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Suidas tells us that Erinna wrote a poem of 300 lines, in Aeolic and Dorian dialect, called . There happens to be preserved on papyrus part ofa hexameter lament for Erinna's friend Baucis, the subject of two epigramsalso by Erinna, AP 7. 710 and 712. ‘Distaff’ is a strange title for a lament, it would seem, and there have been various attempts both to explain it and to explain it away.
In view of the overwhelming weight of the manuscript evidence, including most recently the testimony of Y, it is perhaps about time to stop the attempts at emendation that began in the sixteenth century with sed non blanda puto. The weaknesses, too, of the argument in favour of lengthening metri gratia the final vowel of blanda have been clearly pointed out by Housman,1 who just as clearly pointed out that blanda must therefore be an ablative.
In the opening passage of the Breviarium of Festus (1. I) (written probably c. A.D. 369/70) we read the following: ‘… ac morem secutus calculonum, qui ingentes summas aeris breuioribus exprimunt, res gestas signabo, non eloquar. Accipe ergo quod breuiter dictis breuis conputetur …’ The problem that I should like briefly to discuss in the following study is: Who were the calculones, ‘qui ingentes surnmas aeris breuioribus exprimunt’? This term calculo, and indeed the whole problematic clause can, I suggest, only be fully understood and appreciated in the light of monetary developments of the later fourth century.
Recently Mr. E. Courtney has reopened discussion on the authenticity of the last six Heroides, a subject which had almost universally been accepted as settled by scholars.2 He also briefly discussed the ninth epistle and examined certain grounds for doubting whether it is rightly included in the Ovidian canon. In this he is following Karl Lachmann, who was disposed to doubt the authenticity not only of the last six but also of those of the remainder which are not mentioned in Ovid's catalogue of the epistles given at Amores 2. 18 f.3 This despoliation of the canon has not generally found favour since Lachmann, and in the case of Heroides 9 (Deianira Herculi) the editors (e.g. Palmer) and other scholars working on the poems (e.g. Housman and recently Dörrie)4 have without exception regarded the poem as a genuine specimen of Ovid's work.