Brugnoli, G. (1964). "Problematica Suetoniana". Cultura e scuola. 3 (9): 63–67. [Reprinted: Brugnoli, G. (1968). Studi Suetoniani. Lecce. pp. 11–37, 207–208.{{
cite book}}: CS1 maint: location missing publisher (
link)
Fo, Alessandro, ed. (2018). "XLII". Gaio Valerio Catullo: Le poesie (in Italian). Torino: Giulio Einaudi. pp. lxxxii–lxxziii, 84–85, 599–604.
ISBN978-88-06-22359-5.
Tennyson, A.A. Markley, 539-557 (Oxford History of Classical Reception in English Literature IV).
Bibliographies of Catullus
Granarolo, J. (1973–1974). "Catulle 1948–1973". Lustrum. 17: 27–70.
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Agnesini, Alex (2004). "Gannire". Plauto in Catullo. Edizioni e saggi universitari di filologia classica. Vol. 63. Bologna: Pàtron. pp. 90–91.
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Baehrens, Aemilius (1876). "XLII". Catulli Veronensis Liber (in Latin). Vol. 1. Lipsia: B. G. Teubner. pp. 35–36. [Reprinted: Cambridge: Cambridge University Press. 2010.
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10.1017/CBO9780511784026.002.
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Baehrens, Aemilius (1885). "XLII". Catulli Veronensis Liber (in Latin). Vol. 2. Lipsia: B. G. Teubner. pp. 230–234. [Reprinted: Cambridge: Cambridge University Press. 2010.
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Barchiesi, Alessandro (2009). "Final Difficulties in an Iambic Poet's Career: Epode 17". In Lowrie, Michèle (ed.). Horace: Odes and Epodes. Oxford Readings in Classical Studies. Oxford: Oxford University Press. pp. 233–246.
ISBN978-0-19-920769-5. [Translation of: "Ultime difficoltà nella carriera di un poeta giambico: l'Epodo XVII". Atti dei Convegni di Venosa, Napoli, Roma: Novembre 1993 (in Italian). Venosa. 1994. pp. 205–220.{{
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Bardon, Henricus, ed. (1973). "42". Catulli Veronensis Carmina (in Latin) (2nd ed.). Stutgardia: B. G. Teubner. pp. 41–42.
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Eisenhut, Werner, ed. (1983). "42". Catulli Veronensis Liber. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana (in Latin). Leipzig: B. G. Teubner. pp. 28–29.
Elder, J. P. (1980). "Catullus: A Critical Edition. D. F. S. Thomson". Book Reviews. Classical Philology. 75 (4): 369–371.
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Evrard-Gillis, Janine (1976). La récurrence lexicale dans l'oeuvre de Catulle: Étude stylistique. Bibliothèque de la Faculté de Philosophie et Lettres de l'Université de Liège. Vol. 217. Paris: Les Belles Lettres.
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Fedeli, Paolo (1985a). "Catulli Veronensis liber. Ed. W. Eisenhut". Gnomon (in Italian). 57 (5): 415–419.
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Fedeli, Paolo, ed. (1985b). "3,23". Properzio: Il Libro Terzo delle Elegie (in Italian). Bari: Adriatica. pp. 657–670.
Ficari, Quirinus (1932). "De Catulli Carmine XLII". Il Mondo Classico (in Latin). 2 (3–4): 331–332.
Fletcher, G. B. A. (1967). "Catulliana". Latomus. 26 (1): 104–106.
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Ford, Philip (2013). "Epitaphs and tombeaux". The Judgment of Palaemon: The Contest between Neo-Latin and Vernacular Poetry in Renaissance France. Medieval and Renaissance Authors and Texts. Vol. 9. Leiden: Brill. pp. 127–158.
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Fraenkel, Eduard (1961). "Two Poems of Catullus". Journal of Roman Studies. 51 (1–2): 46–53.
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JSTOR298835. [Reprinted in part: Gaisser, Julia Haig, ed. (2007). "Catullus XLII". Catullus. Oxford Readings in Classical Studies. Oxford University Press. pp. 354–368.
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Fröhner, W. (1892). "Kritische Studien". Rheinisches Museum für Philologie (in German). 47: 291–311.
JSTOR41248314.notes taken, don't know how to use
Gaisser, Julia Haig (1993). "Imitatio: Catullan Poetry from Martial to Johannes Secundus". Catullus and his Renaissance Readers. Oxford: Clarendon Press. pp. 193–254.
