1 00:00:02,350 --> 00:00:14,440 Christ. There are about 117 manuscripts of Catullus written before 1510. 2 00:00:14,950 --> 00:00:20,320 All listed and numbered on your handout, which I hope you can get sight of. 3 00:00:20,860 --> 00:00:28,299 And the gaps in the enumeration arise because I have not bothered to record some of the manuscripts produced after 1510, 4 00:00:28,300 --> 00:00:32,620 and the enumeration is taken from earlier lists produced by authors. 5 00:00:33,490 --> 00:00:45,340 But recent editors have seen the need to use only four, which are named T, O, G and r, and of which T is available only in poem 62. 6 00:00:45,970 --> 00:00:50,050 I shall explain these names, though, as classicists call them, singular shortly. 7 00:00:50,950 --> 00:00:56,020 How do editors know that these are the only authoritative manuscripts? 8 00:00:57,000 --> 00:01:05,680 Roger miners who helped establish chess. In both Cambridge and Oxford, Invasively wrote what you can see on the board, 9 00:01:05,980 --> 00:01:13,780 all either derived from manuscripts OGL or what for our purposes amounts to the same, perhaps so derived. 10 00:01:14,900 --> 00:01:23,120 And cogent evidence profound to establish this view, which was held before my notice by the Americans William Hale and Bertolt Ullman. 11 00:01:24,150 --> 00:01:29,610 I ask this, not least because the hope lingers in some university cities, notably Parma. 12 00:01:29,940 --> 00:01:35,280 But some of the 15th century manuscripts of Catullus contain readings inherited from the 13 00:01:35,280 --> 00:01:40,770 Middle Ages that are not to be found in the 14th century manuscripts that editors use. 14 00:01:42,070 --> 00:01:49,000 Lack of a clear and coherent exposition that long frustrated me, not least because of the fame of Catullus, 15 00:01:49,240 --> 00:01:55,000 and because the number of manuscripts is manageable and incentive to do some work on. 16 00:01:55,000 --> 00:02:01,270 The problem came from having to lecture on Catullus text in Cambridge over the last 15 years. 17 00:02:02,090 --> 00:02:06,760 The need to develop some more coherent views came from an invitation a few years back, 18 00:02:06,760 --> 00:02:13,750 from Tony Workman and the late Ian to Kenny, to write on the manuscripts of Catullus for The Cambridge Companion to Catullus. 19 00:02:14,860 --> 00:02:20,560 That invitation spurred me on to look at the 70 or so manuscripts that I had not then seen, 20 00:02:20,890 --> 00:02:30,760 and to try to produce or celebrate the whole tradition in a form intelligible to readers of The Cambridge Companion at that chapter is now published. 21 00:02:31,090 --> 00:02:35,620 But The Cambridge Companion is not the place to parade much intricate detail. 22 00:02:36,160 --> 00:02:40,450 And in it I stated my conclusions, but little citation of evidence. 23 00:02:40,900 --> 00:02:47,980 Now, an oral lecture to you today is probably also not a suitable occasion for a parade of two intricate details, 24 00:02:48,640 --> 00:02:53,830 but I do want to present to you some of the evidence that I should like to publish in full elsewhere. 25 00:02:55,170 --> 00:02:58,470 Maybe helpful to present my conclusions in advance, 26 00:02:59,400 --> 00:03:03,750 or experience with other manuscript traditions that made me expect that I should find 27 00:03:03,750 --> 00:03:08,940 some manuscripts that were indeed independent of the four that I have mentioned. 28 00:03:09,930 --> 00:03:19,350 They failed to materialise, and I now think that probably all the extant manuscripts do derive from those called O and are. 29 00:03:20,510 --> 00:03:26,760 In the case of many manuscripts, there is no doubt that they do derive entirely from G and all, 30 00:03:26,930 --> 00:03:29,720 and I shall present some of the evidence for that later. 31 00:03:30,730 --> 00:03:38,830 However, what minuses eloquent statement obscures is that if all the manuscripts do derive from O, g and r, 32 00:03:39,160 --> 00:03:46,840 one has to postulate much correction and cross-fertilisation or contamination between the different streams of text. 33 00:03:47,930 --> 00:03:52,580 I typed in this lecture to offer some general thoughts on such cross-fertilisation, 34 00:03:52,940 --> 00:03:56,840 which is endemic in all periods of plentiful manuscript production. 35 00:03:57,560 --> 00:04:01,520 But exploring the tradition of Catullus is going to take all the time available. 36 00:04:02,960 --> 00:04:11,380 I'm not going to be able to prove decisively that all the manuscripts that have a contaminated text must derive entirely from Ogu, 37 00:04:11,380 --> 00:04:19,450 or I hope to show that the fingerprints of at least one of these can be found on the most, perhaps even all. 38 00:04:20,470 --> 00:04:24,490 Behind all this lies a more general question about transmission. 39 00:04:25,180 --> 00:04:30,430 Is it possible to trace lines of descent through a tradition that is contaminated? 40 00:04:30,850 --> 00:04:32,950 Or is the quest always hopeless? 41 00:04:34,090 --> 00:04:40,180 Now this third lecture is going to be slightly more philological and more contain a little more Latin than the others. 42 00:04:40,540 --> 00:04:47,200 I apologise in advance to those of you who are not classicists, and I shall try to make what I say intelligible. 43 00:04:49,610 --> 00:04:57,740 Basic facts about the transmission of Catullus are quite well known to classicists, especially those who have lectured on his text here in Oxford. 44 00:04:58,430 --> 00:05:00,559 Nevertheless, I need to start with a phrase. 45 00:05:00,560 --> 00:05:08,780 You may have these basic facts, both to bring those of you who are not professionally engaged with Catullus into the picture, 46 00:05:09,020 --> 00:05:14,170 and because it is a necessary prologue to what is going to follow, but nothing that I say, 47 00:05:14,180 --> 00:05:17,930 what I suppose is going to take about ten minutes will be original to me. 48 00:05:19,480 --> 00:05:27,460 There are a few traces between antiquity and the late 13th of Catullus, between antiquity and the late 13th century. 49 00:05:28,020 --> 00:05:35,350 Most important is a ninth century anthology that contains poems 62, known to editors as team. 50 00:05:35,860 --> 00:05:45,640 That's one of the two leaves that have Catullus. Second most important is a reference to Catullus by Rata, bishop of Verona in the 10th century. 51 00:05:46,510 --> 00:05:54,520 There are also some echoes which I think are rather pitiful or alleged echoes of his poems in a very few medieval poems. 52 00:05:55,600 --> 00:06:01,090 Next poet. The poet next emerges into view in the late 13th and early 14th century, 53 00:06:01,330 --> 00:06:08,560 when his text is quoted by various poets and learned men, including Galliano, Da Pass, Stranger and Petrarch. 54 00:06:08,950 --> 00:06:15,770 We were men who worked, composed and travelled in Verona and neighbouring cities in northern Italy. 55 00:06:15,790 --> 00:06:23,700 Mostly it is from this epoch, or shortly after it, that our main manuscript OGX and.com. 56 00:06:24,610 --> 00:06:35,579 Second oldest is O. Number 72 on the list called for the obvious reason for this, now housed in Oxford, 57 00:06:35,580 --> 00:06:40,530 and indeed it's one of the best known manuscripts of a classical Latin text in Oxford, 58 00:06:40,950 --> 00:06:48,840 and I greatly regret that the authorities of the Portland Library didn't allow it to be displayed because it is, um, so famous. 59 00:06:49,530 --> 00:06:56,460 Um, but there we are. It dates from the 14th century, and it contains all the poems that we now can read, 60 00:06:56,670 --> 00:07:01,470 as do virtually all the other manuscripts about which I shall speak. 