shall first list examples of this use in Statius where there is little or no doubt about interpretation or reading, and in the light of this accumulated evidence consider the three passages which are disputed. (shrink)

The list of Italian forces1 with which Virgil concluded Aeneid 7 was a piece of the ‘machinery’ of epic, that is to say an expected part of the content of an epic poem, established by Homer and expected of his successors; cf. Apollonius 1. 20–228, Silius 3. 222 f., Statius, Th. 4. 32 f., Milton, P.L. 1. 376 f. The straightforward enumeration of Homer was naturally appropriate in the Iliad both because oral technique sought this kind of directness and because (...) of the immediate relationship of the subject-matter to a heroic community. But Virgil was well aware that the Homeric manner would not fit satisfactorily into the sophisticated and elaborate structure of literary and contemplative epic. Two essential requirements had to be met in the transplanting of such ‘machinery’ into a new milieu. The first was one of function: the piece should blend with the whole intricate pattern of theme and tone which a poem like the Aeneid possesses. The second was one of structure: it must possess within itself artistic symmetries and designs of a carefully organized kind. (shrink)

Shortly after his arrival at Carthage, while he is waiting for Dido to meet him, Aeneas finds that the walls of her temple are adorned with pictures of the Trojan War. Sunt hie etiam sua praemia laudi, he cries to Achates, sunt lacrimae rerum et mentem mortalia tangunt. The description of the pictures which follows is a remarkable example of Virgil's ability to use a traditional device in such a way as to strengthen and illuminate the main themes of his (...) poem. It is my object here first to reinterpret one of the scenes which has been misunderstood, and then to discuss how Virgil has chosen and arranged his episodes so that the description of a picture gallery becomes a part of an epic poem. (shrink)

In his note on Hesiod, WD 705 M. L. West tentatively suggests adeo for deo, saying rightly that ‘Charon is not a god in the literary tradition generally or in Virgil's scheme’. Palaeographically nothing could be more attractive than this emendation. But for all Virgil's fondness for adeo he does not use it in this intensifying sense with adjectives other than those indicating number, nor does he ever use it later than the second foot. The difficulty which West is combating (...) is a very real one, but it is not solved by the removal of deo. Virgil's dilemma was that the old ferryman must be as timeless as all the other members of Pluto's establishment, and to achieve this object of portraying an unchanging picture of the machinery of the underworld he has elevated Charon to the rank of dues. In Olympus the gods are frozen at the point suitable for the anthropomorphic vision of them: Cupid is always a boy, Apollo young and handsome, Neptune older and more austere. Similarly Charon is frozen just as he has reached vigorous old age. He may not be, indeed is not, a real god, but he is a necessary part of the world of the gods and so must share their agelessness. (shrink)