1^1 b W!-'-'* '^f^. XTT' \: .-?^ jgr A lo 4 1 18 4 6 : 7 i ; o : c: Bodleian T^'s , of Copa, More- tum, and other Poer^s of the ^p. pendix Vergiliana By Robinson ^llis l< mr. t ^A /iV^^lMp THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A BODLEIAN MS. OF OPA, MORETUM, AND OTHER POEMS OF THE APPENDIX VERGILIANA BY ROBINSON ELLIS, M.A., Hon. LL.D. CORPUS PROFESSOR OF LATIN Read in Ihe Hall of Corpus Christi College, Feb. 15, 1906 LONDON HENRY FROWDE \ OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.G. ■g OXFORD: 116 HIGH STREET 1906 Price One SJiilling net A BODLEIAN MS. OF COPA, MORETUM, AND OTHER POEMS OF THE APPENDIX VERGILIANA BY ROBINSON ELLIS, M.A., Hon. LL.D. CORPUS PROFESSOR OF LATIN Read in the Hall of Corpus Chn'sh College, Feb. 15, 1906 7 1 J » 4 ft J o o o "o"* » 3 a * • > ■• ' A y oe J ■ o • ■* o . i i 3 3 ^ ^ ^ ' ' ' ' > , « O ^ i > • O " ■>/ - .J , j*^ O O > *» 3 * t . *0 II * • J , > -' LONDON HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE, AMEN CORNER, E.G. OXFORD: 116 HIGH STREET 1906 c c * C C C ' ' • « , I « c . . C-3 05 nr rft A BODLEIAN MS. OF COPA, MOBETUM, AND OTHER PSEUDO-YERGILIAN POEMS In the Digby collection of MSS. in the Bodleian is a codex, assigned by Dr. Macray to the fourteenth century, which includes in a great variety of other pieces, all recorded in the above-mentioned catalogue, five of the smaU poems ascribed to Vergil, Gopa (fol. 137'), Est et noii (fol. 138"^), Uir bonus (fol. 138^), Rosae (fol. 139'), Moretmn (fol. 140'— 142^). The writing of the MS. is tolerably plain and straight- forward in the text of the poems. But this, though carefully copied from a good source, would not, in itself, be a sufiicient ^ reason for calling attention to the MS., since we possess MSS. of all the five poems which can claim a far higher antiquity, notably the Bembinus, of the ninth century, in the Vatican and, for Est et Non, MS. ^6 H. in the archives c of the Basilica of St. Peter's ^ The interest of the Digby 03 codex Ues much more in the numerous glosses explaining the meaning of the words. These are sometimes marginal, more frequently interlinear. As might be expected, the writing is small, and, as generally happens with glosses, full of contractions and abbreviations, requiring a constant use of the magnifying glass, and often so much faded as to try the strongest eyes. The glosses are not always in Latin ; there are a good many in French and some few in early English. They are abundant in CojKi and Rosae, tolerably * The contents of this M8. aro described by O. lahn, p. clxxxi of his edition of Persiua (1843). In it tho versos Est et Non aro headed Versut Priscinni eloquentissimi de Est et Nun. This ascription to Priscian is also found in Montpellier aia ; and lahn concludes that both MSS. wore copied from tho aamo original. A 2 :{4.^>19l full on Est et Non and Moretum, sparse on Uir bonus, the least interesting of the group, and the easiest. Many of them seem traceable to an early source, as they coincide Avith glosses in the tenth-century MS. Vat. 1577 recently published by the Catanian editor Curcio. This is in Copa ; for the glosses which the same scholar has edited from Vat. 1574 (cent, xi or xii) on Moretum only occasionally agree with those in the Digby MS. and go back to a different origin. Our MS. may fairly stand as a representative type of medieval commentaries on Latin poems. With much that is right and good it contains not a little that is doubtful or even wrong. But it is not difficult to discriminate the grain from the chaff, as a few samples will be sufficient to show. Copa 2 crisjjuin is glossed i. nhnis mobile, uel crispum dicit p)'^^opter vestes crispatas et collectas circa latus et renes. The first of these explanations is right and corre- sponds with Vat. 1577 where crispwm is glossed tremuluTYi. The second explanation which refers it to the motion of the Copa's robe is far-fetched and improbable. Copa 6 bibulo toro. Digby 100 has bibulo i. ubi satis hiberes uel bibulo i. molli quiet m^ollis culcetra que bibit et absorbet hominem, dura uero repeUit. uel bibulo dicit pro2)ter arenam que bibula est ubi torus ille sternebatur. The first of these agrees with Scaliger's interpretation ; the second is impossible ; the third is recondite and, in my opinion, points to an early source, though undoubtedly wrong. 15 libata is glossed collecta, and Achelois Jilia Acheloy. Vat. 1577 has this latter gloss in an expanded form copia Jilia acheloi, in which Copia is not a mistake for Copa, but either a perversion or a more definite version of the story mentioned by the second of Bode's Mythographers (p. 131) that the horn which Hercules broke off from the head of the river-god Achelous was consecrated by him to Fortune, and was afterwards filled with autumnal supplies (copiis) by Naiads, the daughters of the river. The mythographer's words are Tunc nymphae Naides Jiliae fiwniinis effecerunt ut id qiiod^ ereptum erat autumnalihus copiis repleretur^ On this view Copia may have been transferred as a name to one of the daughters of Achelous, and in agi'eement with this we find Bode's third Alythographer stating that Hercules dedicated to Copia the horn which he had broken from Achelous (Bode, p. 248). 