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ARS AMATORIA EXCESS AND RESTRAINT PROPERTIUS, HORACE, AND OVID'S "ARS AMATORIA" Author(s): ROY K. GIBSON Source: Bulletin of the Institute of Classical Studies. Supplement, No. 89, EXCESS AND RESTRAINT PROPERTIUS, HORACE, AND OVID'S "ARS AMATORIA" (2007), pp. iii, vii-ix, 1- 7, 9-69, 71-147, 149-161, 163-165, 167-169 Published by: Wiley Stable URL: https://www.jstor.org/stable/43767800 Accessed: 05-06-2019 08:32 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Wiley is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Institute of Classical Studies. Supplement This content downloaded from 88.111.227.165 on Wed, 05 Jun 2019 08:32:18 UTC All use subject to https://about.jstor.org/terms EXCESS AND RESTRAINT PROPERTIUS, HORACE, AND OVID'S ARS AMATORIA ROY K. GIBSON INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON 2007 This content downloaded from 88.111.227.165 on Wed, 05 Jun 2019 08:32:18 UTC All use subject to https://about.jstor.org/terms TABLE OF CONTENTS Acknowledgements ix Introduction l Chapter 1. The Middle and the Extremes: Horace, Satires 1 .2, Propertius 2.23, and Ars Amatoria 3.577-610 9 i. Moderation and Excess 10 ii. Horace and the Middle Way 16 iii. Horace, Satires 1.2 and the Sexual 'Middle Way' 19 iv. Satires 1.2 and Propertius 2.23: the Extreme 24 Erotics and Poetics of the immundus soccus v. Ars Amatoria 3.577-610 and the 'Middle Way' 34 between Horace and Propertius Chapter 2. Propertian Extremes: from Conservative to Libertine 43 i. Propertius the Libertine: Extremes of Emotion, Extremes of Behaviour 44 ii. Propertius the Conservative? 46 iii. Libertine and Conservative: the Extremes of Propertius and 'Self-consistency' 49 iv. Propertius and Mark Antony: the Un-self-controlled and the Self-indulgent 53 v. Propertius, Antony, and the Literary Libertine: Archestratus of Gela 63 vi. The Conflicted Lover: Propertius 2.15 and 2.16, and Medea's Dilemma 66 Chapter 3. Ovid's Ars Amatoria and the New Middle Way 71 i. Choose One (of Two) Only: Amores 3.1 72 ii. Ars Amatoria 3.299-306 (1): the New Intermediate and Propertius 77 iii. Ars Amatoria 3.299-306 (2): the de Ojficiis , Decorum, and Poetics 80 iv. Ars Amatoria 3.299-306 (3): the 'Ethical' Intermediate (and Propertius again) 86 v. Simplex munditiisl Pyrrha and the puellae of Ars Amatoria 3 92 vii This content downloaded from 88.111.227.165 on Wed, 05 Jun 2019 08:32:18 UTC All use subject to https://about.jstor.org/terms EXCESS AND RESTRAINT viii vi. Munditia and mediocritas in the Ars Amatoria 99 vii. Moderation and the Mean in Ars Amatoria 1 and 2 104 viii. The Middle Way of the Ars Amatoria : Ovid, Archestratus of Gela (again), and Didactic Poetry 109 ix. The Middle Way of Ars Amatoria 3: Binary polarities and the lex Iulia de adulteriis 112 4. 'Decorum' in the Ars Amatoria and Remedia Amoris 1 15 i. Decorum and mediocritas 1 16 ii. Decorum in the Ars Amatoria , Love-elegy, and the de Officiis 1 17 iii. The de Officiis and the vulnerability of decorum 122 iv. The Ars Amatoria and the usefulness of decorum 126 v. Decorum in Horace, Epistles 1 and the Ars Amatoria 129 vi. Ethics and aesthetics: Horace's Ars Poetica and the Remedia Amoris 133 vii. Aesthetic and ethical decorum in the Ars Amatoria (and Propertius) 142 Epilogue 149 Bibliography 151 Indexes 163 i . Index of Passages 1 63 ii. Index of Subjects 167 iii. Index of Latin and Greek 169 This content downloaded from 88.111.227.165 on Wed, 05 Jun 2019 08:32:18 UTC All use subject to https://about.jstor.org/terms ACKNOWLEDGEMENTS This book was completed thanks to a year's sabbatical leave jointly funded by the Arts and Humanities Research Council UK, and the University of Manchester. To both I express my gratitude. The final form of the book owes much to two Manchester col- leagues, Andrew Morrison and Alison Sharrock, who read the entire manuscript, offered suggestions and encouragement, and discussed numerous problems with me. Another Manchester colleague, Ruth Morello, added important substance to the argument of Chapter 3. The manuscript was also read by Jim McKeown, who saved me from numerous errors and kindly sent me his (invaluable) forthcoming commentary on Amores 3.1. To all these I offer my thanks. Versions of Chapter 2 were read to audiences in Manchester, London, and Yale; of Chapter 3 to audiences in Columbia, Yale and Bryn Mawr; and of Chapter 4 to an audience in Cambridge. I am grateful to those present on each occasion for stimulating suggestions. For handling production and related matters with efficiency and skill, sincere