Catullus, Tibullus, Propertius, His accesserunt Corn Galli fragmenta [Texto impreso]

Copia digital: Biblioteca Valenciana, 2011

Catullus, Tibullus, and Propertius;

Mode of access: Internet.

Catullus, Tibullus. Propertius cum Galli fragmentis et peruigilio veneris : praemittitur notitia literaria Studis Societatis Bipontinae.

Mode of access: Internet.

Catullus, Tibullus, Propertius, cum Galli fragmentis et Pervigilio Veneris.

"Cn. Cornelii Galli, vel potius Maximiani, Elegiarum libellus": p. [315]-341; "Pervigilium Veneris": p. [349]-455 (i.e. 355).

Catullus, Tibullus et Propertius,

A reprint of the Leiden ed., of 1743, edited by Lenglet Dufresnoy--cf. Brit. Mus. Cat.

Catullus, Tibullus, et Propertius : pristino nitori restituti, & ad optima exemplaria emendati. ; Accedunt fragmenta Cornelio Gallo inscripta.

Engraved plates and headpieces.

The works of Catullus and Tibullus, and the Vigil of Venus. A literal prose translation with notes, by Walter K. Kelly.

Mode of access: Internet.

Elegiac extracts from Tibullus and Ovid /

Includes bibliographical footnotes and index.

Catullus, Tibullus, Propertius : cum Galli fragmentis et pervigilio veneris

praemittitur notitia literaria Studiis Societatis Bipontinae

Tibulo en la literatura europea (con especial atención a la inglesa): la pervivencia de la elegía latina

[ES] Este trabajo muestra ejemplos de la difusión que, como modelo, ha tenido el "corpus Tibullianum" en la poesía de Occidente. Ponemos de relieve su apreciación en Inglaterra, donde hemos encontrado un interesante grupo tanto de imitaciones expresas y como de composiciones de diverso signo que se aproximan a la elegía latina a través de Tibulo. La mayor parte de estos testimonios se sitúan en los siglos XVlI y XVIII, coincidiendo con las primeras traducciones inglesas, y terminan con los poetas románticos, que como Byron ya adelantan la actitud de nuestro tiempo ante el "corpus Tibullianum", entre un cierto olvido y admiración.

Las elegías de Tibulo, de Lidgamo y de Sulpicia, traducidas en verso castellano por Joaquín D. Casasus...con notas explicativas del traductor

UANL

Ovid, Remedia amoris 95: uerba dat omnis amor

Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous passage of Lucretius (DRN 1.907–14; also 1.891–2) in which the poet seeks to illustrate the tendency of semina … ardoris to create fire in wood by the literal presence of elements from the word for ‘fires’ (IGNes) in that denoting wood (lIGNum). A similar conception may underlie the association insinuated by the love elegists between amor and mors, suggesting that death is somehow ‘written into’ love: so Propertius declares laus in amore mori (2.1.47), while Tibullus appears to point to the lurking presence of death in the pursuit of love in the lines interea, dum fata sinunt, iungamus amores: | iam ueniet tenebris Mors adoperta caput (1.1.69–70) – so swift and unexpected is death's approach that it is already present in aMOReS in the preceding line. Ovid's awareness of the poetic potential of this kind of play (if that is the right word for it) is fully exhibited in his celebrated account of Echo and Narcissus in Metamorphoses 3, where the subject matter gives the poet ample scope to exploit the humorous and pathetic possibilities afforded by Echo's fragmented repetitions of the frustrated entreaties of her beloved.

Christian Gottlob Heyne and the changing fortunes of the commentary in the age of Altertumswissenschaft

This chapter discusses the pedagogic and scholarly priorities that informed Heyne’s commentaries on Tibullus (1755), Virgil (1767-75) and Homer (1802), as well as their initial critical reception. Like those of his teachers, Gesner and Ernesti, Heyne’s works eschew detailed textual scholarship in favour of aesthetic and historicizing appreciation of literary works as wholes. Their formal innovations – most notably the relegation of advanced philological discussions to endnotes and the inclusion of excursuses on significant historical and cultural questions – are an attempt to tailor a traditional format to the demands of an Enlightened age and the cultural-historical interests of the new Altertumswissenschaft. The chapter discusses their contrasting critical receptions in order to raise questions about the viability of Heyne’s endeavours to make a traditional medium fit new concerns.

Horacio y la recusatio de la elegía amorosa

Dentro del género lírico, Horacio trata de diferenciar de su propia lírica amatoria la especie erótica elegíaca de un Tibulo o un Propercio; lo hace con dos recursos de raigambre calimaquea empleados con profusión por otros poetas augusteos: la recusatio y la excusatio presentes en Odas I, 33; II, 9 y I, 38