18 cerea prima. Both Digb. and Vat, agree in the gloss cerea matura ; but Digb. adds uel alha ad modum cerae. Vergil has Addam cerea pruna Eel. 2. ^^ : Conington translates ' yellow plums ', and this seems the more accepted explanation. 20 Est hie rtiunda ceres, est amor, est bromius. Here the two MSS. are at variance. Vat. 1577 glosses ceres by panis, Digb. by seges. Vat. glosses amor by luxuria lubricity ; Digb. has a twofold gloss, an interlinear quia amahiles mulieres sunt hie, a marginal locus aptus amori, the latter quite wrong. Vat. glosses bromius by uinum, Digb. more intelligibly by deus uini, addiDg hoc dicit quia sine cerere et bacho friget uenus et dicitur bromius a bromin (the rest of the gloss is so faded as to be doubtfully legible). This quotation from the Eunuchus of Terence (iv. 5. 6) is very felicitous ; the verse of Cojxi is indeed only a more poetical way of stating the comic writer's words. 31 lentis is glossed hy Digb. Jiexibilibus, perhaps rightly, though the word admits of a different meaning, ' sticky ' or * clammy '. Vat. does not explain. 22 et pendens iunco caerideus cucumis. Here Digb. has an interesting gloss. Over iunco (which in the MS. is written iuncto) is written i. paruo uimine simili iunc{t)o. It is clear that the glossator had in his mind a with of some kind attached to the Cucumber, and by which it was suspended, not the stalk of the vegetable itself, as the latest editor of the poem supposes. I am obliged to admit that neither Digb. nor Vat. helps us in the difficult verse Copa 25. Both agree in giving Hue ali(y Ya,t.)bida ueni, fessus iam (so Vat., iam /. Digb.) sudat asellus. 6 ^ It is usual to print here not alihida, but calyhlta, which the Bemhinus, our best source and of cent, ix, gives. This is not the place to discuss the difficult problem of the meaning of calyhita : I am only concerned to show that the other reading alihida goes back (in Vat. i577) to cent. X, is supported by many other MSS. including Digb., and ought not to be rejected as certainly wrong. Stephanus of Byzantium, quoting II. ii. 857 n^koOev e^ 'AKv^ri^ 60€v apyvpov iarl yevidXr], identifies Alybe with the Pontic tribe called Chaldaei or Chalaei by Strabo 549, a tribe who in the geographer's days worked iron, not silver, mines. Stephanus mentions in his usual manner the adjectives 'AKv(3(vs and 'AAv/3r]i?, and cites from Eupho- rion of Chalcis, the Greek poet translated by Cornelius Gallus and alluded to by Vergil in Ed. vi, a hexameter oo-rts juev Ke\((3r]v 'AXv^r^Cba /uowos cm-qvpa, a line also quoted by the Scholiast on Theocritus ii. 2. This poem of Eupho- rion's is called by Stephanus 'Apai or norjyptoKAeTrrrjs, by the Theocritean Schol. UoTripioKXenTi]s. Meineke conjec- tured that the poem was a curse on a thief who had stolen an Alybean cup, perhaps of silver ; Stephanus expressly explains AXviSrjiba &fi = apyvpav, bio, to. jutraAAa, and Homer's odcv apyvpov eort ytvidXr] may have survived, as from Non- nus we know that it has survived, to an age when Alybe had long ceased to yield silver. Alihida I should suppose to be formed from 'AAv/Sev's as Basilides from Basileus, the a marking the Roman form. It is observable that the cup of Alybe is called by Euphorion KeAe^r/, and the same word is used by him in another verse preserved by Athenaeus (475 f.) : 17^ TioOiv TTOTaix&v KfAe'/Sr/ aT:o7](f)V(Tas vboip. Now the best MSS. of Copa in v. 7 give Sunt topia et kalihes (or calihes) and this word, which can scarcely = KaXv^ai, as the latest editor interprets it, is far more probably explicable of some form of cup or bowl, and may represent the Greek KeAe/37j. For the change of e to a compare callerans ijroperans, i. e. celerans (Gotz, Thes. Gloss. 6. v.). May not tbis show in the author of Gopa an acquaintance with Euphorion ? And may not the verses of Copa, Et quae virgineo libata Achelois ab amne Lilia uiniineis attulit in calathis, be a further reminiscence of the line quoted also from Eu- phorion r]i TToOev Trora/iwi; KeXe'/S?