organized education led to editions suited to Christian pedagogical needs. In chs 3 and 4, the fo... more organized education led to editions suited to Christian pedagogical needs. In chs 3 and 4, the focus turns to printed books. From 1469 to 1700 there were over two thousand printed editions of Virgil. In the Renaissance alone there were roughly 1,781,250 copies in circulation (83–4). These gures would be daunting to most, but K.’s scholarship is built on decades of research cataloguing these editions, which has led to his invaluable Bibliography of the Early Printed Editions of Virgil (2012). The Protean Virgil is in many ways an interpretive companion to the bibliography. In ch. 3, K. focuses on how students in the Renaissance were taught to break poetry apart, identify phrases memorable for content or style, commonplace them and then work them into their own compositions. Marks of this reading process are found in many print editions until the eighteenth century. K. eloquently relates how the disappearance of such annotations shows this Renaissance mode of reading gradually dying out. A fourth chapter on illustrations explores how visual supplements reect the ideologies and interests of the intended audiences. Finally, a speculative and provocative fth chapter takes us into the digital age. K. regards computers as a centrifugal medium, as opposed to print, which is centripetal. Computers allow readers more power, and, as hierarchies give way to egalitarian social structures, K. envisages a future that will nurture the pessimistic readings of Virgil that have ourished in the past fty years. The Protean Virgil is the latest in a series of works by K. that have fundamentally reshaped how we write and think about Virgil’s afterlife. At the end of this book, K. remarks that he hopes ‘this study has shown us something new about Virgil’ (172). It seems to me, however, that the chief virtue of The Protean Virgil is not really in saying something dramatically new. Much of the book repeats compelling arguments for material history that K. has made in previous works. Instead, the value of The Protean Virgil lies in its presentation of his arguments in a form that will be of interest to a wide range of students and scholars. Not every classicist will be interested in the reception of Virgil in Renaissance Venice; but an overview of the full material history of Virgil’s works will attract many readers. Since the book is short (ve chapters in 172 pages) and covers such a range of material, it is inevitable that there are topics that could not be included. One consideration that could have contributed substantially to his ‘destabilization’ of Virgil’s works, however, is how the Virgilian canon itself changed over the past two thousand years. Medieval manuscripts and early modern books often include works that we no longer consider Virgilian. Attention to uctuations in the Virgilian canon would support K.’s account of the ‘strange and wonderful’ Virgilian tradition, which is doubtless sound. All in all, the book is a useful study that provides an overview of Virgil’s fascinating material history.
LATIN CLASSICS OVID HEROIDES SELECT EPISTLES EDITED BY PETER E.KNOX Page 2. ... "Eg Courtney... more LATIN CLASSICS OVID HEROIDES SELECT EPISTLES EDITED BY PETER E.KNOX Page 2. ... "Eg Courtney (1965), DWTC Vessey, 'Notes on Ovid, Heroides 9', CQ. 19 (1969) 349 61, and PK Knox, 'Ovid's Medea and the authenticity of Heroides 12', HSCP 9o (1986) 2o7-23. ...
Transactions of the American Philological Association ( …, 1990
... JP Elder, "Non iniussa cano: Virgil's Sixth Eclogue," HSCP 65 (1961) 121, who ... more ... JP Elder, "Non iniussa cano: Virgil's Sixth Eclogue," HSCP 65 (1961) 121, who calls Virgil's poem "a brief...for his own kind of ... as a model for Ovid was noted briefly by Skutsch (1901) 31, whose observations on this score are further developed by PE Knox, Ovid's Metamorphoses ...