ISBN0-19-814882-8.ENDNOTES
Gaisser, Julia Haig (2009). Catullus. Blackwell Introductions to the Classical World. Malden, MA: Wiley-Blackwell.
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Garrison, Daniel H., ed. (2004). The Student's Catullus. Oklahoma Series in Classica Culture. Vol. 5 (3rd ed.). Norman: University of Oklahoma Press. pp. 30, 116–117.
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Goldberg, Sander M. (2000). "Catullus 42 and the Comic Legacy". In Stärk, Ekkehard; Vogt-Spira, Gregor (eds.). Dramatische Wäldchen: Festschrift für Eckhard Lefèvre zum 65. Geburtstag. Spudasmata. Vol. 80. Hildesheim: Olms. pp. 476–489.
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Goldberg, Sander M. (2005). "Comedy at Work". Constructing Literature in the Roman Republic: Poetry and Its Reception. Cambridge: Cambridge University Press. pp. 87–114.
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Graf, Fritz (2005). "Satire in a Ritual Context". In Freudenburg, Kirk (ed.). The Cambridge Companion to Roman Satire. Cambridge: Cambridge University Press.
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Green, Peter, ed. (2005). The Poems of Catullus. Berkeley: University of California Press.
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Hallett, Judith P. (1993). "Plautine Ingredients in the Performance of the Pseudolus". The Classical World. 87 (1): 21–26.
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Hankins, James (1990). "The Latin Poetry of Leonardo Bruni". Humanistica Lovaniensia. 39: 1–39.
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Harrison, Stephen (2000). "The Need for a New Text of Catullus". In Reitz, Christiane (ed.). Vom Text zum Buch. Subsidia Classica. Vol. 3. St. Katharinen: Scripta Mercaturae. pp. 63–79.
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Harrison, S. J.; Heyworth, S. J. (1999). "Notes on the Text and Interpretation of Catullus". Proceedings of the Cambridge Philological Society. 44: 85–109.
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Heyworth, Stephen J. (2001). "Catullian Iambics, Catullian Iambi". In Cavarzere, Alberto; Aloni, Antonio; Barchiesi, Alessandro (eds.). Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire. Greek Studies: Interdisciplinary Approaches. Lanham, MD: Rowman & Littlefield. pp. 117–140.
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Ingleheart, Jennifer (2014). "Play on the Proper Names of Individuals in the Catullan Corpus: Wordplay, the Iambic Tradition, and the Late Republican Culture of Public Abuse". The Journal of Roman Studies. 104: 51–72.
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Kiss, Dániel (2020). "Catullus Online: A Digital Critical Edition of the Poems of Catullus with a Repertory of Conjectures". In Chronopoulos, Stylianos; Maier, Felix K.; Novokhatko, Anna (eds.). Digitale Altertumswissenschaften: Thesen und Debatten zu Methoden und Anwendungen. Digital Classics Books. Vol. 4. Heidelberg: Propylaeum. pp. 99–114.
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Lee, M. Owen (1962). "Illustrative Elisions in Catullus". Transactions and Proceedings of the American Philological Association. 93: 144–153.
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Loomis, Julia W. (1972). "Phalaecean Hendecasyllable". Studies in Catullan Verse: An Analysis of Word Types and Patterns in the Polymetra. Mnemosyne, Supplements. Vol. 24. Lugdunum Batavorum: E. J. Brill. pp. 34–62.
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Markley, A. A. (1998). "Barbarous Hexameters and Dainty Meters: Tennyson's Uses of Classical Versification". Studies in Philology. 95 (4): 456–486.
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Markley, A. A. (2004). "Classical Prosody and the 'Ocean Roll of Rhythm'". Stateliest Measures: Tennyson and the Literature of Greece and Rome. Toronto: University of Toronto Press. pp. 87–120.
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Marsh, David (2010). "Obscenity and Poetic Invective in the Early Italian Renaissance". In Schnur, Rhoda; et al. (eds.). Acta Conventus Neo-Latini Budapestinensis: Proceedings of the Thirteenth International Congress of Neo-Latin Studies, Budapest, 6–12 August 2006. Tempe: Arizona Center for Medieval and Renaissance Studies. pp. 447–460.
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Miller, Paul Allen (2019). "Going Soft on Canidia: The Epodes, an Unappreciated Classic". Horace. Understanding Classics. London: I.B. Tauris. pp. 51–80.