/ a-oi](f>V(ras vbcop'i Cer- tainly libata would well express a-n-ovjc^uo-as, with an extra notion, perhaps, of drawing off from the surface of the river. Meanwhile lexicographers may be advised to look out for the word Celebes as a Latin form. In Greek, besides Eupliorion it was found, Athenaeus tells us, in Anacreon, Antimachus (from whose Thebais it is quoted in the form K€\e^€ioi> three times), Theocritus ; and that it was a greatly discussed word is shown by the variety of explanations given by Silenus, Clitarchus, Pamphilus, Nicander of Colophon, and Dionysius 6 AeTiroj. Perhaps the closest ap- proach to the idea of the word is to be found in Antima- chus' triple use of it to express a vessel containing honey, a bowl rather than a cup. I may add that if the suspicion of imitating Euphorion can be brought home to the poet of Copa, we may fairly include him in that remarkable phrase of Cicero's, so often and so dubiously applied by L. Miiller and other critics to Catullus, the puzzling phrase cantores Euphorionis. Returning to our glosses, alibida is explained in Uigb. by amice mi, of which I can offer no interpretation. Vat. has no comment on vv. 25-31. But in 32 grauidum is glossed compositum, i.e., I suppose, laid up in repose, nearly =' re- posing '. Digb. has a more intelligible gloss i. laborc fati- gatnm, and sfrophio i. corona rosea, where Vat. has only serfo ^ In 33 both gi\e formosum formose, but Digb. with the additional remark noinen pro aducrbio ; decerpcns similarly is glossed by Vat. osculans, by Digb. dcoscnlans. In 34 Vat. glosses i)n.sca by solita, wrongly : stqjcrcilia by turbulcntia uidfus, not very intelligibly. On A pereat Digb. has two notes, the first marginal Copa percipiens ' Tlio rliminutivH strophinlum is found iiiPliii. //. .V. xxi. 3 itppliod tu tlio sliglitor kind xf fjirliind (Jcnnioribus nertis). 8 ipsius impoientiam (violent love) naturalem exclamat in ipsum dicens Ha peroat: the second, xyrisca i, supercilia ad modimi priscorum. ^^ cineri is glossed in Digb. i. nsque ad cinerem i. usque ad mortem. Vat. has the unintelligible amasio tuo. 36 anne is excellently explained by Digb. Numqiiid. 37 On Pone merum et talcs Digb. has a strange marginal, i. mittamus sortes cuius esset emere uinum ; on this hypo- thesis the dice-throws are supposed in some way to deter- mine which of the parties present shall buy the wine. Such an interpretation is hardly probable, but is very likely to have been part of an old traditional explanation. The same thing holds of the glosses in Digb. on Copa 5 Quid imiat aestiuo defessum puluere ahesse: (i) On Quid iuuat. i. te alihida, (a) on ahesse i. ahsentem numero esse uel ahesse a nostro consorcio. On which I remark (i) that the glossator adheres rigidly to alihida as the right reading in 25, and gives no hint of the other lection calyhita, (2) that his explanation of ahesse, 'to keep aloof from the rest of the company, is plausible and very likely to be right. After the last v. of Coj^a Digb. has a marginal Puhlii maronis iiirgilii Copa explicit, eiusdem est et non incipit. This hexameter composition of 25 lines on the various uses of ' Yes ' and ' No,' is preserved in not a few MSS. fi'om cent, ix to xv. Montpellier 21 3 of cent, ix or x ascribes it to Priscian : but by far the greater number of MSS. agree with Digb. in attributing it to Vergil. Schenkl (p. 150 of his edition of Ausonius) shows that the early codices generally have a different title NAI KAI OT Pi/thagoricon, or de Pytliagoricis diffinitionihiis NAI KAI OT, and the former of them is printed by him as the true title of the poem. Both the Greek and Roman forms are familiar to us from St. Paul's use of them 2 Cor. i. 19 'Dei enim filius lesus Christus non fuit Est et Non sed Est in illo fuit,' or to quote at length the original Greek 6 Aoyo? fjnoiv 6 irpbs vfj.as ovk. €aTLV vol Kol Oil. 6 Tov Oiov yap vlbs 'Irjcrous Xpiaros kv vp. v hC i]p.Siv Krjpvx^deis . . . ovk kyiviTO vol koX ov, hXXa vat Iv avrO) yiyovtv* On this poem Digb. has an ample and very useful set of notes ; at the end of it follows the companion poem Uir bonus, the U of which is rubricated to mark a fresh start in the MS. Schenkl (p. 149) shows that this other poem of 26 hexameters has like Est et Non two distinct headings. In some MSS. it is called De uiro hono pythagorice acroasis (or according to Peiper apophasis) ; in the majority it is headed de mstitiitione uiri honi, and is generally ascribed to Vergil. On this also Digb. has an ample and useful com- mentary, on which however my space does not permit me to enlarge. At the end of Uir bonus follows with a large rubricated U Tier erat, the first words of the beautiful verses on roses now generally printed among the poems of Ausonius ^. The numerous glosses in Digb; prove the popu- larity of this perhaps African composition in the Middle Age. I shall quote some of them as specimens, and I take this opportunity of bringing to the notice of my auditors a fine though inexact prose translation of the poem made by the lamented J. A. Symonds, and published in Mr. Fox's Models and Exercises, Oxford, 1891. The heading in Digb. is Incipit Egloga de rosis na- scentibus, which is identical with the heading of Schenkl's M, an eleventh cent. MS. belonging to the monastery of Molk near Vienna, except that M adds Vergilii after Egloga. In some, mostly later MSS., it is called Bosae, in others liosctum. Most of them ascribe it to Vergil, and that this was the prevailing belief of the Middle Age, and of the writer of Digb., is shown by v. 5, where above Errabam is written ego Virgilius. Niike in his erudite edition of the Dirae and Lydia, two other poems of the pseudo-Vergiliau collection, criticizes the diction of the Hoses as inconsistent with an early date, instancing the verbs ucgetarc, antici- pare ; and is severe on its descriptions as over-minute. Most critics, however, from Poliziano and Pierius to our own time agree to find in the Roses a poetical charm, akin to that of the I'cruigiliiim Veneris, the date and authorship ' .Schenkl'M y\iisonitis, p. 243. 