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The Bogus Teacher and His Relevance for Ovid's Ars

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The Bogus Teacher and His Relevance for Ovid's Ars THE BOGUS TEACHER AND HIS RELEVANCE FOR OVID’S ARS AMATORIA The thesis of the present paper comes in several parts, of which the initial one, since it traverses the least familiar territory, is accorded the most extended treatment. It goes as follows: first, it is possible to identify in Latin literature the stock figure of a bogus teacher or sermoniser who dispenses arguments or instruc- tion that are in some way false, misleading or vitiated; second, that the speaker of Ovid’s Ars Amatoria is patterned to a significant de- gree upon the typology of the bogus teacher with which the first section of the paper is concerned, and must be taken account of in any discussion of the sources that feed into the literary weave of Ovid’s poem, in particular those which contribute to the con- struction of the didactic persona; third, if the argument of part 2 is accepted, it lends support to the view of Durling, E. F.Wright, Myerowitz and others that, in the Ars, Ovid deliberately con- structs his speaker as an incompetent or ineffectual praeceptor who at every turn discloses his ineptitude:1 conversely, it tells against the more recent contention of Eric Downing and Katharina Volk2 that the teacher of the Ars represents both himself and his instruc- tion as a success. 1) R. M. Durling, The Figure of the Poet in Renaissance Epic (Cambridge, Mass. 1965) 26–43, E. F.Wright, Profanum sunt Genus: the Poets of the Ars Ama- toria, PQ 63 (1984) 1–15, M. Myerowitz, Ovid’s Games of Love (Detroit 1985). Cf. also J. M. Fyler, Omnia uincit amor: Incongruity and the Limitations of Structure in Ovid’s Elegiac Poetry, CJ 66 (1971) 196–203 and E. D. Blodgett, The Well Wrought Void: Reflections on the Ars Amatoria, CJ 68 (1973) 322–33. 2) E. Downing, Artificial I’s: The Self as Artwork in Ovid, Kierkegaard and Thomas Mann (Tübingen 1993) 39, K. Volk, The Poetics of Latin Didactic (Oxford 2002) 157–95. While not going nearly so far as Downing and Volk, A.Dalzell, The Criticism of Didactic Poetry (Toronto 1996) 132–64, lays emphasis on the fact that Ovid strives to give the impression of being in control of the art which he profess- es. Most recently, Rebecca Armstrong, Ovid and his Love Poetry (London 2005) 138 also edges towards Volk’s position. 338 Lindsay C. Watson The Bogus Teacher The various instances of the bogus teacher or sermoniser around which the discussion is built are these: the Damasippus, Catius and Davus of Horace, Satires 2,3, 2,4 and 2,7; the teacher of rhetoric Agamemnon and the incompetent poet and moraliser Eu- molpus of Petronius’ Satyricon; the astrologer Horus of Propertius 4,1b; the hypocritical moneylender Alfius of Horace’s second Epode who sings the praises of traditional life on the land; Priapus, the comically erotodidactic speaker of Tibullus 1,4; and the pro- curesses of Propertius 4,5 and Ovid, Amores 1,8, who dispense in- struction on the meretricius quaestus to unidentified puellae. This list could be augmented by additional examples from Roman litera- ture3 and extended into the terrain of Greek literature.4 But it is on the instances just catalogued that the discussion which follows will concentrate. Before essaying a profile of the bogus teacher, some prefato- ry remarks are in order. The emergence of such a stock figure is hardly a surprise, given two factors: first, the interest in the sys- temisation of teaching and the personalities of famous teachers which is attested by Suetonius’ De Grammaticis et Rhetoribus5 as well as several works of Plutarch;6 second, a widespread awareness that the teachers’ methodologies could sometimes leave much to be desired.7 One might add that, in fashioning the figure of the bogus teacher, the authors in question were consciously playing with the influential idea of literature’s protreptic function, canonically ex- 3) The Pythagoras of Ovid, Met. 15,60–478 has sometimes been viewed as an instance (n. 84), but the episode is too long for discussion here. Another case is the interpretation of the Zodiac dish given by Trimalchio in Petronius, Satyri- con 39. 4) A possible example is the account of the evil eye given by Calasiris in Heliodorus’ Aethiopica 3,7–9, which M. Dickie, Heliodorus and Plutarch on the Evil Eye, CPh 86 (1991) 17–29 argues is meant to be treated as a confection of non- sense. 5) Note particularly here the gossip and strictures, mostly moral, against cer- tain teachers recorded by Suetonius, De Grammaticis, chapters 16, 22 and 23, all of which, if true, impacted adversely on their qualifications and credibility as gram- matici. See R. Kaster, Suetonius De Grammaticis et Rhetoribus (Oxford 1995) on Gramm. 23,2. 