This article identifies and analyzes bureaucratic features in the language employed by Pliny and Trajan in Epistles 10 as an example of communication between two officials of senior but unequal status who were engaged in managing provincial affairs in the Roman empire.
The Carmen Saeculare was composed and published in 17 BCE as Horace was returning to the genre of lyric which he had abandoned six years earlier; the fourth book of Odes is in part a response to this poem, the only commissioned poem we know from the period. The hardening of the political situation, with the Republic a thing of the past and the Augustan succession in the air, threw the problematic issue of praise into fresh relief, and at the same time provided an impulse towards the nostalgia represented by the poet's private world. Professor Thomas provides an introduction and commentary (the first full commentary in English since the nineteenth century) to each of the poems, exploring their status as separate lyric artefacts and their place in the larger web of the book. The edition is intended primarily for upper-level undergraduates and graduate students, but is also important for scholars.
Nota Bene explores a little-known juxtaposition of verbal text and musical notation in the Middle Ages. This particular intersection deserves attention from those interested in music, the reception of classical Latin literature, the history of education, and the development of punctuation.
Between the late tenth century and the late twelfth century, the musical notation known as neumes was provided in dozens of manuscripts for, among other texts, a number of Horace's Odes as well as for sections of epics by Lucan, Statius, and Vergil. These materials constitute a paradoxical corpus of "classical poems in plainchant" that complicates our views of both how students learned Latin and what was being sung in an era most often associated with Gregorian chant. The book wrestles first with the literary-historical puzzle of why certain passages and not others were "neumed" and later with the ethnomusicological riddles of how, where, when, and by whom the passages were sung.
For this edition of the Metamorphoses R. J. Tarrant has freshly collated the oldest fragments and manuscripts and has drawn more fully than previous editors on the twelfth-century manuscripts, the earliest extant witnesses to many potentially original readings. He has also given more scope to conjecture than other recent editors, and has been readier than his predecessors to identify certain verses as interpolated. This edition will be indispensable for future study of Ovid's greatest work.