10 of which are equally uncertain. Lines and even whole passages of the Boses fix themselves in the memory : Vidi Paestano gaudere rosaria cultu Exoriente nouo rosida Lucifero. Kara pruinosis canebat gemma frutectis Ad primi radios interitura die. Ambigeres raperetne rosis Aurora ruborem An daret et flores tingueret orta dies. And again : Mirabar celerem fugitiua aetate rapinam Et dum nascuntur consenuisse rosas. Tot species tantosque ortus uariosque nouatus Una dies aperit, conficit ipsa dies. And : Quam modo nascentem rutilus conspexit Eous, Hanc rediens sero uespere uidit anum. The description of the different stages (or Chronograxjliy, as it is called ') in the development of the roses (25-34) is quite in the modern manner, and far from agreeing with Nake's view, I hold that much of the exquisiteness of the poem lies in the very minuteness which he censures. The glosses on Rosae are very numerous. I shall only mention the more remarkable among them. 3 strictior i. frigidior. 5 quadrua i. in quathwr partes diuisa. 6 itegitare (sic) i. firmare. 12 Digb. gives in the text of the poem roscida, in the margin rosida. This looks as if the marginal note, which preserves the ancient spel- ling of the word, had come from a different source. 14 die i. jjrimi diet et ponitur ablatiiio X)ro genitiuo. 22 miiricis i. ridiri coloris hahitum i. colorem. 23 Momentum intererat i. sjpaciimi interuenerat. 25 galero i. coopertorio. Gcderus est proprie coopertorium capitis, dlcitur a galeron quod est corium quod rutilanti colore ruheat. 28 mucronem i. acumen. 30 on niimerare there is this marginal numero dlcitur de hoc nummus mi unde quidam ait numero nummus dcdit nomen et a sui frequentacione uocahidum indidit. ^ It is so styled twice in Digb. 11 Exactly the opposite is stated in a gloss oiTlies. Gloss, p. 750 nummi uel a nomine uel a numero dicti eo quod nume- rantur. On 32 Digb. glosses calafhi by concauitatis sue. ^^ Digb. has a variant fanto for toto, the readinof of the Bern- binus and most MSS., but wrongly, as the contrast is between the rose in the full beauty of all its petals (toto) and the same rose when its petals have fallen away, igne comarum is well glossed by splendore foliorum. 34 con- tains a good grammatical note Pallida s. facta. 38 Digb. has tecfa not iacfa, and fecfa is preferred by Schenkl, and is the reading of the Bembinus. 43 quam longa i. in quantum tarn longa i. in tanfum. 48 succedens is glossed by ueniens post and prorogat hy prolongaf. Before speaking of the 3Ioyetum, it may be worth while to make a general remark on the Latin of these glosses. If, as a rule, they do not belong to the best Latin, they are also as a rule far removed from the debased Latin of the Middle Age. Thus to begin with the Bosae, prolongare concaiiitas coopertorium all exist in writers of the Imperial epoch. Coming to Uir bonus, the word angulosns is found several times in Pliny's Natural History. Angularis and contenqitibilis, which are found in the glosses on Est et Non, fall under the same category : they are hardly good clas- sical words, but they are not avoided by writers as con- siderable as Columella and Arnobius. In Cojya the word eleuatio, in the sense of exaltation, is unclassical ; so is gesticidare for gesticulari : on the other hand, flexibilis is not avoided by Cicero. Hence, when we come to a debased diction like maneries =' manner' or 'kind,' Cop. i. we feel the incongruity, and are led to suspect that the greater and more correctly worded part of the glosses belongs to a much earlier period. This view is in complete agreement with what we know of undoubtedly old collections of glosses, e. g. the Berne scholia on Lucan ; or again N^ith the Latin of Chalcidius' Commentary on Plato's T imams, which con- tains many words stamped in the same mint as coopcr- tvrium or gesticulare. A3 12 Before leaving Copa I ought not to omit, in justice to one of the most eminent French scholars of the same era which produced Nicolas Heinsius, Commire\ Oudin, Mark- land, and Bentley, a remarkable confirmation of the view held by Huet, Bishop of Avranches, as to the meaning of Copa 4 Ad ciihitum raucos excutiens calamos. Speaking of the use of wind in music, Huet says (Huetiana, p. 286, ed. 1722) : 'T^moin cet agr^able poeme de Copa, que son ^l^gance a fait attribuer a Virgile, oil Ton