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This conjecture of Mr Gow's for teque (p. 155 of the April number 〚CR 4 (1890), 155〛) has a special interest for me, as I had pencilled it in my own margin some while ago. I do not even now feel sure that it is right, for although Ovid often appends que in this way to a quoted word, there is no similar instance in Horace; and moreover Meineke's atque may well be the true reading. But my purpose in writing is to present Mr Gow with a parallel passage which seems to tell strongly in his favour: Ovid Trist iv. 2, 51 sq. ‘tempora Phoebea lauro cingentur “io” que ∣ miles, “io” magna uoce “triumphe” canet.’ This has all the air of a copy from the above text, for Ovid is here in a very imitative mood: the pentameter is taken word for word from Tib. 11. 5, 118, and his next distich, ‘ipse sono plausuque simul fremiruque calentes ∣ quadriiugos cernes saepe resistere equos’, comes from Prop. 111. 4, 14, ‘ad uulgi plausus saepe resistere equos’.
Mr Gow's certain emendation cerebrique in Serm. 11. 3, 208, was forestalled by Horkel, a critic who in a short life did more for the text of Horace than any man since Bentley, though the editors, with the significant exception of Meineke, seldom deign even to record his corrections.
Before dealing with the last verse I will offer a short defence of the conjecture ‘aperit’ for ‘perit’, v. 282, which has already seen the light in Mr Postgate's edition. The vulgate text is ‘parit’, which a later hand has written in G over the erasure of the original reading; O has the abbreviation which regularly stands for ‘perit’ but may according to the practice of that scribe signify ‘parit’ also. If the tradition is ‘perit’, then ‘aperit’ since an a precedes is an easier change than ‘parit’; while even if ‘parit’ were clearly given by the MSS I should think it hardly suitable: it is surely ‘terra’ or ‘flumen’ that ‘parit flores’, just as ‘campi ferunt’ and ‘ora creat’ in the lines above: the function of ‘aura’ is more properly expressed by ‘aperit’.
The first edition of Baehrens' Catullus, which now that the second has appeared will fetch fancy prices, was in the rigour of the term an epoch-making work. But it exhibited a text of the author much corrupted by unprovoked or unlikely or incredible conjecture; so that the task of revision was delicate, and the choice of a reviser was not easy. It was not easy; but scholars who are acquainted with the history of Catullus' text and with the metres he wrote in, who know how to edit a book and how to collate a manuscript, who are capable of coherent reasoning or at all events of consecutive thought, exist; and to such a scholar the task might have been allotted.
It has been allotted to Mr Schulze, who says, ‘Munus nouae huius libelli editionis post praematuram Aemilii Baehrensii mortem curandae ita suscepi, ut quoad fieri posset quam plurima eorum, quae ille ad Catulli carmina et recensenda et emendanda contulisset, retinerem ac seruarem.’ Out of Baehrens' conjectures Mr Schulze has found it possible to retain six. The first of these is the merely orthographical correction 2 6 lubet for libet or iubet.
In the American Journal of Philology, vol. XIII p. 152 〚this edition p. 192〛, I proposed to write here ἦ πατρόθεν, ὡς ἀκούω, δυσώνυμα λέκτρ' ἐπάσω; and I added i.e. didst thou wed thy father's widow? No. XIX. of Hermathena contains an article by Prof. Tyrrell, full of his usual kindness and generosity, in which the following remarks occur (p. 307) :
‘But what is most puzzling to me is to guess why … Prof. Housman thinks that he has improved the sense by reading πατρόθεν for ματρόθεν, and how he has persuaded himself that πατρόθεν λέκτρα could mean “his father's widow”, unless πατρόθεν can take the place of πατρός; and if it can, then ματρόθεν = ματρός, and ματρὀθεν λέκτρα means “thy mother's bed”, and there is no difficulty in the passage.’
I take πατρόθεν with the verb: ἦ πατρόθεν λέκτρ' ἐπάσω means came thy bride unto theefrom thy father's arms? My paraphrase didst thou wed thy father's widow? is in sense the exact equivalent of this; but since its form has misled Prof. Tyrrell, and may therefore mislead others, into thinking that I took πατρόθεν λέκτρα to mean thy father's widow, I desire to make this explanation.
Our understanding of the world is not static; it can both expand and contract, and it can also stagnate. In history the expansion of the known universe has come about from various causes, from scientific advance, the slow processes of trade and exploration, from, colonization, and especially from conquest. Periods of expansion produce often a re-evaluation of the external world, both that which was already known and that which was previously unknown, or on the fringes of the known. But no one is wholly capable of a direct response toreality: reality as soon as it is experienced is perceived, organized: ‘Die Welt ist die Gesamtheit der Tatsachen nicht der Dinge’ (the world is the totality of facts, not of things).
The words I wish to delete in 48-9 spoil a ‘tricolon crescendo’ whose three members are clearly marked (ima plebe . . . de plebe . . . hinc) and whose verbs are perhaps deliberately varied in person and tense (invenies, veniet . . . petit). The parataxis by means of hic is awkward, and the words seem to be a versified gloss. The Scholiast says : id est: to nobilis tantum et imperitus. nam de plebe, id est de humili familia, eloquentes exeunt, qui nobilium imperitorum causas defendunt; but that could be a paraphrase based on the text as it stands in our manuscripts.
The attribution of line 217 to Antigone seems never to have been questioned, and Hermann's emendation in 219 for the of the MSS.) has been generally accepted as ‘fitting, since Oedipus and Antigone have just been speaking together’ (Jebb ; alii similia). However, the introduction of Antigone into this lyrical dialogue may result from misunderstanding the tenor of the scene. The passage in question is difficult in parts and the text frequently emended ; nevertheless, enough seems clear to suggest that 217 belongs to the chorus. Antigone's alleged participation would interrupt the crescendo of the chorus's unremitting pressure on Oedipus until he complies with their demand in 220. The restoration of 217 to the chorus would thus reveal another instance of Sophocles‘ absolute concentration on the action developing at the moment, regardless of whoever else is on the stage.