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Reprint of the original, first published in 1874.
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A Cockney Catullus traces the reception history of the Roman poet Catullus in Romantic-era Britain, identifying the influence of his poetry in the work of numerous Romantic-era literary and political figures, including Byron, Keats, Wordsworth, Coleridge, Hunt, Canning, Brougham, and Gifford.
First-person poetry is a familiar genre in Latin literature. Propertius, Catullus, and Horace deployed the first-person speaker in a variety of ways that either bolster or undermine the link between this figure and the poet himself. In I, the Poet, Kathleen McCarthy offers a new approach to understanding the ubiquitous use of a first-person voice in Augustan-age poetry, taking on several of the central debates in the field of Latin literary studies—including the inheritance of the Greek tradition, the shift from oral performance to written collections, and the status of the poetic "I-voice." In light of her own experience as a twenty-first century reader, for whom Latin poetry is meaningful across a great gulf of linguistic, cultural, and historical distances, McCarthy positions these poets as the self-conscious readers of and heirs to a long tradition of Greek poetry, which prompted them to explore radical forms of communication through the poetic form. Informed in part by the "New Lyric Studies," I, the Poet will appeal not only to scholars of Latin literature but to readers across a range of literary studies who seek to understand the Roman contexts which shaped canonical poetic genres.
The elegist Sextus Propertius (ca 50–ca 16 BC) is generally reckoned among the most difficult of Latin authors. At the root of this difficulty lies a deeply corrupt text and uncertainty over the manuscript transmission; moreover, the manuscripts used in the standard editions of today have been selected without a comprehensive examination of the surviving copies. This study, the fullest survey of the manuscripts so far, considers the affiliation of more than 140 complete or partial witnesses and offers a thorough reassessment of the tradition. The principal novelty is the argument that six Renaissance copies represent an independent third witness to the archetype, revealing passages where corruptions, glosses, or medieval corrections are now accepted as the words of Propertius and suggesting that the archetype was far more corrupt than now commonly supposed. The study is in two parts. In Part One, after a survey of Propertius’ fortuna in the Middle Ages, the author considers the affiliation and history of the known manuscripts and editions to 1502, then offers a text and revised apparatus of four elegies; in Part Two he presents detailed descriptions of 143 manuscripts, most of them from personal inspection.