voit que la musicienne faisoit entrer le vent dans des chalumeaux par le moyen d'un souflet qu'elle avait sous le bras et qu'elle faisoit agir.' He supposes the dancing-girl or gesticularia to hold pipes connected at the elbow with bellows, the air in which set in motion by the agitation of the girl's arms produced a musical sound. Now this or at least a very similar explanation is printed by Curcio, in his re- cently published edition, from MS. Vat. 1577. The word calamos is glossed there as follows : tibias turn (1. cum) foUculo quas tenens in irachio premebat ut expromeret soni- turn, sic ergo sonabat et saltabat. This is not the prevailing and more probable interpreta- tion of the words Ad cubitmn raucos excutiens calamos, ' shaking out towards the elbow the noisy reeds of the crotalum,' calamos being thus the looser portion of the split cane of which the crotalum or Castanet was com- posed, the snapping together of which two portions pro- duced the sound that acted as accompaniment to the dancing. It is however obvious that Huet's interpreta- tion has the support of antiquity : for the gloss in Vat. 1577 can hardly be medieval. The last poem of the group of five contained in Digb. too is the Moretum. It describes in 1 23 hexameters the making of a salad. The subject was not new. Macrobius (S. iii. 18) quotes a very indifferent fragment of nine or ten verses by Sueius, if that is the right form of the name, in which ^ Commire, a Jesuit of the early eighteenth century, has never been surpassed as a critic of patristic writings. His emendations of Orientius' Commonitorium are in the highest degree masterly. 13 a gardener is described as combining with other ingredients mix persica or mollusca. Parthenius whose date either exceeded or coincided with the epoch of the elegiac poet Cornelius Gallus composed a fxvTTOiTosy of which, however, no fragment is extant. It is noticeable that this, perhaps the most popular and widely known of the pseudo-Vergilian collection, is not included in the seven poems ascribed to Vergil by Servius and Donatus. But in the Middle Age it was very widely read, as is shown not only by the great number of MSS. in which it is found (amongst them the famous Trau codex which contains the Cena Trimalcliionis), but by its in- clusion among the sources of the opus prosodiacmn of Mico the Deacon, a writer of the ninth century, s. v. DILATO ^ (Mic. 48 Leiiat opus palmisque suum dilatat in orhem), and by a passage from it being imbedded in the prose treatise de nominihus utensilium of Alexander Neckam, in the following form, postmodum a mala granuni constrimji dissolui et sinceratum foraminihns cribri eliqiiari. Moret. 40-43 : Transfert inde manu fusas in crihra farinas Et quatit : at remanent summo purgamina dorso. Subsidit sincera foraminihusque liquatur Emundata Ceres. At what period the Moretum began to be attributed to Vergil is uncertain ; but it is cited as his by Mico and ascribed to him by name in the Cod. Bembinus of cent, ix. It can hardly be by Vergil, but it may well belong to a period either coeval with him or only a little later. The view of Paldamus that the Simylus of the Moretum is the Corycius sencx of G. iv. 127 is interesting, but incapable of proof. The greatest of modern German critics Lachmann, Lucr. p. 326, considers it Vcrgilianis adate par esse: llaupb almost thought it might be by Vergil. Meineke accepted it as his (Anal. Alexandr. p. 258). Was it a translation from the Greek ? We might be led to think so by a note in a codex Ambrosianus quoted by Voss dc ' Edited by Traube in vol. iii. of Poetae Lalini aevi Carolini, p. 284. 14 2)ocfis Graecis, * Parthenius moretuni scripsit in graeco, quern Vlrgilms im'datus est.' Reitzenstein believes that a Greek (possibly Alexandrian) original was the common source of an epigram in the Greek Anthology (vii. 736) attributed to Leonidas of Tarentum and of our Moretum. For my own part I can see little trace either of paraphrase or translation ; more particularly I fail to recognize in the epigram anything like close agreement with our poem. Far more probably may we believe the Moretum to be drawn from Callimachus' epyllion Hecale, the fragments of which contain the names of various herbs and condiments such as are minutely described at great length in the Moretum ; just as reversely this list is almost beyond doubt the fons of the following hexameters from the poem de Medicina of Marcellus, ex-magister officiorum to the elder Theodosius : Quod uiride hortus habet uel quod carnaria siccum Allia serpyllumque herbas thymbramque salubrem Brassicaque et raphanos et longis intuba fibris Et mentam et sinapi coriandrum prototomumque Erucam atque apium maluam betamque salubrem Rutamque et nasturcum et amara absinthia misce Puleiumque potens nee non et lene cuminum. (Rieae, Antliol. Lat 910, 34-40.) Here it is not only the herb- names beta, malua, na- sturtium, intuha, eruca, allium, ajnimi, coriandrum which are common to both writers ; rather it is the unfrequent carnaria, ' meat-frames ' (Moret. 