6) G. Roskam, From Stick to Reasoning. Plutarch on the Communication between Teacher and Pupil, WS 117 (2004) 93–114. 7) Cf. Hor. Sat. 1,6,72 ff., Tac. Dial. 35, Pers. 3,46 non sano ... magistro. The Bogus Teacher and his Relevance for Ovid’s Ars Amatoria 339 pressed by Horace:8 that is to say, while creating a figure who al- leges that what he says is utile, that utile is paradoxically meta- morphosed for the readership into the dulce by the revelation that the lessons being taught are – amusingly – useless or of minimal value. In fact, it is the very pervasiveness of the protreptic ideal in Greco-Roman literature that lays the basis for the emergence of the bogus teacher. For as Peter Toohey has noted,9 numerous passages of ancient literature standing outside the formal tradition of didac- tic poetry have an explicitly or implicitly instructional flavour: this provides the stage for the sham praeceptor. The key features of the sham teacher are, it is proposed, as follows, though not every feature will be present in every instance or attain the same degree of prominence in all cases. Nor are these seven characteristics to be thought of as watertight: on the con- trary, there is a degree of confluence between them which con- tributes to a composite picture of the praeceptor as sham. 1) The advice which the praeceptor gives is generally fatuous, incompetent or inept. 2) This last consideration deflects the reader’s attention away from the precepts and onto the personality and self-presentation of the praeceptor. 3) The sham teacher in Latin contexts has significant affili- ations with the élaz≈n of Greek Old Comedy, defined as follows by MacDowell: “the élaz≈n is a man who . professes expertise which, he claims, makes him superior to other men; he exploits it, normally in speech . but what he says is actually false or use- less.”10 4) The authority of his teachings is typically vitiated by the moral or physical standing of the praeceptor. 5) The bogus teacher is characterised by a certain porten- tousness of diction. 6) The teachings dispensed are often – though not invari- ably – at second or third hand, thereby undermining their author- ity and validity. 8) Hor. Ars 333–44, especially 333–4 aut prodesse uolunt aut delectare poetae, / aut simul et iucunda et idonea dicere uitae. Cf. also Volk (n.2) 36. 9) P.Toohey, Epic Lessons. An Introduction to Ancient Didactic Poetry (London /New York 1996) 232–7. 10) D. MacDowell, The Meaning of élaz≈n, in: E. M. Craik (ed.), ‘Owls to Athens’ (Oxford 1990) 287–92 at 289. 340 Lindsay C. Watson 7) The ineptitude of other practitioners against which protests are directed in the didactic tradition is, by an ironic reversal, em- bodied in the figure of the bogus teacher. ad 1) Self-evidently, the determining feature of the bogus teacher is a manifest incompetence or ineptitude which deprives of authority his or her protreptics. Consequently, of the various characteristics just listed, this dimension of the praeceptor calls for the most extended no- tice, both immediately below and in the second part of the paper. A case in point is the teacher of rhetoric Agamemnon in Petronius’ Satyricon. As the surviving part of the novel opens, Agamemnon responds to a hackneyed attack on the evils of the contemporary educational process by advocating an equally clichéd, fatuous and hyper-traditional cursus: these sentiments are expressed in iambic, then hexametric, verses of staggering banality (Sat. 5). And not only is Agamemnon painted in broad terms as an educational laudator temporis acti, but, as H. L. W.Nelson has demonstrated, the worth of what Agamemnon says is further undermined by two considerations:11 Agamemnon, himself a teacher of the proletariat, advocates an extreme aristocratic educational ideal (“ein extremes aristokratisches Bildungsideal”) hav- ing only limited relevance to his own pupils; and he gives primacy in his cursus to the reading of Greek literature, although the vogue for this had probably passed its zenith at the time when Petronius was writing. All in all, Agamemnon comes off as an inept, to whose guidance no ju- dicious parent would entrust his offspring. Moving back a century or so, let us next consider the ser- monising Damasippus of Horace, Satires 2,3, a failed financier now converted by Stertinius to a proselytising Stoicism. Damasippus likewise forfeits his protreptic credibility in a variety of ways. In the first place, he opens the poem by accusing Horace of compos- itional indolence:12 a charge which the poet invalidates by his re- sponse, which is to write by far the longest of the Satires. Further, the message which Damasippus preaches, that all but the sage are mad, is patently hyperbolic nonsense of the doctrinaire Stoic type already condemned on that score by Horace in Satires 1.13 Worse, 11) H.
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