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228 BOOK REVIEWs/COMPTEs RENDUS erotic art (769-808). The note on poetic lama is also interesting (405-32). but Gibson is too quick to write off the possibility that Ovid is referring to a real decline in Augustus' interest in patronizing poetry. He may be closer to the mark when he suggests (on 387ff.) that Augustus might not have been attuned to eulogy in the "playful Hellenistic style." Some readers will be a bit more sceptical than Gibson in finding allusions to earlier literature. We have grown accustomed to the observation that any occurrence of arma at or near the beginning of a book or poem must be a reference to the Aeneid. as Gibson duly notes on I. But when at 77-8 we are told that "Ovid is referring particularly to Tib. 1.4.35f.... one might ask how so. since the context is altogether different and the lexical resemblances are slight. Likewise. it is hard to see how interpretation is assisted at 128 by positing Horace as an intertext. The parallels to the Georgics and didactic in general. adduced by Gibson on 149-52. are apt. but it hardly seems the case that these are specific allusions rather than the common stock of the genre. It would be possible to multiply the examples where Gibson sees intertexts and I see texts. but prevailing tastes at present tend to err on the side of seeing allusion always. coincidence never. On lexical matters Gibson most often defers to other authorities with frequent. salutary reference to McKeown. But this sometimes leads him astray. At 226. for instance. he refers to Palmer on Her. 6.156 for temporal abo a precarious instance of the usage. There are a few too many notes like the following (on 13) for my taste: "Oeclides is very rare in Latin (see Bomer on Met. 8.317)." If the point is relevant. then it is worth saying just why it would be worth the reader's while to scurry after a copy of Bomer. A good commentary tends to elicit marginalia. Herewith a few examples from my own: 1 The elision of dem may be harsh. but Gibson's point about the resulting ambiguity depends upon a scarcely creditable view of its pronunciation, on which see J. Soubiran. L'Elision dans la poesie latine (1966) 55-91. 19-20 Gibson's remark that "Her story [sc. Alces is'] is not otherwise mentioned by the elegists" is a bit odd with Pont. 3.1.105-6 cited in the following note. Cf.. in addition. Trist. 2.403. 5.5.55-56. Prop. 2.6.23-4. 63 The reference is not to the adynaton of reversing the course of rivers. associated with witchcraft. but to the passage of time and Heraclitus' celebrated saying that you would never step twice into the same river (PI. erat. 402a). 95 The sense of non expedit is not "it is not advantageous," but"it doesn't suit me." as examples at TLL S.v. 1614.33ff. show. 111-12 Gibson's translation. "Doubtless-a beautiful wife-you would have approached Ajax," is not only awkward. it is wrong. since it both misconstrues the meaning of ornata and misses the predicative force: "you would corne dressed up." 206 Gibson repeats the old misunderstanding of TVT66v at Call. fro 1.5 as an epi-
BOOK REVIEWS/COMPTES RENDUS 229 thet of ElTOC; d. A. Cameron. Callimachus and His Critics (Princeton 1995) 355-356. 284 Gibson remains perplexed here ("What exactly does the line mean?"). but summos dentes ima labella tegant is advice to hide your bad teeth by extending the tips of your lips to the points of your teeth. 387 umbras is not an imitation of Prop. 4.8.75ff.: it substitutes for the metrically impossible accusative porticus. 401 posuisset does not mean "depicted." but "exhibited"; if Apelles had never displayed his painting anywhere, it would figuratively have stayed beneath the waves. 495 Gibson makes heavy weather of Ovid's advice to erase the lover's message. Not only might the handwriting give them away. but the content might eliminate the element of deniability. On 525-554 it might have been worth mentioning Ovid's own experience in the law as influencing the inclusion of lawyers among the list of potential lovers. 585 Gibson is perhaps too adamant in letting the syntax rule out a double entendre in conueniunt. 687 purpureos is not "purple." but "rosy" (GLDs.v. 3a). Gibson has produced an excellent work of scholarship. at once learned and sympathetic to its subject. The price tag may be a deterrent and the aesthetics of the production are not entirely pleasing (this Cambridge "orange" is blue beneath the covers), but serious. and not so serious, readers of Ovid should keep a copy handy. PETER E. KNox UNIVERSITY OF COLORADO AT BOULDER BOULDER. CO 80309 S. PHILLIPPO. Silent Witness: Racine's Non-Verbal Annotations ofEuripides. Research Monographs in French Studies. No. 14. Oxford: Legenda: European Humanities Research Centre of the University of Oxford. 2003. Pp. 214 + xv. ISBN 1466-8157· Orphaned at a young age. Jean Racine (1639-1699) was sent to the Jansenist school at Port-Royal des Champs. Unlike Shakespeare. to rephrase Ben Jonson, he acquired more than "small Greeke." At the Jansenist Petites Ecoles he was instructed in ancient Greek for at least three years (1655-1658) by Claude Lance1ot. who. as Racine's son was to relate. caught him on two occasions reading Heliodorus' ancient Greek novel. The Ethiopian Story. which he consigned to flames. The future playwright was unperturbed when Lancelot seized a third copy. for he
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