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Sofia Egorova
HOW LONG DID HORACE'S EPODE 18 EXIST?
Как долго существовал 18й эпод Горация?
Хотя все современные издания Эподов Горация содержат 17 стихотворений, рукописная и издательская традиция до середины XVI века дает 18: 17-й эпод представляет собой диалог поэта и колдуньи Канидии, и ее ответ (стихи 53-81) дается как отдельное 18-е стихотворение. Разделение 17-го эпода произошло уже в античности, и, хотя три рукописи (ф, у, п) содержат исправленный текст, объединение эпода в одно стихотворение произошло только в середине XVI в. Впервые оно засвидетельствовано в издании Германна Ульнера (Hermann Ulner, лат. Hermannus Figulus) 1546 г.
Ключевые слова: Германн Ульнер, Гораций, Ламбен, Эподы Горация, 17-й эпод.
All modern editions of Horace's lyric contain 17 iambic pieces of his Book of Epodes, though manuscripts and editions from the Late Antiquity and till the middle of the XVI century usually had 18 poems. The 18-th piece is the section of the 17-th epode, namely verses 53-81, with the answer of sorceress Canidia to Horace's pleading (verses 1-52), which had been transmitted as a separate poem.
I have first noticed this peculiarity in the famous edition by Mancinelli1 which dates back to the very beginning of the XVI century. It turned out that such eighteen fold division was common practice of that time. The 18-th piece representing the answer of Canidia was usually provided with a title and an introducing note,
1 Antonio Mancinelli (1451-1505). Horati Odae, carmen epodon et saeculare cum exactissima Antonii Mancinelli cum familiari Iodoci Badii Ascensii explanatione. Parisiis, 1503 (first printed in 1495 in Venice). I looked through the editions of 1503 and 1511 at the National Library of Russia, along with other reprints available through the databases of Googlebooks and Archive.org. It is worth mentioning that reprints of this edition are very conservative. Throughout the XVI century Mancinelli-Ascensii edition was reprinted with some additions but without any significant changes (such as division of poems). Another popular academic edition of that period was Q. Horatii Flacci Opera cum quattuor Commentariis, Acronis, Porphyrionis, Antonii Mancinelli, Iodoci Ascensii. e.g. Parisiis, 1543.
such as "Ode XVIII. Qualis superior de Canidi? resposo", where the first letter Q (v. 53: "Quid obseratis auribus fundis preces ...") is marked with an initial graphic element.
Though there is no doubt that Horace actually published 17 poems , the revealed fact raises two questions: 1) since what time has the 18-th Epode been introduced? 2) who combined the two sections back together to publish the text as we have it now?
It is clear that the separate representation of Canidia's answer dates to the Ancient times. The commentary by Pomponius Porphyrio already contains the note "Facit Candidiam respon-dentem"4, and the Scholia collection the of the V cent. AD (so called Pseudacronian) provides a discussion on this question: "In quibusdam hic ode incipit et est titulus eius sic: Negat Canidiam sibi reconciliari ideo, quoniam eius maleficia vulgaverit, et ipsam Canidiam introducit loquentem" 5. We might suggest that Epode 18 was introduced in a prominent ancient manuscript - the source from which the practice has spread further into the next period.
This suggestion is proved by medieval tradition, though investigation of this question requires some effort. Not a single academic edition of the XX century examines the question of the separation of the 17-th Epode, including the one by Istvan Borzsak, a connoisseur of manuscript peculiarities. The edition by Otto Keller and Alfred Holder6, however, mentions this point: the apparatus criticus contains a list of the MSS with 17 pieces. There are only three of them: interrelated Codex Parisinus 7974 (9) and Codex Parisinus 7971 (y), both coming from Reims and examined by Keller himself; and Codex Parisinus 10310 (n) of obscure origin
2
This in both senses odd number of poems has been interpreted in different ways. In my opinion, this oddity along with the lack of metrical variatio may indicate that the book was left unfinished deliberately as that of a young poet published by him much later; for details see Egorova 2014: 208-228. On the correlation with the number of Callimachus' Iambi see Kerkhecker 1999: 275 f.
3 III cent. AD (or later).
4 Meyer 1874: 176 gives no textual information; so it is doubtful whether it was the title of a poem in MSS.
5 This text comes from Schol. r V; another line of tradition (Schol. c p v) contains a much shorter note "Inducit Canidiam precibus inplacabiliter respondentem", which also separates this section of the poem (Keller 1902: 464-465).
6 Q. Horatii Flacci Opera. 1864: 221.
n
examined by Holder . These three MSS cannot be described as belonging to the same tradition, though all the three of them date
o
back to the end of IX - X century .
The majority of medieval manuscripts contain 18 poems, however. The fact that the three abovementioned MSS have a "reunified" version of Epode 17 can be explained, in my opinion, in the following way: the text was edited by some scholar of the IX century or, probably, two independent scholars, who noticed the common metrical structure and topic of the two pieces of direct speech, and thus, joined them together.
There are, however, no traces of this "innovation" in early printed editions of Horace dating back to the XV - beginning of the XVI century, the text of which was based on the most valued manuscripts.
Let us proceed to the second question. The terminus ante quem was found with ease: the outstanding edition by Denis Lambin (lat. Dionysius Lambinus, c. 1520-1572) - the most prominent edition of Horace of 1567, gives the whole text of Epode 17 without an indication of any discrepancies9. It still remains an examplary edition of an ancient author based both on previous editions and on study of medieval manuscripts 10 . However, if Lambinus had initiated the unification of the two pieces, he would have mentioned his arguments for it.