56 carnaria iuxta) which betrays the imitation of the earlier by the later poet. That the Moretum is of early date has also been argued from 76 Grataque nohilium requies lactuca cihorum, which seems to imply that lettuce was then eaten at the end of the meal as a digestive to prevent rich foods rising on the stomach, as our own poet Cowper translates it, ' Salubrious sequel of a sumptuous feast'. In the later age of the Epigrammatist Martial it was eaten at the heginning of the dinner (Mart. xiii. 14) : Cludere quae cenas lactuca solebat auorum Die mihi cur nostras incohat ilia dapes ? 15 Two generations before Martial would bring us to a time not far removed from Vergil ; but it is not certain that the writer of the Moretum meant anjthing more than that let- tuce acted as a digestive at whatever period of the repast it was taken, just as Pliny (quoted by Nake, Hecale p. 139) speaking generally of the qualities of this vegetable says natura omnibus (every species of lachica) refrigcratrix et ideo aestate graiae siomacho fastidium auferimt cihique axjj^eientiam faciunf. Nake admirably characterized the style of the poem thus : ' Compositio simplex, plana ; ad finem omnia spe- ctantia ; nulla digressio, nulla in rebus secundariis mora : stilus non ut in Culice et Ciri durior interdum, et qui maiorem aliquando cultum atque elegantiam exspectari iubeat, sed elaboratus et consummatus, at a Vergiliano tamen, qualis est in Bitcolicis et Georgicis, diuersus '. Rib- beck aptly calls it a genre-painting in the Dutch style. Its charm lies a good deal in its naturalesque description of garden-plants and country associations ; but the poet can rise beyond them and perhaps is nowhere more happy than in his portraiture of the negress Cybale or Scybale. Interdum clamat Scybalen. erat unica custos Afra genus, tota patriam testante figura, Torta comam labroque tumens et fusca colore, Pectore lata, iacens mammis, compressior aluo, Cruribus exilis, spatiosa prodiga planta. The Digby glosses on 3Ioretum are not of much value, and seem less ancient than those in Vat. 1574. At any rate no sufficient conspectus of them can be given here : nor would such a conspectus be of much service without a parallel exhibition of the Vat. glosses, which only now and then seem to be identical. It will not, however, be without profit to speak a little of the general problem of criticism in the Morcfiivi, a problem here of unusual difficulty, the MSS. ditibring considerably. As in all the other poems of the Appendix Vergi liana which it contains, the Bcmhinua (Vat. 3252) is the MS. to 16 which our first appeal must be made. The writing of this famous codex (at the outset of cent, xvi in the possession of Card. Pietro Eembo) is a Carolinian minuscule of an early type, and some experts consider it to belong to the ninth century. A MS. in the Bodleian, Auct. F. i. 17, closely reproduces its readings, and must have been copied from it or perhaps from some common source. Nearest in value, and not much removed in time, are three MSS. assigned to cent, xi, one in the monastery of Molk near Vienna, the other two in the National Library of Paris, namely the Stabulensian fragment, so important in Aetna, and Paris 16,236. The Stabulensian codex is imperfect ; Paris 1 6,236 is complete. The same rich library contains numerous other copies of our poem. I may mention the celebrated codex Traguriensis (Paris 7989), a MS. discovered in the first half of the seventeenth century at Trau in Dalmatia, and containing the Cena Trimalchionis of Petronius. As every reader of BUcheler's Petronius is aware, this MS. was written in cent. xv. It contains besides the Petronius portions and the lloretum, Catullus and Propertius. Of the same or an approximate date are two Bodleian MSS., our Digby 100 and Add. A. 163, the latter at times very hard to read from the writing being faded, but yet containing some notable variants. The first passage of which I shall speak is 3Ioret. 13. This line appears in two quite distinct forms. Bemb. gives — Tandem concepto sed lux fulgore recedit, which a later hand has altered into tenehre fulgore recedunt, and this latter is found also in the early MS. Vat. 2759, the Traguriensis, and some others. But not only does the Bodl. Auct. F. I. 17 (F), which closely reproduces Bemb., here also agree with it, but the same reading is found in Molk, the fragm. Stab., and Paris 16,236. We may therefore conclude with some security, that this is the more authori- tative form in which the verse is preserved. But as it stands, it is not intelligible, nor can Scaliger's emendation Tandem concepto so lux fulgore recepit 17 be admitted, concerto and recejnt being impossible in so finished a composition. Biicheler seems to have rightly conjectured sed uix for sed