61 00:07:02,280 --> 00:07:07,950 General assumption that it was written in Verona is not implausible, but there is no decisive proof. 62 00:07:08,400 --> 00:07:16,620 And since later, perhaps around 1430 or 1440, decoration and the Lombard style was put on its first page, 63 00:07:17,100 --> 00:07:22,919 and there are good reasons for thinking that it was, which we'll come to, that it was available in Milan or Pavia. 64 00:07:22,920 --> 00:07:27,720 In these years it is conceivable that actually it was written in or near Milan. 65 00:07:29,120 --> 00:07:30,750 Third earliest manuscripts. 66 00:07:30,770 --> 00:07:41,059 Number 87 on your handout is called G by editors because it was once housed in Paris in the Monastery of Saint Germain de Pré, 67 00:07:41,060 --> 00:07:48,280 and is now housed in the Bibliotheque Nazionale. Our textual information on it tells us quite a lot about it. 68 00:07:48,610 --> 00:07:52,960 Above all, that it was written in Verona in 1375. 69 00:07:55,470 --> 00:07:59,040 There is the power of textual information you may find. 70 00:08:00,070 --> 00:08:05,500 And number three on your handout. After Catullus. 71 00:08:05,500 --> 00:08:10,270 It contains a poem. Lines of master and venuto to campus. 72 00:08:10,270 --> 00:08:18,970 Prisoners of be. Chains. On the re-emergence of Catullus, the poet from Verona in Zile I return to my fatherland from distant borders. 73 00:08:19,210 --> 00:08:25,870 A fellow countryman is the reason for my return, namely, the person to whom France gave a name from his pens, 74 00:08:25,870 --> 00:08:32,170 until he describes the travel of the passing crowd with such words as you are able sing the praises of fill. 75 00:08:32,220 --> 00:08:38,110 Catullus, whose paper work has been shut away under a measuring vessel, or perhaps I should say bushel. 76 00:08:39,630 --> 00:08:46,020 Since Benvenuto Campos was dead by 1324, this epigram must have been written before that year. 77 00:08:46,710 --> 00:08:50,970 Its subject must be either Catullus himself or catalysis book of poetry. 78 00:08:51,600 --> 00:08:53,280 I shall not call for a full discussion, 79 00:08:53,280 --> 00:08:59,580 but merely note that the poem appears to suggest that the text of Catullus has returned to Verona from elsewhere. 80 00:09:01,160 --> 00:09:11,600 The fourth earliest manuscript is called R number 101 on the list, which stands for Codex Romanos and is now housed in the Vatican Library. 81 00:09:12,380 --> 00:09:21,890 It was owned by the Florentine Carluccio Salo Tati, whose corrections and annotations undo Mendelssohn's are found, 82 00:09:21,890 --> 00:09:26,390 all in French research, being framed on the slide you can see. 83 00:09:27,710 --> 00:09:35,600 At the end of the two arrows is the cataloguing mark that is found in many manuscripts of Salut Tartars! 84 00:09:36,600 --> 00:09:38,300 Absolute artist correspondence. 85 00:09:38,310 --> 00:09:45,180 We learned that for several years he'd been trying to get hold of a copy of Catullus, which he knew that Petrarch had read. 86 00:09:46,080 --> 00:09:53,399 One of these letters was written to an acquaintance in Verona, a poem about the return of Catullus to Manuscript G. 87 00:09:53,400 --> 00:09:59,900 Places after Catullus is in this manuscript, and you can see it plays before the poems of us, 88 00:10:00,270 --> 00:10:04,230 and stands at the top of the slide beside the blue capital A. 89 00:10:06,060 --> 00:10:16,710 The fifth earliest manuscript of number 115 of Catullus is called M or Marciano's because it is now housed in the Biblioteca marciano of Venice. 90 00:10:17,520 --> 00:10:18,780 On his first page, 91 00:10:18,900 --> 00:10:29,640 it has an example of the primitive time stamp decoration that was put on Florentine manuscripts in the period between about 1414 35. 92 00:10:30,300 --> 00:10:37,980 A description shows a moving away from Gothic script to the humanistic script that was to become the norm for well-produced copies in Florence, 93 00:10:38,250 --> 00:10:41,910 and then all over Italy by the 15th century. 94 00:10:44,110 --> 00:10:48,450 Arrows. Terror attacks to material and historical evidence. 95 00:10:48,470 --> 00:10:53,990 External to the manuscripts allows a genealogy to be created and a story to be told. 96 00:10:54,850 --> 00:11:00,110 Tell us became known to North Italian humanists in the years around 1300, 97 00:11:00,530 --> 00:11:05,420 almost certainly from a copy of the text, but read first in his home city of Verona. 98 00:11:06,420 --> 00:11:12,810 But manuscripts ogling are on them all derive from one topic which must have been. 99 00:11:12,840 --> 00:11:16,530 Either this copy or a descendant of the one that emerged in Verona. 100 00:11:16,830 --> 00:11:25,530 Is established by errors that they share with each other, including some in poem 62 against a manuscript in Paris from the ninth century. 101 00:11:26,900 --> 00:11:35,479 Row is either carelessly copied or has careless copying in its ancestry, and has very many uncorrected mistakes not found in G, 102 00:11:35,480 --> 00:11:42,290 R, and M and G r, and I have a smaller number of uncorrected mistakes that are not found in O. 103 00:11:43,240 --> 00:11:51,490 Some of these, I offer you a well known example in poem 64, lines 139 to 41. 104 00:11:51,860 --> 00:11:56,649 Originally deserted after what one presumes was a night of passion. 105 00:11:56,650 --> 00:12:04,450 But Theseus, uh, says the lines that are on lumber for a fuel handout and which appear here. 106 00:12:04,460 --> 00:12:11,800 Uh. But in the past, you gave promises to me in an ingratiating, um. 107 00:12:11,820 --> 00:12:16,560 So manuscript. Oh, um, but manuscript grab have something different. 108 00:12:16,770 --> 00:12:26,220 Voice. That's one not of this kind. You did not tell me to hope for my current circumstances, but for a joyful union for a long before marriage. 109 00:12:27,770 --> 00:12:30,920 Reading of Garland is most unlikely to be right. 110 00:12:31,430 --> 00:12:35,090 No beast would duplicate magic with the punctuation above. 111 00:12:35,240 --> 00:12:42,260 And if one were to move the punctuation to after work, chat and bike share would be left hanging awkwardly at the beginning of the verse. 112 00:12:43,190 --> 00:12:51,110 This error, and others like it, shows that Garland derived from a copying of the archetype different from uh. 113 00:12:51,650 --> 00:12:55,100 Nowadays, scholars call this lost copy of the archetype. 114 00:12:55,280 --> 00:13:04,290 X capital x. We can also show that G on the one hand and R and M on the other are independent of each other. 115 00:13:04,800 --> 00:13:08,520 D has a few uncorrected mistakes. There are so many corrections. 116 00:13:08,520 --> 00:13:11,200 I think there are very few uncorrected mistakes that not. 117 00:13:11,340 --> 00:13:16,650 But there are some that are not found in R again, and I'm not going to bother to give you an example. 118 00:13:17,190 --> 00:13:21,540 And R and I'm sure uncorrected mistakes not found in G. 119 00:13:22,640 --> 00:13:28,940 Since M has all the significant uncorrected mistakes of R, it must derive from it. 120 00:13:29,390 --> 00:13:31,340 That makes good geographical sense. 121 00:13:31,640 --> 00:13:41,750 All was owned by Salu Tati, who lived in Florence, and M was returned in Florence Ancelotti's lifetime, but has a style of handwriting later on all. 122 00:13:43,140 --> 00:13:47,640 There are a few complications of which I shall give a very, very brief account. 