{'fraction_non_alphanumeric': 0.015293537247163296, 'fraction_numerical': 0.0, 'mean_word_length': 5.828282828282828, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Medieval Latin Commentaries on Classical Myth

As the abundance of extant medieval commentaries attests, classical mythology presented several conundrums for medieval audiences. The historical distance between the writers of classical myths and their medieval readers prompted numerous scholars to reframe and even rewrite their sources to ameliorate challenges ranging from complicated classical Latin syntax to theological conflicts between pagan polytheism and Christian monotheism. Despite its polytheism, classical mythology became a source for manifold medieval erudition, beginning with the grammatical studies that introduced students to Latin literacy. Scholars and writers since the beginning of the Christian Middle Ages turned to these myths to gain mastery over Latin, history, natural science, and even ethics. To study these subjects, medieval scholars produced collections of scholastic notes, or commentaries, primarily in Latin. The medieval commentary tradition began in classical antiquity itself. Soon after Virgil wrote his Aeneid, scholars started developing commentaries that prompted audiences both to study and to imitate his works. The Middle Ages inherited some of these commentaries, such as the influential commentaries by Servius on Virgil, which then influenced commentaries on other classical writers of myths, such as Ovid and Statius. The modern study of these diverse medieval materials has recently benefited from the increased availability of digital manuscripts, critical editions, and a few translations, all of which have facilitated more cross-commentary analyses than used to be possible. However, the wide range of interpretive approaches and formats as well as the irregularities of medieval scholastic transmission mean that much more work remains to be done on how medieval audiences accessed classical mythology. This article combines older foundational studies with more recent contributions to represent how modern criticism, like the commentaries it studies, takes many forms.