The post-classical compilation identified to fashionable scholarship because the Latin Anthology features a selection of 100 riddles, every one along with 3 hexameters and preceded by means of a lemma. it is going to look from the preface to this assortment that they have been composed extempore at a dinner to have fun the Roman Saturnalia. The paintings used to be to have a defining effect on later collections of riddles; but its name (probably the Aenigmata) has been debated, and virtually not anything is understood approximately its writer: questions have even been requested approximately his identify (Symphosius?) and date (4th-5th centuruy Ad?).
In this version of the riddles, the Introducion discusses the work's identify and its author's identification: in addition to his identify and date, it considers his nationwide beginning (North African?) and highbrow heritage (a specialist grammarian?), and argues that he used to be no longer Christian, as has been steered. It examines the Saturnalian historical past to the paintings, atmosphere it in its sociological context, and discusses the author's literary money owed – particularly to Martial. The advent additionally explores the author's ordering and association of the riddles, discusses his literary variety, Latinity and metre, and reviews in short on his Nachleben. It concludes with a survey of the textual culture. The observation on each one riddle contains a translation, basic notes at the item it describes (with reference, as worthwhile, to museums and artefacts), and dialogue of the way it suits into the ordering of the gathering, of version readings and, with appropriate representation, of literary, stylistic and metrical concerns. different parts, equivalent to historical past and mythology, also are coated the place appropriate.
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Additional resources for Symphosius The Aenigmata: An Introduction, Text and Commentary
MSS: A βcL αdeHMNOQRSZ gGhIsVX le. nix: the D MSS position this riddle after Aenig. 12 (see Bergamin lxviii), yet this might disrupt the meteorological series from Aenig. eight. Snow follows very certainly the ice of Aenig. 10 (a known pair), and the riddle’s content material, declaring the diﬀerent states of water or aqua (line 1), even if liquid or stable, is based on Aenig. 10. 1 ‘unda fui quondam, quod me cito credo futuram’. blizzard in North Africa, whence S. in all probability got here (Introduction (1) and n. 22), used to be typical and never regularly conﬁned to excessive floor. in addition to Pease at Verg. A. four. 250 ‘nix umeros infusa teget’ (of Mount Atlas) and Pliny Nat. five. 14, see Peter Morris and Daniel Jacobs, The tough advisor to Tunisia, sixth edn London 2001, xiv. 1 pulvis aquae tenuis: Ohl, 211, comments at the poetic nature of this exceptional description of snow, even though cf. , with Coleman’s observe, Martial’s program of ‘watery dirt’ to spray from the wheels of chariots at Sp. 34(30). five ‘in aequoreo . . . pulvere’. Bergamin advert loc. compares Sen. Nat. 2. 30. 2, which describes sand ‘more nivis incidens’. With aquae Ohl compares Mart. four. three. 1 ‘densum tacitarum vellus aquarum’ in an epigram describing a snowstorm in vital Rome; cf. additionally four. three. four and seven, brought up less than. considering airborne dirt and dust is dry (cf. line 2 ‘in frigore siccus’ of unmelted snow), the juxtaposition of pulvis and aquae is paradoxical. For tenuis (‘ﬁne’), see OLD2 s. v. tenuis §5a. Bergamin cites numerous cases in Christian Latin the place it qualiﬁes dirt, e. g. Vulg. Is. 29. five ‘sicut pulvis tenuis’ and Cassiod. Expos. Psalm. 1. four ‘pulvis tenuissimus’. those may possibly aid a past due date for S. (see advent (2) and n. 34), yet cf. additionally, from the second one century, Apul. Apol. 6. 10 ‘tenuem candiﬁcum . . . pulvisculum’ of teeth powder. modico cum pondere lapsus: modico accords with the juxtaposed tenuis. For exertions of slipping or gliding down during the air, see OLD2 s. v. labor1 §1b; cf. delapsa, Aenig. nine. 1, of rain. 2 sole madens, aestate ﬂuens, in frigore siccus: this three-part line is uncommon. S. normally has a third-foot caesura, as in strains 1 and three; cf. creation (3)(d) and notice five My because of leave out Lindsay Allason-Jones. eighty four Symphosius The Aenigmata n. 122 (other three-part lines). he's most likely attempting to demarcate the seasons (spring, summer season, autumn) and emphasize the distinction among frigore after sole and aestate (all nouns), and siccus (an adjective) after madens and ﬂuens (both participles). sole madens: cf. Ovid Her. thirteen. fifty two ‘more nivis lacrimae sole madentis eunt’; see ThLL VIII. 34. sixty two ﬀ. s. v. madeo [Richter]. For sol indicating the top of iciness (and accordingly the start of spring), cf. Ovid Trist. four. 7. 1 ‘bis me sol adiit gelidae publish frigora brumae’. aestate ﬂuens in part repeats ‘sole madens’, even though with the onset of summer season the thaw may have complicated. Fluere survives of meltwater additionally at Luc. four. 83–4 ‘Pyrenaeae . . . ﬂuxere nives’; cf. Ovid speedy. 2. 219–20 ‘torrens . . . auctus nive . . . ﬂuit’. in frigore siccus: siccus comes shut right here to which means ‘solid’. it truly is used of snow additionally at Mart.