123 00:13:48,960 --> 00:13:59,020 Of manuscripts O, G, R, and and have variant readings written either between the lines or in the margins of these O as only a few. 124 00:13:59,040 --> 00:14:02,790 Almost all at beginning at the text. The beginning of poem 64. 125 00:14:02,910 --> 00:14:08,970 More on that later. O has a large number of corrections, variants, and marginal comments. 126 00:14:09,480 --> 00:14:14,280 A few are in the hands of the original scribe and reflect his own correcting of his work, 127 00:14:14,490 --> 00:14:19,559 doubtless with the aid of his exemplar Thompson and his standard edition holes. 128 00:14:19,560 --> 00:14:25,140 These are one value more in the hands of salute ha two, known as r two. 129 00:14:25,590 --> 00:14:30,690 And here again is my. I hope this nice slide on which three of them are rigged. 130 00:14:31,910 --> 00:14:34,940 Thomas Sadler thought his annotations seemed to be conjectures. 131 00:14:35,210 --> 00:14:37,400 Others to derive from a manuscript. 132 00:14:38,360 --> 00:14:45,270 The most economical explanation of the latter is that Salo taught took them from the mountains from the margins of manuscript X, 133 00:14:45,290 --> 00:14:50,869 which he had sent to him in Florence. That was the extent from which are itself was copied. 134 00:14:50,870 --> 00:14:58,170 And then Salo Tati went back checking. And the scribe and follower was perhaps instructed only to copy the main text. 135 00:14:59,060 --> 00:15:03,480 But although this is the most economical explanation, it is not quite certain. 136 00:15:03,630 --> 00:15:09,630 One could postulate another lost sibling of old X that was the source of these readings. 137 00:15:10,710 --> 00:15:16,260 Am also has marshland into linear Barrett variance almost always reflect those. 138 00:15:16,260 --> 00:15:19,830 And uh and they were clearly taken over from uh. 139 00:15:21,250 --> 00:15:29,820 Is more complicated. After copying some variants for oxygen a fairly faint ink and thin hands by hand called G1 by Thompson. 140 00:15:30,780 --> 00:15:40,410 This was probably the scribe himself. Other variants were oxygen, a thicker hand with darker ink, and this is called G two by Thompson. 141 00:15:40,950 --> 00:15:47,370 If we're lucky, the slides will be visible and you might be able to see the difference between them. 142 00:15:48,520 --> 00:15:53,680 The problem is about G2 is that we trade through these variants not from Juice Exemplar, 143 00:15:54,040 --> 00:15:58,660 which was I said was called X, but from manuscript and the copy of all. 144 00:15:59,590 --> 00:16:07,540 And so already in the second and fourth oldest of the complete manuscripts, we see cross-fertilisation occurring. 145 00:16:10,080 --> 00:16:17,760 What I have been saying can be depicted diagrammatically on a stemmer such as you find after the list of manuscripts on your handout. 146 00:16:19,750 --> 00:16:24,160 As I remarked earlier, nothing that I have said about the manuscripts of Catullus. 147 00:16:24,670 --> 00:16:30,070 So far is anything other than common knowledge. If you've ever had to engage with the subject. 148 00:16:31,380 --> 00:16:39,959 And so we come to the remaining 112 manuscripts, all but one of which I think I've now seen in either the flesh or reproduction. 149 00:16:39,960 --> 00:16:47,730 And I've had a collection of that other one. And, uh, as I said before, you'll be relieved that I'm not going to discuss them all, but I shall. 150 00:16:47,880 --> 00:16:56,340 I tried to slant my discussion to include remarks on the manuscripts that you can read in this library, should you wish to do so. 151 00:16:58,450 --> 00:17:02,019 Um. We've got a slight problem with a slide coming up which, uh, 152 00:17:02,020 --> 00:17:10,090 showed various lines of a stunner on it on my laptop yesterday, but appears not too after it was transferred. 153 00:17:10,360 --> 00:17:17,559 I don't I'm afraid my technological technological knowledge is not up to explaining why, uh, 154 00:17:17,560 --> 00:17:28,240 to find a manuscript independent of the lost archetype of OG and all is well, I suppose, would be the wildest dream of an optimistic fantasist. 155 00:17:28,480 --> 00:17:34,299 But one could dream about finding a manuscript, um, that is, uh, independent. 156 00:17:34,300 --> 00:17:35,550 At various points. 157 00:17:35,560 --> 00:17:46,270 The most exciting discovery would be a manuscript entirely independent of both uh and G uh, thereby giving a third line descent from the archetype. 158 00:17:47,170 --> 00:17:53,470 Second most exciting discovery will be a browser, though, thereby fleshing out that line of descent. 159 00:17:54,130 --> 00:17:58,090 A less exciting discovery, but still interesting would be a brother of G. 160 00:17:58,090 --> 00:18:02,020 Or, uh. I say brother rather than sister because Codex is masculine. 161 00:18:02,020 --> 00:18:09,460 But, um, we could perhaps sibling, I should say, uh, it would be at least exciting because in G and uh, 162 00:18:09,520 --> 00:18:13,810 it would be the least exciting because in general, we already have two set legs. 163 00:18:15,150 --> 00:18:17,280 As I've mentioned often enough in these lectures, 164 00:18:17,490 --> 00:18:24,870 a sign that a manuscript derives from another manuscript is that it has all the significant uncorrected errors of the other manuscript, 165 00:18:25,080 --> 00:18:28,480 and adds more of its own in the case of Catullus. 166 00:18:28,500 --> 00:18:31,260 This raises an interesting methodological problem. 167 00:18:31,620 --> 00:18:39,300 What counts as a significant error tells us this text is famously corrupt in a large number of places. 168 00:18:39,990 --> 00:18:49,440 There is no such thing as a conservative prediction. The Oxford classical text of sir Roger us nowadays often thought of as such, that is, 169 00:18:49,440 --> 00:18:56,220 conservative prints on George School's count about 800 young men and over 105 pages. 170 00:18:57,350 --> 00:19:02,420 In Gould's view, about 221 of these were made in the 15th century. 171 00:19:03,110 --> 00:19:07,980 And here is an example. Oh, I'm 51. 172 00:19:08,540 --> 00:19:13,439 Uh, while I catalysis most famous poems. If you are not a classicist, you might have come across this man. 173 00:19:13,440 --> 00:19:15,719 Seems to me be like a god. 174 00:19:15,720 --> 00:19:24,570 Catullus is referring to a man who makes him jealous because he is sitting beside his girl lesbian, and brings out her smiles and laughter. 175 00:19:25,020 --> 00:19:29,850 Some of us may be able to identify with that at various stages in our life. 176 00:19:30,960 --> 00:19:36,630 Tell us that a is a Latin adaptation of an equally famous opening by Sappho. 177 00:19:37,440 --> 00:19:41,639 In our oldest manuscripts, the poem begins. Let me hear. 178 00:19:41,640 --> 00:19:49,710 Empower, I said Deo without uh uh impa um like gives precisely the opposite censor part and does not scan. 179 00:19:50,520 --> 00:19:54,560 And there is an illustration from, uh, manuscript. 180 00:19:54,570 --> 00:19:59,040 All the two changes, new dates were made in the 15th century. 181 00:19:59,040 --> 00:20:05,100 May well may have been affected, perhaps by sallow, tarty half of Impa coming later. 182 00:20:06,750 --> 00:20:14,210 Here's the beginning of another poem in the primary manuscripts. Uh, this time in manuscript G. 183 00:20:15,240 --> 00:20:20,040 Uh, well, you can read Okello in that. Well, I could respond to it later, a long ago. 184 00:20:20,370 --> 00:20:24,629 That needs to be amended to give us the well-known opening line of poem 17. 185 00:20:24,630 --> 00:20:32,400 Oh, colonial. Quite to Luther, a long ago. Oh, colony, you who desire to have fun on your long bridge again. 