thanks are owed to Richard Simpson and Mike Edwards at the Institute of Classical Studies in London. Thanks are also owed to the School of Arts, Histories and Cultures in the University of Manchester for financial assistance with reproduction rights for the cover illustration. The person to whom I owe the greatest thanks is Cathy Delaney, my wife. This book is for her. Key parts of it were drafted in a house just above the beach at Ballinesker, Co. Wexford, where we lived for two happy months not long after the birth of our first son. Use has been made of the following translations of Greek texts (and is gratefully acknowledged): S. D. Olson and A. Sens, Archestratus of Gela (OUP 2000), C. Rowe, Aristotle, Nicomachean Ethics (OUP 2002), R. Waterfield, Plutarch, Antony (OUP 1999), and W. Hamilton, Plato, Górgias (Penguin 1971). Translations of other Greek texts are largely adapted or taken from the relevant volume of the Loeb Classical Library. The following Loeb translators are gratefully acknowledged: A. R. Benner (Alciphron), D. E. Gerber (Mimnermus, Phocylides, Solon, Theognis), H. G. Evelyn-White (Hesiod), C. Forster-Smith (Thucydides), J. H. Freese (Aristotle, Rhetoric ), S. Halliwell (Aristotle, Poetics ), A. D. Knox (Cercidas), D. Kovacs (Euripides), A. W. Mair (Callimachus, epigrams), E. C. Marchant (Xenophon), W. R. Patón (Palladas), B. Perrin (Plutarch, Alcibíades ), W. H. Race (Pindar), C. A. Trypanis (Callimachus, Aetia , Iambi), L. Van Hook (Isocrates). Manchester, June 2006 ix This content downloaded from 88.111.227.165 on Wed, 05 Jun 2019 08:32:18 UTC All use subject to https://about.jstor.org/terms INTRODUCTION Early twentieth-century Anglophone critics found themselves shocked and scandalised by the material and moral excesses of the Ars Amatoria . In his widely read Literary History of Rome, first published in 1909 and reaching a 3rd edition in 1953, J. Wight Duff pro- claimed the poem 'poison', 'pornography', and a 4 uade-mecum in wantonness' whose atmosphere was that of 'a reckless pursuit of the voluptuous in a society amid which the demi-monde reached a pitch of polished luxury unsurpassed in history'.1 The 11th edition of the Encyclopaedia Britannica, published not long after, memorably condemned the immorality of the Ars , and added that it reflected both the degeneracy of its author ('he is as devoid of dignity in his abandonment to pleasure as in the weakness with which he meets calamity') and the excesses of his society ('too idle and luxurious for serious intellectual effort').2 Such judgements also found echoes in later and more scholarly works. S. G. Owen, in his 1924 edition of Tristia 2, notoriously labelled the Ars a 'shame- less compendium of profligacy ... a systematic treatise on voluptuous pleasure'. But, so Owen was able to reassure the user of his commentary, society was to blame: 'in th[is] period of luxurious ease ... the gallantries recommended by the poet were familiar facts of everyday occurrence' . 3 In mid-century, L. P. Wilkinson lent aid to a process of rehabilitation in his classic Ovid Recalled . The Ars , it now appeared, was 'not ... a pornographic work', although a reputation for other excesses remained ('the outrageous nequitia , the blasphemy against conventional sanctities').4 In 1973, with Ovid's critical rehabilitation gathering pace, A. S. Hollis singled out the fulminations of Wight Duff and Owen, among others, as responsible not only for the naughty reputation of the Ars (and its consequent absence from school and university syllabuses), but also for the distortion of the understanding of the poem by its readers.5 This was perhaps to underestimate the desire of earlier readers to have their understanding 'distorted', to discover in the Ars the luxury, excess, and immorality promised by critics. A popular translation of the poem published in 1959 and often reprinted, carried the following advertisement on its back cover:6 Ovid's Art of Love has been called, in the words of the ENCYCLOPAEDIA BRITANNICA, 'perhaps the most immoral book ever written by a man of genius'. 1 Wight Duff (1909) 596-97 = (1953) 434-35. The volume was still being reprinted well into the 1960s. 2 Encyclopaedia Britannica , 1 1th edition (Cambridge, 1911), vol. 20, 387-88. - Owen (1924) 6, 38. In her study of 'banned books', Haight (1970) 4 notes that in the US in 1928, The Customs still banned Ars Amatoria , although inexpensive editions were still sold freely within the barrier', and that in 1929 'the Ars Amatoria [was] banned' in San Francisco.
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