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Morrison, Mary (1956). "Ronsard and Catullus: The Influence of the Teaching of Marc-Antoine de Muret". Bibliothèque d'Humanisme et Renaissance. 18 (2): 240–274.
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Morrison, Mary (1963). "Catullus and the Poetry of the Renaissance in France". Bibliothèque d'Humanisme et Renaissance. 25 (1): 25–56.
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"42". Criticisms and Elucidations of Catullus (2nd ed.). George Bell and Sons. pp. 118–120.
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"In Quandam". Catullus. Et in eum commentarius. Venetiae: Paulus Manutius. pp. 50–51.
Nappa, Christopher (2001). "The Substance of Song: Catullan Conceptions of Poetry (poems 1, 22, 42)". Aspects of Catullus' Social Fiction. Studien zur klassischen Philologie. Vol. 125. Frankfurt am Main: Peter Lang. pp. 133–150.
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Neudling, Chester Louis (1955). A Prosopography to Catullus. Iowa Studies in Classical Philology. Vol. XII. Oxford.{{
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Oliensis, Ellen (1991). "Canidia, Canicula, and the Decorum of Horace's Epodes". Arethusa. 24 (1): 107–138.
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Oliensis, Ellen (1998). "Making Faces at the Mirror: The Epodes and the Civil War". Horace and the Rhetoric of Authority. Cambridge: Cambridge University Press. pp. 64–101.
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Pelling, Christopher (2002). "Duplices Tabellae: A Reading – and Rereading – of Propertius 3, 23". Studi italiani di filología classica. 20 (1–2): 171–181.
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"Il carme 42 di Catullo"(PDF). Atene e Roma. Nuova Serie (in Italian). 12 (1): 45–58.
Polt, Christopher B. (2021). Catullus and Roman Comedy: Theatricality and Personal Drama in the Late Republic. Cambridge: Cambridge University Press.
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Quinn, Kenneth (1973a). Catullus: An Interpretation. New York: Barnes & Noble.
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Quinn, Kenneth, ed. (1973b). "42". Catullus: The Poems (2nd ed.). London: Macmillan. pp. 24–25, 215–218.
Ribbeck, Otto (1962) [1873]. "L. Afranivs: Epistvla". Scaenicae Romanorvm Poesis Fragmenta (in Latin). Vol. II, Comicorvm Fragmenta (2nd ed.). Hildesheim: Georg Olms. pp. 178–181.
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"42". Die Gedichte des Catullus (in German). Leipzig: B. G. Teubner. pp. 80–83.
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Selden, Daniel L. (1992). "Ceveat lector: Catullus and the Rhetoric of Performance". In Hexter, Ralph; Selden, Daniel (eds.). Innovations of Antiquity. New York: Routledge. pp. 461–512.
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Skinner, Marilyn B. (2003). Catullus in Verona: A Reading of the Elegiac Libellus, Poems 65–116. Columbus: The Ohio State University Press.
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Statius, Achilles, ed. (1566).
"In qvandam". Catvllvs cvm commentario (in Latin). Venetiis: Manutius. pp. 119–123.
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Williams, Gordon Willis (1968). Tradition and Originality in Roman Poetry. Oxford: Clarendon.
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Notes on books I don't have :(
Fedeli, P. (1987–1988). "Properzio, Catullo e le tavolette smarrite". Oriente e Occidente. 10–11: 1–17.