organized education led to editions suited to Christian pedagogical needs. In chs 3 and 4, the fo... more organized education led to editions suited to Christian pedagogical needs. In chs 3 and 4, the focus turns to printed books. From 1469 to 1700 there were over two thousand printed editions of Virgil. In the Renaissance alone there were roughly 1,781,250 copies in circulation (83–4). These gures would be daunting to most, but K.’s scholarship is built on decades of research cataloguing these editions, which has led to his invaluable Bibliography of the Early Printed Editions of Virgil (2012). The Protean Virgil is in many ways an interpretive companion to the bibliography. In ch. 3, K. focuses on how students in the Renaissance were taught to break poetry apart, identify phrases memorable for content or style, commonplace them and then work them into their own compositions. Marks of this reading process are found in many print editions until the eighteenth century. K. eloquently relates how the disappearance of such annotations shows this Renaissance mode of reading gradually dying out. A fourth chapter on illustrations explores how visual supplements reect the ideologies and interests of the intended audiences. Finally, a speculative and provocative fth chapter takes us into the digital age. K. regards computers as a centrifugal medium, as opposed to print, which is centripetal. Computers allow readers more power, and, as hierarchies give way to egalitarian social structures, K. envisages a future that will nurture the pessimistic readings of Virgil that have ourished in the past fty years. The Protean Virgil is the latest in a series of works by K. that have fundamentally reshaped how we write and think about Virgil’s afterlife. At the end of this book, K. remarks that he hopes ‘this study has shown us something new about Virgil’ (172). It seems to me, however, that the chief virtue of The Protean Virgil is not really in saying something dramatically new. Much of the book repeats compelling arguments for material history that K. has made in previous works. Instead, the value of The Protean Virgil lies in its presentation of his arguments in a form that will be of interest to a wide range of students and scholars. Not every classicist will be interested in the reception of Virgil in Renaissance Venice; but an overview of the full material history of Virgil’s works will attract many readers. Since the book is short (ve chapters in 172 pages) and covers such a range of material, it is inevitable that there are topics that could not be included. One consideration that could have contributed substantially to his ‘destabilization’ of Virgil’s works, however, is how the Virgilian canon itself changed over the past two thousand years. Medieval manuscripts and early modern books often include works that we no longer consider Virgilian. Attention to uctuations in the Virgilian canon would support K.’s account of the ‘strange and wonderful’ Virgilian tradition, which is doubtless sound. All in all, the book is a useful study that provides an overview of Virgil’s fascinating material history.
LATIN CLASSICS OVID HEROIDES SELECT EPISTLES EDITED BY PETER E.KNOX Page 2. ... "Eg Courtney... more LATIN CLASSICS OVID HEROIDES SELECT EPISTLES EDITED BY PETER E.KNOX Page 2. ... "Eg Courtney (1965), DWTC Vessey, 'Notes on Ovid, Heroides 9', CQ. 19 (1969) 349 61, and PK Knox, 'Ovid's Medea and the authenticity of Heroides 12', HSCP 9o (1986) 2o7-23. ...
Transactions of the American Philological Association ( …, 1990
... JP Elder, "Non iniussa cano: Virgil's Sixth Eclogue," HSCP 65 (1961) 121, who ... more ... JP Elder, "Non iniussa cano: Virgil's Sixth Eclogue," HSCP 65 (1961) 121, who calls Virgil's poem "a brief...for his own kind of ... as a model for Ovid was noted briefly by Skutsch (1901) 31, whose observations on this score are further developed by PE Knox, Ovid's Metamorphoses ...
