论文标题
关于Ovid的Heroides和Epitsula Sapphus的一些风格测量值
Some Stylometric Remarks on Ovid's Heroides and the Epistula Sapphus
论文作者
论文摘要
本文旨在为古典拉丁语言学中的两个破旧的辩论领域做出贡献，与Ovid的Heroides有关。第一个是字母的真实性（以及在较小程度上的正确位置）的问题，几乎每个编辑者 - 所谓的Epitsula Sapphus（此后）。次要的问题，尽管现在可能不太热情地争论，但它是“双重英雄”的真实性，那些接受他们作为字母16-21的人所说的。我采用了来自计算样式领域的各种方法来考虑这些挽歌诗的诗学和词典语法特征，这是在“短期”（从20到546行）的更广泛的背景下（从20到546行）的挽歌作品（全部266首诗）组成了更多或不再是非fragement corprus corprus的诗歌（266首诗）。基于各种技术，每种措施都清楚地表明，英雄的诗意是Ovidian的，但具有独特性。可以更广泛地将它们与Ovid准确隔离。单一和双重的英雄人分为两个明确的小组，ES与单个字母保持一致。此外，通过将字母的样式与“早期”（尽管在此标签中存在并发症）和前蓬托的后期作品进行比较，证据支持顺序组成 - 这意味着ES已正确放置 - 进一步支持了日益增长的共识，即双字母在以后的Epeile中很明显地构成了Exile。
This article aims to contribute to two well-worn areas of debate in classical Latin philology, relating to Ovid's Heroides. The first is the question of the authenticity (and, to a lesser extent the correct position) of the letter placed fifteenth by almost every editor -- the so-called Epistula Sapphus (henceforth ES). The secondary question, although perhaps now less fervently debated, is the authenticity of the 'Double Heroides', placed by those who accept them as letters 16-21. I employ a variety of methods drawn from the domain of computational stylometry to consider the poetics and the lexico-grammatical features of these elegiac poems in the broader context of a corpus of 'shorter' (from 20 to 546 lines) elegiac works from five authors (266 poems in all) comprising more or less all of the non-fragmentary classical corpus. Based on a variety of techniques, every measure gives clear indication that the poetic style of the Heroides is Ovidian, but distinctive; they can be accurately isolated from Ovid more broadly. The Single and Double Heroides split into two clear groups, with the ES grouped consistently with the single letters. Furthermore, by comparing the style of the letters with the 'early' (although there are complications in this label) works of the Amores and the late works of the Ex Ponto, the evidence supports sequential composition -- meaning that the ES is correctly placed -- and, further, supports the growing consensus that the double letters were composed significantly later, in exile.