lux, ' at last when it had, though with difficulty, burst into a bright flame, Simylus with- drew.' 15. Having lighted his lamp Simylus shields it from the air and proceeds to open the door of a room in which corn was stored. The opening of this door stands in most MSS. as follows : Et reserat claus(a)e qu(a)e peruidet ostia clauis. P (16,236) however gives ciua, some of the later MSS. (among them Add. A. 16'^) xwaeuidet. Were it not for the unanimity with which the earliest sources give clausae, not clausa, which I have found in Harl. 2695, I should be inclined to suggest ^J?a»5a = ' cum sonitu immissa,' and claue, rather than claui, as palaeographically nearer to clauis. Then translate, ' and striking the key smartly {plausa claue) opens the well scrutinized door ', or, with P's qiia, ' striking in the key noisily at the point where ho sees through the door'. As it is, Scaliger's correction casulae is plausible. Only plausible however ; for the two other passages of the Moretum where the word occurs, 61 Hortus erat iunctus casulae' 67 Si quando uacuum casula pluuiaeque tcnebant, seem to indicate a tenement in the form of a hut or hovel in which the peasant usually lived with his female associate Scybale, and this would be distinct from the room in which the grain was stored. Is it possible that the word clausa was occasionally used = c/7/j;/a, such as Vitruvius vi. 8 describes in aedihus cryjyiac horrca apoiliecae ceteraquc quae adfructus seruandos magis quam ad clegantiae decorem possunt esse 1 Clausa would fall under the category of nouns formed from participles feminine, like coUccta, a contribution, used by Cicero, de Oral. ii. 23 Peruerrit cauda silices gremiumque molarum. So Bemb., I\Iolk, Stab, and P. There are two variants: (1) Preuerrit, which is given by Harl. 2534 (which closely agrees with Pur. 8207, where 18 preuertit is a mere corruption of preiierrlt) ; (2) geminumque molarem. Praeuerrere occurs in Ovid, Am. iii. 13. 24 Qua uentura deast, iuuenes timidaeque puellae Praeuerrunt latas ueste iacente uias, ' sweep in advance of the goddess '. Here the preposition has its significance ; not so in the verse of Moretum. On the other hand peruerrit well expresses the care the peasant takes to sweep over the whole interior surface of his mill. As for geminumque molarem it has no support from any of the earliest MSS, Its reception in many editions of the poem is due to the influence of Heyne, who introduced it as a conjecture. ^6. At the end of the description of the negress Scybale some MSS. add Continuis rim is calcanea scissa rigebant. Here it is unusually necessary to state with precision the facts presented by MSS. Bemb. omits the verse in the text of the poem, but in the margin below adds it in a later writing and with the form scalcanea. It is also omitted in F, Molk, P, Paris 8207 = Harl. 2534, Paris 8093, 8074, 3762, in the Stabulensian fragment, and Digby 100, and the two early codices now at Munich collated by Lud- wig Ian for Philip Wagner's edition of Heyne's Vergil, the Tegernseensis (xi) and Weyhenstephanianus (xiii). On the other hand it is found in Vat. 2759 perhaps of cent. X, in the Traguriensis, in Bodl. Add. A. ^6^, and in Harl. 2695 with fissa for scissa, a correction made inde- pendently in modern times by Wakefield. The case is thus to some extent complicated. It is not true to say that all early MSS, ignore the verse ; for at least one MS. of the tenth century has it, and it belongs therefore to a time which dates before the Middle Age properly so called. Nor can it be denied that the description of the negress, if it ended with spatiosa prodiga planta, ended rather abruptly. An extra verse seems almost required. Nay, the argument which some will think final, the occurrence of a dactyl with the last syllable short before scissa, though practic- 19 ally always observed by Vergil, and therefore not likely to have been ignored by an imitator, is not wholly con- clusive, as the writer need not be a conscious imitator in every detail of Vergil's diction and prosody, and, which is more to the point, the rule that a short vowel cannot pre- cede sc, S}), st is open to many exceptions, and even in the earlier Augustan age Propertius admits a short vow^el before sc, S}), st no less than six times, hracliia spectani, iam hene spondehanf, tu cane sjnnosi, Consididtque striges, nunc uhi Scipiadae, circumdata Scyllafigura. If none of these arguments is sufficient by itself to prove the verse spurious, it is nevertheless open to attack on other grounds. The word calcaneum with its other forms calcaneus, calcanea, though not unfrequent in glossaries, e. g. calcaneum zripvi), calcania zrepvai, and again calcaneae (fem. plur), is carefully avoided by early and correct writers of Latin. Forcellini has no instance of it except the V. of the Moretum till the Historia Augusta, where Heliogabalus (Vit. Heliogab. 