186 00:20:32,400 --> 00:20:35,760 The changes needed were made fast in the 15th century. 187 00:20:36,780 --> 00:20:41,760 Correction of many of the corruptions, and tell us was within the power of talented humanists, 188 00:20:42,090 --> 00:20:47,790 and in considering places where descent from OG and R may seem to be blocked by an error avoided, 189 00:20:48,240 --> 00:20:52,140 what needs to be sure that the error could not be corrected by conjecture. 190 00:20:53,980 --> 00:21:01,810 I often think about the manuscripts that do not share all the uncorrected errors, and either O or G or R is going to go like this. 191 00:21:02,380 --> 00:21:08,260 First, many of these errors were correctable by conjecture and therefore not significant. 192 00:21:08,950 --> 00:21:15,549 Second, many of these manuscripts share most of the uncorrected errors of all, and therefore they derive from, 193 00:21:15,550 --> 00:21:22,300 or sometimes with slight contamination, and that contamination probably originated ultimately in G. 194 00:21:22,300 --> 00:21:27,070 Or perhaps more likely. Uh, although I can't always prove this. 195 00:21:28,110 --> 00:21:34,650 Um, I shall explain in a minute. While I do not think that they derive from a putative lost twin of all. 196 00:21:35,890 --> 00:21:44,010 Knows the chair. Fewer of our significant uncorrected errors have us have similarly had them removed, either by conjecture or by contamination. 197 00:21:44,020 --> 00:21:51,770 Again, in my view, originating ultimately in G or IO, this will be the weakest part of my argument. 198 00:21:51,770 --> 00:21:55,210 You may want to probe ten questions, but I think I still believe it. 199 00:21:56,820 --> 00:22:02,160 Many of the manuscripts that most often avoid the errors of all share errors with uh. 200 00:22:02,640 --> 00:22:09,030 Therefore, they either derived this material material from either I or what scholars and desperately 201 00:22:09,030 --> 00:22:14,790 want to argue for independence must argue they derive from a lost brother or brothers, 202 00:22:14,790 --> 00:22:23,110 and according. Chalk the fingerprints of something very like G or much more often are on virtually every manuscript. 203 00:22:23,710 --> 00:22:30,510 Those manuscripts that do not have such a fingerprint, where one might expect it, very often share some errors with a. 204 00:22:31,990 --> 00:22:43,500 If some scholars want to argue that 80% of a manuscript derives from all but the remaining 20% from some lost manuscript independent of Ojai and, 205 00:22:43,510 --> 00:22:49,540 uh, or even perhaps independent of the archetype itself, I can't stop them arguing this. 206 00:22:49,600 --> 00:22:56,350 Um, and I doubt that either I or anyone else should ever be able finally to prove them wrong. 207 00:22:56,870 --> 00:23:00,220 And at the moment, I don't believe them. I wouldn't believe them. 208 00:23:02,070 --> 00:23:10,420 A sensible first move in the classification for 15th century manuscripts is to ask how many manuscripts share the errors of the lost x. 209 00:23:10,440 --> 00:23:15,600 If we look at just that, not on your handout, that is the source of G and all. 210 00:23:17,220 --> 00:23:22,380 Generally thought by people about those matches, but directly copied from this text. 211 00:23:23,220 --> 00:23:26,610 If a manuscript shares even some errors with text, 212 00:23:26,940 --> 00:23:35,400 it must arrive at least in part either at best from the same copy of the archetype as X, or more probably from X itself. 213 00:23:36,680 --> 00:23:46,040 If the manuscript share also share significant errors with G against all or with or against G, then the more optimistic derivation is ruled out. 214 00:23:47,740 --> 00:23:55,210 A Hungarian scholar now in Barcelona, Daniel Kirsch has made a notable contribution to answering this question. 215 00:23:55,990 --> 00:24:00,610 In most texts of poems 61 and just number seven on your handout. 216 00:24:00,640 --> 00:24:03,640 I don't think I have a slide on that. 217 00:24:04,030 --> 00:24:09,850 Um, I don't have a slide. Uh, this is 97 to 105. 218 00:24:10,210 --> 00:24:20,770 Run as printed and tell us said, uh, your husband not typically given over to an evil, adulterous and chasing after shameful disgraces. 219 00:24:20,830 --> 00:24:22,809 So apologise for my, um, 220 00:24:22,810 --> 00:24:33,430 crude translation and not wish to go to bed away from your soft breasts and then thumped like a pliant vine coils around the trees planted beside it. 221 00:24:33,430 --> 00:24:37,030 He will be entwined into your embrace. 222 00:24:38,750 --> 00:24:48,350 In verse 102 lent us said, is the reading of uh g and R, and hence the lost text behind them have lent a quiet or lent a cry? 223 00:24:49,100 --> 00:24:53,660 Um, and it therefore follows that X had one of these readings. 224 00:24:54,410 --> 00:24:58,950 Most editors and critics, though today as Rinehart's predecessor, Edward Frankel, 225 00:24:58,950 --> 00:25:05,200 no count as an exception, have felt that their adverse connection offered by those text must be right. 226 00:25:06,350 --> 00:25:14,890 Established that all other manuscripts except number 86 on the list have either the reading of G or a progressive corruption of M. 227 00:25:16,130 --> 00:25:26,180 If lentil said is indeed right, this would seem to imply that here at least all manuscripts except number 86 derive from ex, or for optimists, 228 00:25:26,180 --> 00:25:35,180 the same copy of the archetype as x, and thus it ought to follow that the only manuscript that could offer a new line to the architect is number 86. 229 00:25:35,360 --> 00:25:39,260 But if you actually go and look at number 86, you will see that it's late. 230 00:25:39,650 --> 00:25:42,980 Um, and it is a very contaminated manuscript. 231 00:25:44,440 --> 00:25:52,480 Nevertheless, more evidence needs to be examined, not least because O may have its true reading here by a fortunate scribal accident, 232 00:25:52,870 --> 00:25:58,060 and in other passages manuscripts may show themselves to be free of access readings. 233 00:26:00,010 --> 00:26:04,360 Let's go back to Theseus. Says planned speech to Ariadne. 234 00:26:05,200 --> 00:26:08,529 You will recall that search. I'm 64. 235 00:26:08,530 --> 00:26:13,089 Line 139 blunder is the true reading of manuscript. 236 00:26:13,090 --> 00:26:18,970 Oh, whereas manuscripts G and Da. And that means that ancestor X had no base. 237 00:26:19,540 --> 00:26:26,829 How many other manuscripts have nobis. And I've put, um, number eight on the handout. 238 00:26:26,830 --> 00:26:39,969 You can see how they break down. In this passage at least, and I could see plenty of supplementary evidence from elsewhere. 239 00:26:39,970 --> 00:26:48,310 All the manuscripts that have no basis must derive from either ex or the same copy of the archetype as text, from the point of view of at a time, 240 00:26:48,370 --> 00:26:53,020 a manuscript that derives from X or as a brother of X must be independent of AUB, 241 00:26:53,440 --> 00:27:03,310 but could be independent of G and R only if it is a brother or cousin, either G or I don't disagree, not if it derives from them. 242 00:27:04,450 --> 00:27:10,450 Um, should such a manuscript arise? Survive? Unlikely to offer much help in the constitution of the text. 243 00:27:10,930 --> 00:27:15,970 Um, so it would be unlikely to offer anything not found already in the old of G and all. 244 00:27:17,130 --> 00:27:22,500 Nevertheless, from the point of view of the text transmission, the question is worth investigating. 