The Lyon edition of Marc Antoine Muret (lat. Muretus, 15261585) of the year 1564 contains 17 Epodes as well11. Muret was by no means in charge of the idea: his next edition (Venice, 1570)
7 Q. Horatii Flacci Opera... 1864: X.
8 Keller supposes X cent. for all the three (ibid.), while Borzsak dates them differently: n - IX cent.; 9 - "IX ex."; y - X cent. (Q. Horatii Flacci Opera. 1984: XII).
9 The first edition dates back to 1561 (Lyon), but it was the Paris edition of the year 1567 that has become "the classical one" and is, consequently, represented in databases. The catalogue of the National Library of Russia contains an edition dated 1546, but this is a misprint; the actual volume (a Frankfurt reprint of the 3rd edition) bears the year 1596.
10 At least this is how Lambin presents it in his Praefatio; he mentions many (high title) friends in Rome, who provided him with very old and valuable manuscripts. Probably, it was just a way to thank them for their support.
11 The poem has the title "Ad Canidiam. Veniam petit". Before the verse 53 (P. 136) the name of the speaker (Canidia) is given, but there is neither number, nor initial letter (as "I" in "Iam", verse 1).
provided 18 poems again; neither was he an expert on Epodes: the whole book contains only two comments, one of which is as follows: "Cur epodos liber hic vocetur, non equidem satis inelligo, ac vidi veterem librum: in quo hic quintus odarum liber inscribebatur".
The most probable person to have combined the two pieces together is Hermann Ulner (lat. Hermannus Figulus, information after 1532-1566), a German jurist and philologist. He had studied law at the University of Marburg, and later held the post of Professor of Grammar there. His edition of Horace published in 1546 contained lyric only12. The second section of Epode 17 was preceded with the note "CANIDIA RESPONDENS", and later the words "inducitur eodem carmine" were added (P. 719). This fact points out that Ulner either deleted the unnecessary title himself, or at least was familiar with the discussion - if any at that time - and distinctly took the side in it.
13
Though Ulner's edition is not very well known nowadays , it was, according to some scholars' opinion, one of those used by Lambinus14. The uninterrupted text of Epode 17 was accepted by Lambinus without further discussion and, thus, became the only possible version of it in the future.
Bibliography
Egorova, S. K. 2014: Epody Goratsiya i traditsiya sostavleniya stihotvornogo sbornika [The Epodes of Horace and a Roman Poetry Book]. Philologia Classica IX, 208-228. Hallam, H. 1839: Introduction to the Literature of Europe in the 15th, 16th,
and 17th centuries. Vol. 2. London. Keller, O. 1902: Pseudoacronis Scholia in Horatium Vetustiora. Rec.
O. Keller. Vol. I. Lipsiae. Kerkhecker, A. 1999: Callimachus' Book of Iambi. Oxford. Krummacher, H.-H. 2013: Lyra. Studien zur Theorie und Geschichte der Lyrik vom 16. bis 19. Jahrhundert. Berlin, Boston.
Q. Horatii Flacci Opera lyrica, Brevibus doctisque Annotationibus illustrata, per Hermannum Figulum, Hirsfeldianum, in Schola Marpurgiana Grammatices Professorem. Francoforti 1546.
13 Numerous lists of editions of Horace do not mention it. I found it in Krummacher's work, the focus of which is the renaissance reception of ancient lyric (Krummacher 2013: 60).
14 Hallam 1839: 14. Other editions mentioned by Hallam (by Georg Fabricius, Wilhelm Xylander and earlier ones) still contain 18 poems.
Meyer, G. 1874: Pomponii Porphyrionis Commentarii in Q. Horatium
Flaccum. Rec. G. Meyer. Lipsiae. Editions of Horace (in chronological order):
Horati Odae, carmen epodon et saeculare cum exactissima Antonii Mancinelli cum familiari Iodoci Badii Ascensii explanatione. Parisiis, 1503.
Q. Horatii Flacci Opera cum quattuor Commentariis, Acronis, Porphyrionis, Antonii Mancinelli, Iodoci Ascensii, Parisiis, 1543. (available at googlebooks.ru) Q. Horatii Flacci Opera lyrica, Brevibus doctisque Annotationibus illustrata, per Hermannum Figulum, Hirsfeldianum, in Schola Marpurgiana Grammatices Professorem. Francoforti, 1546 (available at googlebooks.ru). Horatius. M. Antonii Mureti, in eundem annotationes. Lugduni, 1564
(available at googlebooks.ru). Horatius. M. Antonii Mureti in eum scholia. Venetiis, 1570 (available at archive.org).
Q. Horatii Flacci Opera. Rec. O. Keller et A. Holder. Vol. I. Lipsiae, 1864
(available at archive.org). Q. Horatii Flacci Opera. Rec. Stephanus Borzsak. Lipsiae, 1984.
S. K. Egorova. How long did Horace's Epode 18 exist?
All modern editions of Horace's Lyric contain 17 iambic pieces of his Book of Epodes, though majority of manuscripts and editions since the Late Antiquity have had 18 poems. The 18-th piece is the section of the 17th epode, namely verses 53-81, with the answer of sorceress Canidia to Horace's pleading (verses 1-52), which had been transmitted as a separate poem. Though three medieval manuscripts (ф, у, n) offer the version with 17 poems, the Epode was finally "re-unified" only in the middle of the XVI cent. The earliest edition containing this correction is the one of 1546 edited by Hermann Ulner (lat. Hermannus Figulus).
Key words: Epodes of Horace, Hermann Ulner, Hermannus Figulus, Horace, Lambinus, the 17th Epode.
