By David Butterfield
This can be the 1st distinctive research of the destiny of Lucretius' De rerum natura from its beginnings within the 50s BC right down to the production of our earliest extant manuscripts through the Carolingian age. a close research of the data of Lucretius' poem between writers during the Roman, and in this case the medieval, worlds permits clean perception into the work's readership and reception, and an review of the worth of the oblique culture for modifying the poem. the 1st prolonged research of the one hundred seventy+ topic headings (capitula) that intersperse the textual content finds the shut engagement of Roman readers. A clean inspection and assignation of marginal fingers within the poem's most crucial manuscript offers new proof concerning the paintings of Carolingian correctors and the foundation for a brand new Lucretian stemma codicum. additional rationalization of the interrelationship of Renaissance manuscripts of Lucretius provides extra proof of the poem's reception in fifteenth-century Italy
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Extra info for The early textual history of Lucretius' "De rerum natura"
2376), B (Vat. Barb. Lat. 154), L and F. In 1926–9 William Merrill published a magpie’s nest of many readings from various Italian manuscripts,64 although he offered almost no analysis of 64 To use the sigla of Flores, Merrill published imperfect collations of ABFLDEHRSTefjz and Aa. 20 Editorial progress since the nineteenth century their interrelationships. Faced with an unclear state of affairs, and typically not much interested in the matter, all editors of Lucretius after Lachmann for 125 years, with the sole exception of Diels, gave the Italian manuscripts some credit (particularly ABFCL and P (Paris Lat.
As will be argued in Chapter 4, these verses added by O, all of which were actually written in lieu of erased verses (in rasura) and not in intentionally blank spaces, are simply restorations from Ω of verses accidentally omitted by O, typically through saut du même au même. The basic stemma relating OQS to the archetype can therefore be sketched as follows (see next page). The latter of the two states of the archetype (Ω and Ωi ) indicates its being damaged by the loss and replacement of four leaves, in an incorrect order, at the close of the manuscript (as n.
250–2. Further information about the Utrecht and Milan incunabula can be found at Reeve (2005) 146–7; Dixon (2011) treats in detail the annotations in the Utrecht incunable. 71, since this reading was entered into O by O3 after the creation of χ. 39 The extant Lucretian manuscripts (as it was to Gronovius: cf. 271 cortus (corrected by Dungal to tortus in O). It is now possible for me to summarise why one should not assume that, whereas the correctors of o and q were indeed able to draw upon a collation or apograph of O (distinct from χ), the seemingly independent material found in φ and the corrector of r was actually drawn from π itself and not the mediaeval χ.