Williams 1968
Google books 492 "interest in the Individual"
Another reminiscence of Catullus in this section of Books i–iii is in iii.23, which uses the motif of Catullus 42 for its own purpose. Propertius laments the loss of his writings-tablets (doctae...tabellae); here doctae has a strong overtone of the early meaning of 'clever', for the poet recalls how successful the tablets were in persuading girls (5–10). Then he wonders what message the tablets contained: perhaps it was 'No', accompanied by reproaches (11–14); but perhaps it was 'Yes' (15–18). At this point the reader must realize that the tablets were lost after being sent to a girl whose reply Propertius was awaiting . The tone changes , the poet imagines them being used by a miser for his accounts ; he offers gold for their return , and orders his slaves to post up a public notice of their loss. The changes from Catullus 42 are characteristic: first, there is no suggestion of delinquency on the girl's part (which confines the drama within the poet's own mind); secondly—and proceedings from this—the poet experiences several changes of feeling and a galvanic urge to action as the thought occurs to him that the girl may have been sending the message ' Yes ' . It is a poem which—like Catullus 42—makes very good use of the dramatic technique in Chapter IV, whereby the understanding of the situation is largely left to the reader's imagination. There is also something symbolic in a poem recording the loss of these writing - tablets so close to the poems which record the end of the affair . If there is a connection with Catullus 42 , the interesting idea may be suggested that Propertius felt inclined to identify the moecha putida of that poem as Lesbia -- an identification to which the word moecha may have lent colour, since Catullus cannot have wished to use that word to a mere meretrix. If this suggested relationship to Catullus is correct it means that not only did Propertius imitate the cycle of poems with the unifying theme of Lesbia by constructing a very much larger scale of love - poetry , covering three whole books, but he also imitated certain points of arrangement in a different way in his own collection. All this depends on recognizing that however Propertius
Brugnoli, G. (1964). "Problematica Suetoniana". Cultura e scuola. 3 (9): 63–67. [Reprinted: Brugnoli, G. (1968). Studi Suetoniani. Lecce. pp. 11–37, 207–208.{{
cite book}}: CS1 maint: location missing publisher (
link)
Fo, Alessandro, ed. (2018). "XLII". Gaio Valerio Catullo: Le poesie (in Italian). Torino: Giulio Einaudi. pp. lxxxii–lxxziii, 84–85, 599–604.
ISBN978-88-06-22359-5.
Tennyson, A.A. Markley, 539-557 (Oxford History of Classical Reception in English Literature IV).
Bibliographies of Catullus
Granarolo, J. (1973–1974). "Catulle 1948–1973". Lustrum. 17: 27–70.
Granarolo, J. (1986–1987). "Catulle 1960–1985". Lustrum. 28–29: 65–106.
Thomson, D. F. S. (1971). "Recent Scholarship on Catullus (1960-69)". The Classical World. 65 (4): 116–126.
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Leon, Harry J. (1960). "A Quarter Century of Catullan Scholarship (1934–1959)". The Classical World. 53 (4): 104–113.
doi:
10.2307/4344282.
Leon, Harry J. (1960). "A Quarter Century of Catullan Scholarship (1934–1959), II". The Classical World. 53 (5): 141–148.
doi:
10.2307/4344302.
Leon, Harry J. (1960). "A Quarter Century of Catullan Scholarship (1934–1959), III". The Classical World. 53 (6): 173–180.
doi:
10.2307/4344322.
Leon, Harry J. (1960). "A Quarter Century of Catullan Scholarship (1934–1959): Supplement". The Classical World. 53 (9): 281–282.
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Notes on books I don't have :(
Fedeli, P. (1987–1988). "Properzio, Catullo e le tavolette smarrite". Oriente e Occidente. 10–11: 1–17.
Williams 1968
Google books 492 "interest in the Individual"
Another reminiscence of Catullus in this section of Books i–iii is in iii.23, which uses the motif of Catullus 42 for its own purpose. Propertius laments the loss of his writings-tablets (doctae...tabellae); here doctae has a strong overtone of the early meaning of 'clever', for the poet recalls how successful the tablets were in persuading girls (5–10). Then he wonders what message the tablets contained: perhaps it was 'No', accompanied by reproaches (11–14); but perhaps it was 'Yes' (15–18). At this point the reader must realize that the tablets were lost after being sent to a girl whose reply Propertius was awaiting . The tone changes , the poet imagines them being used by a miser for his accounts ; he offers gold for their return , and orders his slaves to post up a public notice of their loss. The changes from Catullus 42 are characteristic: first, there is no suggestion of delinquency on the girl's part (which confines the drama within the poet's own mind); secondly—and proceedings from this—the poet experiences several changes of feeling and a galvanic urge to action as the thought occurs to him that the girl may have been sending the message ' Yes ' . It is a poem which—like Catullus 42—makes very good use of the dramatic technique in Chapter IV, whereby the understanding of the situation is largely left to the reader's imagination. There is also something symbolic in a poem recording the loss of these writing - tablets so close to the poems which record the end of the affair . If there is a connection with Catullus 42 , the interesting idea may be suggested that Propertius felt inclined to identify the moecha putida of that poem as Lesbia -- an identification to which the word moecha may have lent colour, since Catullus cannot have wished to use that word to a mere meretrix. If this suggested relationship to Catullus is correct it means that not only did Propertius imitate the cycle of poems with the unifying theme of Lesbia by constructing a very much larger scale of love - poetry , covering three whole books, but he also imitated certain points of arrangement in a different way in his own collection. All this depends on recognizing that however Propertius