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Catullus

The Classical Review 4 (02):131- (1954)

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  1. Archilochus 222W and 39W: Allusion and Reception, Hesiod and Catullus.Shane Hawkins - 2019 - Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 163 (1):16-46.
    This article is a contribution to our understanding of how Archilochean poetics may be situated in the longer poetic tradition. In examining two fragments that have received little attention, I hope to illustrate how Archilochus’ poetry both engaged with its predecessors and was in turn engaged by its successors. Fragment 222W employs a theme that was perhaps already conventional for Hesiod, in which the incompatibility of the sexes is implicated in the cycle of seasons, an idea that also seems relevant (...)
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  • Arbitria Vrbanitatis: Language, Style, and Characterization in Catullus cc. 39 and 37.Brian A. Krostenko - 2001 - Classical Antiquity 20 (2):239-272.
    This article describes how cc. 39 and 37 create distinct tones of voice and use them to preclude the social pretensions of Egnatius in different spheres. The style of c. 39, markedly oratorical—and non-Catullan—in the syntax of its opening lines, develops into the voice of a respectable senex by way of archaisms of vocabulary and syntax and is capped by a figure of humor otherwise absent from the polymetrics, the apologus. The style thus creates a voice perfectly suited to chastise (...)
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  • Catullus 61.90–6.Bernhard Georg - 1996 - Classical Quarterly 46 (1):302-304.
    As the majority of the editors read the text of Catullus 61.90–6, it contains a couple of emendations, among which the most significant is the addition of the lineprodeas nova nuptaafter v.90 in order to complete the strophe.
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  • La notion de "valeur esthétique" dans l'esthétique structurale de Jan Mukarovsky. Application au poème 56 de Catulle.Freddy Decreus - 1986 - Philosophica 38 (2):77-106.
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  • OI NEΩTEPOI, Poetae Novi, and Cantores Euphorionis.N. B. Crowther - 1970 - Classical Quarterly 20 (2):322-327.
    These three Ciceronian references, each used only once, have given rise to a most confusing variety of interpretations. In this article I hope to show, as far as the evidence will allow, who these poets were and what sort of poetry Cicero probably had in mind.οί νєώτєροι.
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