By Hans-Christian Gunther
The current quantity offers a entire advisor to at least one of the main tough authors of classical antiquity. all of the significant elements of Propertius' paintings, its issues, the poetical approach, its assets and versions, in addition to the heritage of Propertian scholarship and the vexed difficulties of textual feedback, are handled in contributions by way of Joan sales space, James Butrica, Francis Cairns, Elaine Fantham, Paolo Fedeli, Adrian Hollis, Peter Knox, Robert Maltby, Tobias Reinhardt and Richard Tarrant; due house can be given to the reception of the writer from antiquity and the renaissance (Simona Gavinelli) as much as the trendy age (Bernhard Zimmermann). on the centre stands an interpretation of the 4 transmitted books through Gesine Manuwaldt, Hans-Peter Syndikus, John Kevin Newman, and Hans-Christian Gunther.
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Extra resources for Brill's Companion to Propertius (Brill's Companions in Classical Studies)
Otherwise we ﬁnd only Actius there in connection with both Apollo and the battle, with three occurrences in Virgil, one in Horace, and no fewer than ﬁve in Propertius himself. At the 20 21 Davis (1977), Butrica (1996b). For the argument that follows, see Butrica (2001) 301–04. 36 chapter two end of the Augustan period, however, Ovid uses Actiacus once each in Metamorphoses and Fasti but never Actius, and Actiacus is all but universal thereafter. This reversal of fortune surely involved something more than mere metrical convenience, and the explanation seems to lie with Augustus himself: he created Actiacus as a new cult name of Apollo in connection with the enlargement and rededication of his temple at Actium, or so a corrupt gloss of Servius on A.
4 X appears to have had no titles; its descendants borrow them from descendants of A. 1, though ﬂourished initials show where 3 For Fournival, see Rouse (1973), Rouse (1979), Reynolds and Wilson (1991) 115–17. 4 But surely the general agreement in Books 1, 3, and 4 is against the suggestion of Heyworth (1995) 172 and Murgia (2000) 148 that there were none at all. the transmission of the text of propertius 27 poems are intended to begin. The scribe of A also left no space for titles and copied the elegies continuously, again apart from ﬂourished initials; the titles were added only later, once Fournival had composed them.
Lat. 15155). The extracts are remarkable not simply for existing but even more for the amount of annotation they attracted in subsequent years, evidence for the kind of active reading that can promote corruption through dislocations and interpolations, especially in the absence of other copies for comparison. 3. 25 Not long after, Fournival adorned his Propertius with headings and titles, and three diﬀerent hands subsequently added notes; someone else extracted 82 lines from it for a ﬂorilegium while it resided at the Sorbonne (“ﬂosculi propercii tibulli de amore,” on ﬀ.