Such a reader, especially if he were himself a poet ambitious to establish his own place in the tradition, might have drawn a lesson from Ennius’ treatment of Naevius about the way in which principles of structuration could inform one’s own efforts to establish a locus standi vis a vis one’s predecessors. Lucretius: On the Nature of Things (The Internet Classics Archive) (englanniksi) 69 Zetzel 1998: 233–35; cf. Gale, Monica. ___________. E. P. Dutton. Aen. DRN 5–6 appear to be based substantially on three books of Peri physeos (11–13), while much of Peri physeos 5–10 has been distributed throughout DRN 2–4. “Mea Tempora: Patterning of Time in the Metamorphoses.” In Ovidian Transformations: Essays on Ovid’s “Metamorphoses” and Its Reception. My thanks to the organizers of the workshop and to my fellow participants for the stimulus of the occasion and for their discussion and encouragement. In the first place, books 10 and 16 both begin new triads, and it may be that all such books featured proems that will have reinforced the reader’s sense of the poem’s structure at that level. In its own fifteen-book structure, the Metamorphoses invites comparison with Ennius’ poem, which it surpasses in scope even as it usurps the outward form of permanence and fixity that Ennius had given his poem. Tibullus, Elegies II. Pfeiffer, Rudolf. Bari. There is, however, no direct evidence for this view, which is somewhat impugned by the testimony of Cicero (n. 17 below) and Diomedes (n. 14 above). This impression would be strengthened if there were a similar proem in book 13 as well, but unfortunately we have no evidence either way. 1986. And, as we have seen, the poem contains gestures that might encourage readers to group adjacent triads into coherent hexads (1–3 + 4–6, 7–9 + 10–12, etc.) The final episode of Fasti 6 (and so of the poem as we have it) celebrates the cult of Hercules of the Muses, the very cult that Fulvius Nobilior brought to Rome, and so may very well allude to the final episode of Annales 15. 27 On Ennius as a Hellenistic poet see Gratwick 1982: 63–75; Goldberg 1995: 90–91 is more skeptical. The critical commentary justifies the text of the new edition of Lucretius' De rerum natura in the Bibliotheca Teubneriana. “Lucretius 4.1–25 and the Proems of the De rerum natura.” PCPS 40:1–17. Band 1: Vorwort, Text, kritischer Apparat und Übersetzung. There, the poet acted not only under the influence of his quest for renown, but also because of his love for the Muses…. The pronounced differences between these two outlooks are clearly reflected in the conclusions of the two works. Leiden. If we imagine the structure of DRN as alluding in some way to this fusion, then the decision to divide the poem into six books makes additional sense, in the following way: Lucretius’ six books may be regarded as “completing” Ennius’ Homeric imitatio by rounding out the number of books in the Annales, eighteen, to the number of books in either of the Homeric poems, twenty-four. 18–29. 2d. 58 For example: Xenocrates, as an early director of the Academy, was a figure of some institutional importance, and among the more than seventy titles listed by Diogenes Laertius (4.11–13) are several treatises in six books, including a Peri physeos; but in view of the fact that “nothing whatever of these has survived, even in the form of identifiable quotations in other authors” (Dancy 2003), it seems unlikely that Lucretius will even have known his writings. Hinds, S. E. 1985. For the Ennian passage that Lucretius cites see Skutsch 1985: 154–157. ____________. It may be, then, that some such interpretation of the way in which the seven-book structure of Naevius’ poem “influenced” Ennius’ decision to organize the Annales by hexads, influenced in turn Lucretius’ decision to structure his own poem as a single Ennian hexad. 18 Bailey 1947: 615–22; Skutsch 1985: 147–59. He undertakes the converse operation at the beginning of the Amores, where the opening of book 1 alludes both the opening of the Aeneid – the final poem of Vergil’s career – and to the beginning of Eclogue 6 – the “proem in the middle” found in Vergil’s first major work. Click anywhere in the sic igitur debent venti quoque flamina ferri. 1962. Of course, neither was the Metamorphoses a fixed structure: that is among the main points developed in Tr.
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