245 00:27:23,130 --> 00:27:31,070 Um. On the standard view, X was taken to Florence, where all was copied from it. 246 00:27:31,790 --> 00:27:35,810 One might expect other manuscripts also to have been copied from it. 247 00:27:37,070 --> 00:27:41,110 As I have said, if anywhere, I have not found proof of this sent. 248 00:27:42,160 --> 00:27:55,270 A few manuscripts do derive from G on your list numbers 1893 and 65, from one copy of G, and numbers 31, four, and 68 from another copy. 249 00:27:56,440 --> 00:28:01,060 In fact, form 68 derive from G via manuscript 31. 250 00:28:01,420 --> 00:28:07,450 And there's a mistake that nicely illustrates this derivation, um, of the text in the first poem. 251 00:28:08,260 --> 00:28:13,000 Um. I'm with that already on that slide. 252 00:28:13,420 --> 00:28:16,850 Um. But that's out of that poem. 253 00:28:17,390 --> 00:28:24,230 Uh, manuscript 31, inherited from X by G, and you have G up on the fold. 254 00:28:24,230 --> 00:28:32,470 The false variant met all that in which, um, you can see a double belly, uh, ringed. 255 00:28:32,480 --> 00:28:38,600 It's clearly, um, it's clearly cued in manuscript G, but. 256 00:28:39,530 --> 00:28:44,930 And go on to manuscript 31 is on the left hand side. 257 00:28:45,050 --> 00:28:55,100 Uh, it's presumably still meant to refer to the belly, but it is put on a rather ambiguously on the line above. 258 00:28:56,110 --> 00:29:05,280 And that manuscript also originally wrote Laboriously Square instead of laborious six, which was corrected. 259 00:29:05,290 --> 00:29:12,850 You can probably just see the Q um, raised, uh, and that caused further problems for subsequent scribes. 260 00:29:13,480 --> 00:29:24,250 Um, and you can see what's happened on the right hand side where that has been put after laboriously on line number 68, 261 00:29:24,280 --> 00:29:26,680 now in Yale University Library. 262 00:29:28,800 --> 00:29:36,420 But for the second earliest complete manuscript of Catullus, is due probably as a family of six manuscripts in a small home. 263 00:29:37,830 --> 00:29:46,860 By contrast, all provides a splendid illustration of what's an important phenomenon in the transmission of texts in the Italian Renaissance. 264 00:29:47,100 --> 00:29:51,870 And that's the arrival in Florence of a new text, often absolute artists behest, 265 00:29:52,290 --> 00:29:58,920 and often from northern Italy and its subsequent circulation in Florence and further abroad. 266 00:30:00,520 --> 00:30:10,810 I have subjected all manuscripts of Catullus to various texts of derivation from all the results of two I published in my Cambridge Companion chapter. 267 00:30:11,530 --> 00:30:17,680 One was to ask whether an early script shared non metrical transposition of R's in Poem 35, 268 00:30:18,040 --> 00:30:28,210 the other similarly on metrical transposition and poem 42, and how the manuscripts divide can be seen on number nine of your handout. 269 00:30:28,600 --> 00:30:33,880 And I think also by asterisks that I've put beside manuscripts on the list of manuscripts. 270 00:30:34,660 --> 00:30:38,020 Both tests are passed by 48 manuscripts. 271 00:30:38,590 --> 00:30:42,790 Um, when I publish, I shall add some other evidence. 272 00:30:42,790 --> 00:30:47,770 But these two readings that I check strike me as being the most cogent. 273 00:30:49,730 --> 00:30:54,140 If all was a direct copy of acts, a standard doctrine has it. 274 00:30:54,410 --> 00:31:01,430 All these manuscripts must derive from all, and therefore kind of inherited no ancient reading that does not come from all. 275 00:31:02,330 --> 00:31:09,470 However, scholars can be too confident in talking about direct copies of lost manuscripts, and X is lost. 276 00:31:10,370 --> 00:31:16,850 You might say that I have not shown that there was not a lost manuscript on the stand between R and X, 277 00:31:17,180 --> 00:31:21,200 and that these manuscripts could perhaps derive from such a lost manuscript. 278 00:31:21,200 --> 00:31:29,389 And I should agree, I haven't shown that. But what if they share with are not just errors of, ah, uncorrected, but errors in post later on? 279 00:31:29,390 --> 00:31:37,070 Ah well. Originally before correction, correction and inverted commas all had a reading of uh and j. 280 00:31:37,790 --> 00:31:45,530 If they share both errors with ah uncorrected and with errors that uh had after correction by Salo Tati, 281 00:31:45,890 --> 00:31:49,310 it's hard to escape the conclusion I derive from. 282 00:31:49,310 --> 00:31:56,379 Ah. In The Cambridge Companion, I tried to show that numerous manuscripts have an error in poem five, 283 00:31:56,380 --> 00:32:01,560 the famous poem in which Catullus asks Lesbos for a thousand and more kisses. 284 00:32:02,070 --> 00:32:06,870 Um. And this error was imposed on her by Sal, who taught in detail, who taught him well. 285 00:32:06,870 --> 00:32:13,799 If his letters quotes a poem with his own faults, a correction, rather than repeat that material, 286 00:32:13,800 --> 00:32:18,870 I've put on the manuscript on the handout number ten, a list of manuscripts. 287 00:32:18,870 --> 00:32:26,360 The chair. Another such error. Fellow Tartars. The first Sapphic stanza of poem 11. 288 00:32:27,610 --> 00:32:31,240 There are all the famous lines which you, um. 289 00:32:32,230 --> 00:32:36,630 Classicist. You all know if you were once a classicist, you may remember. 290 00:32:40,600 --> 00:32:45,610 Tyler Tata seems to have forgotten that art can sometimes mean wear. 291 00:32:45,970 --> 00:32:53,080 I'm for it. Imposed geometrical up on all parties up there as a correction. 292 00:32:53,590 --> 00:32:58,450 What's the result? That more or less the same is true of manuscripts read obey. 293 00:33:00,500 --> 00:33:06,500 Also, torches interventions were often correct at the end of poem two, which, 294 00:33:06,500 --> 00:33:12,710 along with a discriminating minority that includes at least I know one other person in this room, 295 00:33:13,010 --> 00:33:20,360 I prefer not to split that poem, and us compares a wish to release from his worries as pain. 296 00:33:20,360 --> 00:33:30,110 I quote so thankful to me, as they say that the golden girl, that the golden apple which undid her fastened girdle was to the swift girl. 297 00:33:30,560 --> 00:33:33,620 By whom? Um, he means Atalanta. 298 00:33:36,390 --> 00:33:39,780 Uh uh, it is, it is in, uh. 299 00:33:41,480 --> 00:33:48,280 Um. O, G and r rate um zone that buffer our before collecting zone. 300 00:33:48,280 --> 00:33:54,099 Um do make our time uh, not her unfastened guard Baton girdle. 301 00:33:54,100 --> 00:33:57,129 All that had been long dinner it and all the work. 302 00:33:57,130 --> 00:34:07,000 She refused to take her clothes off and he man um person to grammarian um and has been followed by most editors. 303 00:34:07,420 --> 00:34:17,440 Um at the line with Nick all time from the crossing uh cattle that had long been bound up which southern talk to discovered and imposed, 304 00:34:17,440 --> 00:34:20,350 as you can see in the ring at the bottom on uh. 305 00:34:21,450 --> 00:34:30,519 Um, but he reported the reading the chair removed with a right neck art hand, which I suppose means, in effect, that God, um, used to be that. 306 00:34:30,520 --> 00:34:36,770 And you can just about make out right at the bottom. I'll come back to that reading. 307 00:34:37,990 --> 00:34:45,580 If we break down this mass of manuscripts, we find certain clear lines of descent from all I'm going to look at for today. 308 00:34:46,540 --> 00:34:49,780 As you would expect from all hadn't been owned by Silo Tata. 309 00:34:49,810 --> 00:34:54,040 Many of these lines of descent involve known scripts written in Florence or Tuscany. 