In his recent monograph on textual criticism, Richard Tarrant discusses the history, problems and practices of diagnosing interpolations in Latin texts, and persuasively argues for ‘restor[ing] interpolation to the editor's armoury’. In the hopes of better arming future editors, I identify a possible interpolation in the second book of Claudian's De Raptu Proserpinae. The passage in question describes the celebrations in the underworld that attend the wedding of Pluto and Proserpina; joining in the holiday mood, the Furies let their snaky (...) hair down to enjoy a drink of wine while they light festive torches for the nuptials :oblitae scelerum formidatique furorisEumenides cratera parant et uina ferocicrine bibunt flexisque minis iam lene canentes 345extendunt socios ad pocula plena cerastaset festas alio succendunt lumine taedas. (shrink)

The recent edition of theThebaidby Hall, Ritchie, and Edwards launched a successful attack on thecommunis opinioof a bipartite manuscript tradition, with one clearly superior family, and relatively few textual problems. In doing so, they underscored the need for renewed editorial work on the poem. Here I discuss five passages fromThebaid2 that have not received adequate attention from editors.

This article argues for an emendation to Ovid, Amores 3.9, Ovid's lament for Tibullus. The transmitted text of line 59 would seem to present a contradiction: Ovid speculates about aliquid nisi nomen et umbra surviving death, and then proceeds in the next few lines to identify that aliquid as, precisely, Tibullus’ umbra. Ovid's original text was most likely aliquid nisi nomen et ossa, referring to a burial site and funerary inscription; with this text, Ovid reproduces details from Tibullus 1.3, a (...) poem which he reworks throughout his elegy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Virgil Should Have Said KYLE GERVAIS Mortem infelicem canimus famamque perennem Sidoniae praeclara ducis quae sustulit alte moenia—multum illa et furiis iactata et amore saucia, deseruit cum foedera barbarus hospes, vique deum quassa et fratris, dum conderet ensem fatiferum profugi sub pectore et iret ad umbras, arma virumque ciens magnam contundere Romam. I sing the tragic death and endless glory Of Sidon’s exiled queen, the famous walls She (...) raised on high, her wild and wounded love When savage guest betrayed his bonded word And gods and brother shook her—till she took The fateful sword he left and sought the shades To call a man in arms to topple Rome. note With thanks to Sarah Shaughnessy for the idea and advice, and to Michael Putnam, who taught me that Dido never really dies in the Aeneid. arion 28.2 fall 2020... (shrink)