By Javier Martinez
Correct from the start, classical literature has been embroiled with questions of authenticity, fakes, frauds, and, after all, scandal. problems with doubtful authorship, and contested authority confront philologists, critics and publishers this day as without doubt as they did within the classical period itself. the hot period of postmodernism, even if, encourages us to examine the paintings of the forger with clean eyes, and up to date scholarship displays this in an interdisciplinary strategy which fits well past the normal educational recreation to split the actual from the fake.
Fakes and Forgers of Classical Literature contains essays from a global forged of students who, of their assorted and artistic ways to questions of authenticity either previous and new, greatly revise the location of the cast textual content within the literary culture and, in gentle of recent ways of philology and literary feedback, supply interesting new thoughts for knowing forgery and the play with authenticity inside historic literature itself.
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Kgl. S 211 2o, s. 456]; Vienna ÖNB Lat. 107 ff. 9–18, s. 743–1286]), which schedae (S) show shared descent with Q. OQS allow the reconstruction of an archetype (Ω, c. s. viii), which is the farthest back that the stemmatic method can take the Lucretian scholar. Over fifty Italian manuscripts of the fifteenth (and sixteenth) centuries survive, but their ultimate source, the lost codex Poggianus (π, copied on the orders of Poggio Bracciolini in 1417), was transcribed from a lost apograph of O (which I term χ); they therefore bear no textual independence from O, which of course survives complete.
10 C. Gneisse, De versibus in Lucretii carmine repetitis (Strassburg, 1878). See also, in a similar vein, A. Kannengiesser, De Lucretii versibus transponendis (Göttingen, 1878) and W. Lohmann, Quaestionum Lucretianarum capita duo (Braunschweig, 1882) Cap. 1: De repetitionibus. 11 G. Müller, “Die Problematik des Lucreztextes seit Lachmann,” Phil. 102 (1958) 247–83 and Phil. 103 (1959) 53–86; cf. , Die Darstellung der Kinetik bei Lucrez (Berlin, 1959) along with Anghang IV. 12 K. ) T. Lucretii Cari De Rerum Natura (Zurich, 1975).
38 Several passages in the poem have been highlighted as seeming to want Lucretius’ final revision. For instance, although nine verses of the subsequent, more polished proem to Book 4 (33–41) suggest that ghosts will be an important part of the book, only eleven verses (757–67) subsequently appear on this topic. ) as an abrupt and awkward development of the argument of 91–109; perhaps the transition would have been smoothened in due course. Later in the book, the astronomical account at 509–770 interrupts two phases in the narrative of the world’s history: whether Lucretius would have refined this arrangement is open to debate.