310 00:34:54,610 --> 00:35:00,729 One such was 3623, owned by Mattia Lupi of Sangin and Yarn, 311 00:35:00,730 --> 00:35:06,309 though it places all of its capacity before Catullus chosen the second page of the 312 00:35:06,310 --> 00:35:11,440 Catullus to use as a slide because of the way it handles the correction of legal time. 313 00:35:11,650 --> 00:35:16,600 In the context of Atalanta's garden, correction is placed in the text, 314 00:35:16,750 --> 00:35:23,290 but the original reading of all Nygaard turn and a rat has been bizarrely taken from on. 315 00:35:23,290 --> 00:35:29,440 There you can see the erotic, um, well, perhaps unnecessarily taken over. 316 00:35:30,550 --> 00:35:36,490 Another line leads to 3312 and the NCL of Florence. 317 00:35:36,910 --> 00:35:43,450 And I single this manuscript out because it has classic Florentine decoration. 318 00:35:44,080 --> 00:35:47,280 It fails to replace nougat time with like, our time. 319 00:35:47,720 --> 00:35:50,860 We should remember that when the original reading of a manuscript, 320 00:35:50,860 --> 00:35:57,580 in this case all was still ascertainable, the scribe was not obliged to take over every correction to it. 321 00:35:59,610 --> 00:36:03,330 More productive line of descent leads to quite a large family. 322 00:36:03,480 --> 00:36:06,630 It includes beyond of 3198. 323 00:36:07,530 --> 00:36:11,070 Um. Us, alligator. 324 00:36:11,120 --> 00:36:18,590 You can see that. Written by Giorgio Antonio Vespucci, a man whose nephew gave his name to a continent. 325 00:36:19,950 --> 00:36:23,370 But the reach of his family was not limited to Tuscany. 326 00:36:23,370 --> 00:36:32,400 The relatives of Vienna, 319 out in northern Italy, and the next line of descent on which I want to concentrate is spread throughout Italy. 327 00:36:33,740 --> 00:36:38,730 All descendants are dominated by a massive family that may be called Alpha. 328 00:36:38,840 --> 00:36:42,740 Thompson, in his standard tradition, talks about Alpha possessions. 329 00:36:43,690 --> 00:36:46,929 Its earliest descendants. And that's numbers eight, 22, 330 00:36:46,930 --> 00:36:58,329 95 and 109 on your handout are amongst the earliest of all the 15th century more recent manuscripts and alpha manuscript Alpha itself, 331 00:36:58,330 --> 00:37:07,120 which is lost, could have been as old as them and must have been older, and all other extant manuscripts off and og and all. 332 00:37:08,320 --> 00:37:14,710 Principal defining characteristic of the group is that its members all have in some form a trance possession, 333 00:37:15,040 --> 00:37:27,610 in which times 25 to 43, and almost a poem 44, and in some 19 some of 24 are placed between poem 62 and 63, and. 334 00:37:29,860 --> 00:37:34,959 Uh, you can see it in, um, belong to the oldest of these manuscripts. 335 00:37:34,960 --> 00:37:42,790 Bologna two, 6 to 1. I will go on to the next slide as well. 336 00:37:42,810 --> 00:37:48,160 That is. Know your Catullus, you will see what's gone wrong. 337 00:37:49,710 --> 00:37:56,730 Most groups that have bought Thompson calls. These Alpha class transpositions are listed as number 12 on your handout, 338 00:37:57,240 --> 00:38:02,700 sorted into those that have been noted already as sharing errors with R and those that have not. 339 00:38:03,870 --> 00:38:07,100 Argument is simple. I hope those simple. It's right. 340 00:38:07,490 --> 00:38:11,360 Those exact lines transposed very, very slightly. 341 00:38:11,900 --> 00:38:17,060 It seems to me incredible that such a transposition occurred more than once independently. 342 00:38:17,750 --> 00:38:22,729 I therefore postulate a single origin in all these manuscripts in a lost copy of all. 343 00:38:22,730 --> 00:38:28,670 There's no doubt that the earliest manuscripts derive from all have all lost uncorrected errors. 344 00:38:29,360 --> 00:38:34,670 I put the variation, which is mostly in later manuscripts, down to correction by humanists. 345 00:38:35,640 --> 00:38:44,280 I note that all these manuscripts have in common, some other errors as well as the big transposition, and that the older ones share all our errors. 346 00:38:44,910 --> 00:38:49,590 In short, they derive fundamentally from our father, the lost Alpha. 347 00:38:49,890 --> 00:38:55,170 Even though many manuscripts have been corrected, later ones corrected with some contamination. 348 00:38:56,430 --> 00:39:01,620 Almost certainly the parents of many North Italian manuscripts in this group is number eight, 349 00:39:01,620 --> 00:39:08,850 which is Bologna 2621, written by Zero Alarm, or Donato, a Venetian patrician, in 1412. 350 00:39:10,210 --> 00:39:21,870 I hope that I'm not deluding myself. Um, and thinking that what I'm about to say provides an eloquent confirmation of, um, this, uh, 351 00:39:21,920 --> 00:39:31,840 the derivation of many North Italian manuscripts from this one in conventional texts of Catullus, the last word in poem 66. 352 00:39:32,080 --> 00:39:37,750 His translation of Callimachus is poem. Apparently case is oh, Ariane. 353 00:39:37,750 --> 00:39:48,969 Oh, uh uh uh uh um, which is the spelling that's, of course, used by the constellation that we today and most Greeks and before us called Orion. 354 00:39:48,970 --> 00:40:07,130 Oh. Uh oh. When the scribe of Bologna 2621 copied the line, he left out the unusual eh and put um a character mark and uh eh above the line. 355 00:40:07,700 --> 00:40:16,070 But it's not put in perhaps the most obvious place, the, uh, and it gives, uh, 356 00:40:16,100 --> 00:40:23,600 Oreo a uh uh uh uh, and a form which not even Callimachus is likely to have been attracted to. 357 00:40:24,440 --> 00:40:31,880 Orient is found in several manuscripts, which also also show other signs of deriving from this Bologna manuscript. 358 00:40:32,510 --> 00:40:40,400 And we come to Oxford. I illustrate this with number 71, which is, um, Latin class 17. 359 00:40:40,460 --> 00:40:44,940 Yeah. In Oxford. Uh, is, uh, are. 360 00:40:46,440 --> 00:40:48,870 This is not a terribly eloquent man. 361 00:40:49,080 --> 00:40:57,630 I'm afraid old most Oxford catalysis are not very elegant, apart from the famous one, and the last one of which I will show a slide of. 362 00:40:58,470 --> 00:41:02,600 It was written by a scribe called French Francesco Scrollbar. 363 00:41:02,610 --> 00:41:08,610 To us in collection. We all know in the villa town in which town he is attested as having been a notary. 364 00:41:09,270 --> 00:41:17,340 And so geography here nicely matches textual dissent from the manuscripts, but along the one that was written by a Venetian patrician. 365 00:41:18,770 --> 00:41:22,340 Here is the opening folio. 366 00:41:22,580 --> 00:41:29,450 I think I've got a slide of both guys with Legatum, and as you can see, it's not a terribly elegant manuscript, 367 00:41:30,110 --> 00:41:37,430 but they are if you want a more or less pure descendant of all and you're interested in the stammer of Catullus, there is one in Oxford. 368 00:41:39,490 --> 00:41:43,450 Another two Oxford manuscripts that have a personal feel for Trump's possessions. 369 00:41:43,660 --> 00:41:48,610 Uh, number 69. Uncertainty on your list. Latin class or Latin class? 370 00:41:48,610 --> 00:41:52,960 I never know whether these class marks are English or Latin. In Oxford, someone might tell me. 371 00:41:53,260 --> 00:42:00,520 End of the lecture E-3 and 15. These two are very closely related throughout much of their texts. 372 00:42:01,120 --> 00:42:08,890 They differ from 17 in that they have had many errors of are corrected, but both have legatum. 