20) is said to have often eaten ad imitationem Ajncii calcanea camelorum, and we may perhaps infer that Apicius preferred this word as more direct to the more ordinary calces. Ronsch {Collectanea Philologa, pp. 178, 2^4) quotes calcaneum six times from the short treatise known as Aimlei Physiognonionia, which Valentine Rose, Anecdota Gracco-Latina pp. 80 sqq., ascribes to the end of the second century a.d. and which can hardly be later than the middle of the third. At that time it would seem to have been in common use. This does not prove much for its adoption in the Moretum ; and the combination of a bad word with an additional fault in prosody adds to the difficulty. It remains to suppose either (i) that the verse does not come down to us in its original form, and only represents a rifacimento of that original, or (2) that it was added at a time considerably later than the composition of the poem as a whole, when th*; nicer sense of prosody, no less than of correct diction had become obscured. I do not think anything can be argued from the variants which some of the MSS. present, riuis for rimis (grotesquely explained 20 in a late MS. by miduris) or fssa for scissa, which I have fo nd in Harl. 2695 ; riis seems a mere error of tran- sci-iption, fissa a correction made by some one with a more than average feeling for Vergilian rules of scansion. Any attempt to determine the date of the v. must be hazardous ; but it may fairly belong to a time when sin- ceris, neuter sincere, could seem possible in a poem so careful as the Moretum ; this occurs even in the Bembine, Mor. 43 subsidit scincere foraminibusque liquatur Emendata ceres, as well as in other unimpeachably early sources ; it points to a period when the language was declining and adjec- tives like sinceris, austeris, infrmis (Ronsch, u. s., p. 9) were taking the place of the classical forms in -us. The case is different in the verse which in many editions is printed after 74 Hie etiam nocuum capiti gelidumque pa- paiier. Here the MSS. are so strongly against genuineness as to be decisive. Only one MS. of an early date, Vat. 1576, is known to contain it. I have found it in four later codices, one of which is the Traguriensis. I hold it to be undoubtedly spurious. The word nocims is quite unclas- sical. On the other hand there is every reason to accept as genuine the verse which follows Grataque nohiliiim requies lactiica cihoriim, though we can only feel sure of the end of it creseitque in acumina (or acumine) radix. I must again state the MS. facts, which have an important bearing on the question of the beginning. The Bembinus with its congener F give q^uae crescit in acumine radii. The Stabulensian fragment omits all but the first letter C, leaving a space for the whole of the rest of the line. Molk and Paris 16,325 have creseitque in acumina radix. The Traguriensis gives the whole line thus : Plurima crescit ihi surgitque in acumina radix, and so Harl. 2695, with a Catania MS. which Prof. Sabbadini collated for me, and doubtless many other fifteenth century MSS. This looks like an interpolation : for the united testi- mony of the Stabulensian fragment, Molk, and Paris 16325 21 favours the view that the first word of the genuine remains of the V. began with C, and two of them present the word as crescitqiie. Hence surgifque cannot be right, the more so that Bemb. has quae crescit, seemingly a mere inversion of crescitqiie. If then the ending was crescitque in acumina (or -ne) radix, can we trace the beginning? I think we may. A Bodleian codex, Add. A. 163, in which the poem is preserved in an often illegible form, has this line in very faded writing as follows : — P 1 ima que sic ibi surgitque in acumina radix. May we not conjecture that the faded letters are the remains of Flurimaque exit ihi ? It will be said ; but what of surgitque which this MS. gives, not crescitque ? I reply, we have a case of conflation of readings. The MS. which the scribe of Add. A. 163 copied preserved the first half right, but gave the second half with the interpolation surgitque instead of crescitqiie. Yet I would not deny that there is another explanation : the faded letters may represent Tlurima crescit ihi surgitque in a. radix, a reading which, as I said, is found in the Traguriensis and the MS. of Catania, as well as in Harl. 2695, but which on the evidence of the earlier codices must be pronounced an interpolation. It will not, I believe, be denied that the verse as I have restored it, Flurimaque exit ihi crescitque in acumina radix, is in harmony with the usually choice diction of the Moretimi, and from the strong similarity of sound in exit crescit, supplies a possible reason for its corruption. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. UNIVE. LOS ANbt LIBRARY !;3957 A Bodleian :ih 7 b ms. of Co pa. > vi UC SOUTHERN REGIONAL LIBRARY FACILITY AA 000 418 467 7 :t¥m mmW Wi' 'Wi / 4f '^^ I *!/■■■ ■'.'V. ■■^yi