Book 3, and elsewhere the puella is not necessarily Corinna or a unified character). Instead the ... more Book 3, and elsewhere the puella is not necessarily Corinna or a unified character). Instead the text is organized according to the sequence of stages that a lover goes through in a love affair. This pattern manifests itself not only across Books 1-3, but also within each book. Of particular interest is B.'s suggestion that the various phases of the lover's biography correspond to the sequence of erotodidaxis in the Ars Amatoria and Remedia Amoris (search and capture, retention, and renunciation of love). From B.'s standpoint, the (anachronistic) comparison with the Ars is appropriate, for the lover in the Amores is like the student of love who seeks to reduce the pain (or financial expense) of love and become an experienced lover. One misses, however, a literary historical examination of the relationship between Ovid's erotodidactic works and the Amores, and how the former may shape the interpretation of the latter. The remainder of the book investigates the rhetorical purposes, character, and effectiveness of the poet-lover's discourse. The topics of these chapters include: the usefulness of elegy in the exchange of services between poeta-amator and puella; the proper reception of the Aniores as a comic fiction that imitates life (3.12); how the poeta-amator tempers the panegyric of his puella to make it credible; the comic failures of the miles amoris (despite the claims of 1.9); and the puella's manipulation of the poeta-amator in a battle of the sexes (1.7 and 2.5). In two appendices, B. also offers closely argued cases for the authenticity of 3.5 and for the reference of 'artes teneri profitemur Amoris' (2.18.19) to the Amores (not the Ars). The primary strength of B.'s analysis is her careful explication and illumination of the Amores through intertextual comparisons with a broad range of literary and rhetorical works. Although B. does not state her critical premises and claims not to follow or apply any particular theory, one may deduce that she does not ply traditional, author-based, intentionalist philology. Her approach to the fictive vitae of the poeta-amator, which excludes the real or implied author from view, as well as the historical context of Augustan society and politics, has most in common with the semiotic approach to Roman love elegy that prevails in literary criticism today. What stands front and centre in B.'s reading are the literary conventions and rhetorical rules, as exemplified through parallel texts, that generate and govern Ovid's discourse. Noteworthy in this regard is B.'s application of the works of Isocrates, Aristotle, Cicero, Quintilian, and Lucian to the interpretation of the Aniores. This monograph is most suitable for advanced students and scholars whose bailiwick is the Amores. B. assumes a highly competent reader who is already familiar with the primary text and the basic secondary literature. There is little introduction to or orientation within each of the chapters (except for what is in the foreward) and no real effort is made to sum up conclusions. A general index could have compensated for the lack of overview, but the book comes equipped only with an index locorum. Despite these minor presentational difficulties, B.'s lively treatment of the Amores should not be ignored by specialists and will repay the effort of reading.
... ISBN 978-1-405-14183-3 Page 2. CHAPTER ONE A Poet's Life Peter E. Knox Intro... more ... ISBN 978-1-405-14183-3 Page 2. CHAPTER ONE A Poet's Life Peter E. Knox Introduction ... Vergilium uidi tantum, nec auara Tibullo tempus amicitiae fata dedere meae. successor fuit hic tibi, Galle, Propertius illi; quartus ab his serie temporis ipse fui. ...
Manilius begins his first book with a brief summary of the early history of astronomy, leading to... more Manilius begins his first book with a brief summary of the early history of astronomy, leading to a sketch of the rise of civilization. In the following passage, printed as it is found in one of the principal manuscripts M, he describes the invention of language, agriculture and navigation:1.85 tune et lingua suas accepit barbara leges,et fera diuersis exercita frugibus arua,et uagus in caecum penetrauit nauita pontum,fecit et ignotis inter commercia terris.
... PETER E. KNOX N 1962 excavations of an extensive villa at Nea Paphos on Cyprus unearthed figu... more ... PETER E. KNOX N 1962 excavations of an extensive villa at Nea Paphos on Cyprus unearthed figured mosaic pavements of remarkably high quality. ... a, Pl.1 Pyramus and Thisbe, "House of Dionysus": Nea Paphos, Cyprus (Courtesy of Dept. of Antiquities, Cyprus Museum) ...
In the most prominent areas of the House of Octavius Quartio, the owner exhibited his interests i... more In the most prominent areas of the House of Octavius Quartio, the owner exhibited his interests in Greek and Roman literature and deployed poetic themes according to generic distinctions. The walls of the triclinium are decorated with a double frieze, depicting the life of Hercules and scenes from the Iliad. This choice of serious epic themes is consistent with other Pompeian homes. More uniquely, the garden on which this room opens displays scenes from ovid’s Metamorphoses: Pyramus and Thisbe, Narcissus, and Actaeon. The House of octavius Quartio therefore appears to have been home to a true fan of Ovid.
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