373 00:42:09,880 --> 00:42:16,959 Nevertheless, the fact that they have a version of the alpha transposition seems to me to be a powerful argument for dissent from all, 374 00:42:16,960 --> 00:42:26,080 even though they don't share all of all the errors. Who would I wish to mess up several poems by introducing such a transposition by contamination? 375 00:42:27,410 --> 00:42:30,010 Uh, these two manuscripts really are exceptionally scrappy. 376 00:42:30,020 --> 00:42:36,230 I'm working on them is no great aesthetic pleasure, but a few interesting things can be said about them. 377 00:42:36,680 --> 00:42:44,270 One is that they derive from manuscript 121, which is now in Venice's of Horror. 378 00:42:45,610 --> 00:42:49,149 I rather resent the fact that, um, family, 379 00:42:49,150 --> 00:42:55,870 friends and colleagues sometimes imagine that when I go abroad to look at manuscripts, it's some kind of holiday. 380 00:42:56,680 --> 00:43:04,840 But nevertheless, it gives some pleasure. Casually drop into a conversation that one was working the other day in Saint Mark's Square. 381 00:43:05,620 --> 00:43:10,479 In fact, the windows of the Marciano, uh, manuscript room are all. 382 00:43:10,480 --> 00:43:14,650 We have always been closed. Every day I've been there, which is quite a few days. 383 00:43:15,160 --> 00:43:22,390 But in the same building, just round the corner, whilst waiting for one's manuscript to arrive in the Museo Cora, 384 00:43:22,750 --> 00:43:26,410 one has a view that no library I know can match. 385 00:43:28,310 --> 00:43:35,730 There it is. It is perhaps the only library in which delay for a manuscript does not make the patient. 386 00:43:35,860 --> 00:43:41,020 As I gaze out of the window, though, in fact, you don't get much of a delay that terribly efficient. 387 00:43:41,860 --> 00:43:45,130 Thirdly, I've only ever needed to look at four manuscripts the. 388 00:43:46,430 --> 00:43:51,440 Readings that confirm the derivation can be found in poem 45. 389 00:43:51,860 --> 00:44:04,310 Alice's ironic comment on Septimus and Akbar's innocent love for each other, and I put side by side the Museo Cora manuscript and light, plus a story. 390 00:44:06,570 --> 00:44:09,720 You can see that it's not a thing of beauty. 391 00:44:10,320 --> 00:44:16,020 Um, you can see how the 41st variant here, Margaret in the corner. 392 00:44:16,020 --> 00:44:22,470 And I apologise for those of you who are not classicists, but that's in the Cora manuscript in the top right box on the right. 393 00:44:22,950 --> 00:44:26,340 What's up? First written in that class, age three. 394 00:44:27,090 --> 00:44:35,970 Um. And how the known floating rather on clearly in the middle, in the margin in the middle has been incorporated into E 50. 395 00:44:35,990 --> 00:44:39,030 Let me. Hope. 396 00:44:40,380 --> 00:44:50,100 That illustrates that. So not reading from the margin, in short, from the Cora manuscript have come in to the two Oxford manuscripts. 397 00:44:50,220 --> 00:44:54,460 Those clinch the derivation which can be. Unproblematic. 398 00:44:55,870 --> 00:45:03,790 Sharon, many of you are as distinctive of the group of manuscripts to which these three last belong to open caps of Catullus, 399 00:45:03,940 --> 00:45:15,610 printed in Venice in 1472. I've said that the Alpha group big transposition split in 44 oh font Noster into two lines, 400 00:45:15,610 --> 00:45:21,040 1 to 21, in one place, but line 21 the final line in another. 401 00:45:21,820 --> 00:45:26,260 That final line was then followed quite properly by poem 45, 402 00:45:26,260 --> 00:45:32,840 which and modern additions are not always in the manuscripts which struggled with proper names, begins in Septimius. 403 00:45:33,620 --> 00:45:36,620 That's a reminder I think I've got. 404 00:45:36,640 --> 00:45:45,390 But there you are, you can see. Now there are no print caps. 405 00:45:46,030 --> 00:45:54,780 I start home 45. Not with Ackman, Septimius, but with the last line of poem 44. 406 00:45:57,670 --> 00:46:04,490 I believe you may want to disagree with me, and I can't completely prove it, that this is a legacy of the transposition, 407 00:46:05,330 --> 00:46:10,580 and certainly on the idea to print captures many errors with the later manuscripts that have this. 408 00:46:12,340 --> 00:46:18,580 And at the risk of oversimplification which but time ticking away, I'm going to do. 409 00:46:18,850 --> 00:46:24,970 One could say that the whole enchilada tradition of Catullus derives from the idea to open caps, 410 00:46:25,750 --> 00:46:30,460 though with a slight infusion of readings from elsewhere in the second printed edition. 411 00:46:31,160 --> 00:46:39,750 If this is right. These are all manuscripts derived from printed editions derive ultimately from, uh, number 14 of your handout. 412 00:46:39,760 --> 00:46:47,120 I've listed 15 such. I've got time to discuss just one of these derivations here. 413 00:46:48,190 --> 00:46:55,120 As so often within two labels, it's quite easy to establish a chain of one location printed from another. 414 00:46:55,150 --> 00:46:57,730 I should be saying more about that in my next lecture. 415 00:46:58,360 --> 00:47:06,850 And in Catullus, for example, the 10th printed edition, Venice 1493, derives from the ninth Venice 1491, 416 00:47:06,970 --> 00:47:16,780 which derives from the eighth Venice, 1480 seventh, which derives from the seventh century in Prussia, 1485 or 1486. 417 00:47:17,960 --> 00:47:18,780 I said proof, 418 00:47:18,780 --> 00:47:30,709 but the derivation of a manuscript DNA 3243 as number 1 to 5 on your list from either the ninth or 10th edition comes at lines 8 to 9 of catalysis. 419 00:47:30,710 --> 00:47:34,190 Famous poems A Catholic Paul Catullus. 420 00:47:35,390 --> 00:47:42,410 These additions adopt a remedy for a fault in the archetype that modern editors would regard as unsatisfactory, 421 00:47:42,950 --> 00:47:48,679 and restore verse nine so as to reach um yum. 422 00:47:48,680 --> 00:47:56,780 No ill are known Walt to in a now she is unwilling, but you two are out of control. 423 00:47:58,430 --> 00:48:05,050 Go for? Um, space for a, um, bus line itself. 424 00:48:05,300 --> 00:48:10,610 Um, put it at the end of verse eight with a mark showing that it was to be read at the end of the next line. 425 00:48:10,940 --> 00:48:14,570 So that line out and um, follows as. 426 00:48:15,610 --> 00:48:18,490 This arrangement is not found in the eighth edition, 427 00:48:18,610 --> 00:48:27,600 but was taken over quite unnecessarily given the space available in either the ninth or 10th edition by, um, the Vienna manuscript. 428 00:48:27,610 --> 00:48:34,570 There's absolutely no need for footage. Of that before correction and that manuscript. 429 00:48:35,830 --> 00:48:41,630 That one could actually show that behind three, two, four, three must derive from the 10th edition. 430 00:48:41,650 --> 00:48:48,070 Almost all the extra areas of which it shares. Another Oxford manuscript, 431 00:48:48,460 --> 00:48:59,500 like the two previous written on paper found on YouTube classics Latin for Classical Latin 33 belongs to a different line of descent from our. 432 00:48:59,950 --> 00:49:02,200 It is only a little more presentable than the other. 433 00:49:02,200 --> 00:49:12,160 One's most striking feature that I've noticed, um, about its text, is there's two versions of poem 64, line 69 to 114. 434 00:49:13,150 --> 00:49:19,840 First of these has the normal text of its family, but places it in the wrong place in the middle of poem 63. 435 00:49:20,350 --> 00:49:26,920 Second has the text in the correct place, but in the version of those manuscripts that derive from the Bologna manuscript, 436 00:49:27,070 --> 00:49:30,490 which I showed you an image of a few minutes ago. 437 00:49:31,300 --> 00:49:38,950 Um, presumably I can't offer a certain explanation for this, but presumably two manuscripts were involved in its production. 438 00:49:39,460 --> 00:49:44,740 Oh, correction or correction of its archetype. And hence you've got this double text. 439 00:49:45,430 --> 00:49:49,149 Uh, I'm going to finish by quarter past. 440 00:49:49,150 --> 00:49:52,690 So I've just been under and I apologise for being longer than 15 minutes, 441 00:49:53,230 --> 00:50:01,719 but I'm going to turn briefly to manuscripts that do not entirely derive from ex manuscripts that read blander rather than X's. 442 00:50:01,720 --> 00:50:07,360 No. In poem 64, verse 139, the reading of the time mentioned earlier. 443 00:50:08,410 --> 00:50:11,770 Um, I must drive. I can't drive from there. 444 00:50:11,920 --> 00:50:17,230 They must arrive either from, uh, or a sibling of, uh. 445 00:50:18,420 --> 00:50:23,490 Out. There is a family. Uh, there are several manuscripts, but have this reading. 446 00:50:23,850 --> 00:50:34,350 Uh, the family that interests me most comprises manuscripts ten, 15, 37, 57, 88 and 94 on your handout. 447 00:50:34,800 --> 00:50:39,270 Um, and I put the number 17 some of the readings that they share with manuscript. 448 00:50:39,270 --> 00:50:45,209 Uh, and I'd like to focus on line 11 of poem 64. 449 00:50:45,210 --> 00:50:51,690 And if you look at number 17 of your handout, I put what I think I can't remember what Gail Trimble retailed, 450 00:50:51,690 --> 00:50:58,919 but but maybe editors read ala route um course who print in bullet and for 310 that ship first 451 00:50:58,920 --> 00:51:05,460 gave go um for troops who is a senior standing for the sea a new experience with uh sailing. 452 00:51:07,340 --> 00:51:13,100 As I said at the beginning of poem 64, O is corrected more often, done elsewhere. 453 00:51:13,880 --> 00:51:17,190 And. Uh, as a slide. 454 00:51:17,190 --> 00:51:22,530 I've ringed the correction of the line I read out, but you can see others in the margin. 455 00:51:23,200 --> 00:51:26,790 Yeah. Program seems to be off. I presume is a faulty conjecture. 456 00:51:27,150 --> 00:51:33,510 And although there are other possibilities, I find it hard to believe that the 90 scripts I just listed ten, 457 00:51:33,870 --> 00:51:38,920 15, 37, which I've put on a slide and, uh, you can see program, 458 00:51:39,540 --> 00:51:46,379 um, in the text of it, um, do not derive from, uh, all these manuscripts, metaphysics, 459 00:51:46,380 --> 00:51:50,580 which also have partial some, some precocious and double as well written in Lombard. 460 00:51:51,250 --> 00:51:57,750 As I said earlier. Oh has Lombard declaration from the about 1430. 461 00:51:59,080 --> 00:52:08,100 However, neither these nor any other manuscript can derive entirely from oh, because no manuscript has all those errors. 462 00:52:08,890 --> 00:52:16,660 So I conclude that readings taken from oh were used to correct manuscripts which otherwise derive from something else. 463 00:52:17,290 --> 00:52:20,259 Uh, quite what that something else was. 464 00:52:20,260 --> 00:52:27,190 Uh, I've not been entirely able to determine, but the presence of some of the corrections that Tati imposed on, 465 00:52:27,190 --> 00:52:31,810 uh, makes one suspect that ultimately they derive from, uh. 466 00:52:34,090 --> 00:52:38,370 Um. There are other manuscripts that have longer. 467 00:52:38,770 --> 00:52:43,420 They are harder to handle, and they are probably the hardest for my argument. 468 00:52:43,780 --> 00:52:46,809 Um, highly sophisticated manuscripts. 469 00:52:46,810 --> 00:52:54,670 Some of them are first one that almost certainly despite bland art just derived from uh, is. 470 00:52:55,680 --> 00:53:04,320 Um, a famous manuscript. Um, the so-called Codex Targaryen, because it has, as well as Catullus and other things. 471 00:53:04,740 --> 00:53:08,190 Uh, our only text, Petronius, is conventional queerness. 472 00:53:08,880 --> 00:53:15,130 Uh, it derives clearly from, uh, for much of its text, but it does have the Reading land, 473 00:53:15,150 --> 00:53:20,070 uh, which must come ultimately from, uh, or something like, uh. 474 00:53:21,380 --> 00:53:29,660 Um, other manuscripts. Um, and I'm thinking of numbers 118 122, 128. 475 00:53:30,230 --> 00:53:36,920 Um, which are unsigned, have all been ascribed to one of the best known scribes of the late 15th century, 476 00:53:36,930 --> 00:53:42,290 Bartolomeo San Vito, one of the most elegant italic script. 477 00:53:43,750 --> 00:53:51,550 Number 118 is from Marciano in Venice and is probably the earliest fruit, perhaps dating from 1459. 478 00:53:52,510 --> 00:53:58,750 Um, it's been extensive, as you can see in part those planned this. 479 00:53:58,760 --> 00:54:00,370 I've reined in it. 480 00:54:00,850 --> 00:54:10,390 It's been extensively corrected and annotated and is one of the best places to see the work of humanists on the manuscript of Catullus. 481 00:54:11,400 --> 00:54:18,959 Um, another reason for just saying a few words about these manuscripts is that San Vito wrote multiple manuscripts, 482 00:54:18,960 --> 00:54:24,960 and some authors, the access working methods have some interest, and those who are specialists and certain. 483 00:54:24,960 --> 00:54:35,010 Vito and no two manuscripts of Catullus are so alive because numbers 122 and 128, both copied by San Vito, 484 00:54:35,130 --> 00:54:41,700 and both originally having an almost identical text with some variants imposed upon it. 485 00:54:42,520 --> 00:54:48,240 And so that raises interesting questions, one copied from the other. Or did San Vito have a master copy? 486 00:54:48,930 --> 00:54:53,940 Um, and that is a very difficult question I found to resolve, um, 487 00:54:53,940 --> 00:55:00,330 if we accept the parallel graphical judgement on a priority mode by on and novel only, 488 00:55:00,840 --> 00:55:09,360 then that would allow 122 to derive from 128, but not 128 from 122. 489 00:55:09,540 --> 00:55:17,280 Well, once you resolve this question in theory by looking for errors in one that are not found in the other San Vito, 490 00:55:17,700 --> 00:55:25,260 but some in some manuscripts copied so accurately that looking for errors is like looking for needles in a haystack. 491 00:55:25,860 --> 00:55:33,750 My tentative answer was that he was probably copying from an exemplar that he had. 492 00:55:34,350 --> 00:55:42,560 Here is. The Vicens manuscript, which has footballers as well as tell us in. 493 00:55:42,600 --> 00:55:47,840 It's actually a fairly early example of his splendid handwriting. 494 00:55:51,320 --> 00:55:56,180 I'm going to. Close, but just one more image. 495 00:55:57,080 --> 00:56:05,210 And. There's another manuscript of this I think is the most handsome of the 15th century manuscripts in Oxford. 496 00:56:05,420 --> 00:56:14,060 It has a text extremely like the San Vito that is now involved and beautiful, and I think probably derives from it. 497 00:56:14,070 --> 00:56:15,700 You can see it's got Blundell. 498 00:56:15,710 --> 00:56:27,650 So I would try to put a box around and it script seems to imitate that of and veto in some ways and surely written in northern Italy. 499 00:56:29,210 --> 00:56:37,380 Well. I've got a lot of detailed readings, which I hope some stage to inflict on the world. 500 00:56:37,800 --> 00:56:44,220 Um, which I swear to you, has given you some idea of the way I hope to operate when I go into print. 501 00:56:44,680 --> 00:56:48,569 Uh, if I get round to going into print, uh, on the manuscripts of Catullus. 502 00:56:48,570 --> 00:56:50,070 And thank you very much for listening.