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Ovid's Heroides and the Ethopoeia BJÖRK, MARTINA

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Ovid's Heroides and the Ethopoeia BJÖRK, MARTINA Ovid's Heroides and the Ethopoeia BJÖRK, MARTINA 2016 Link to publication Citation for published version (APA): BJÖRK, MARTINA. (2016). Ovid's Heroides and the Ethopoeia. Lund University (Media-Tryck). 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LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 MARTINA BJÖRK Printed by Media- Tr yck, Lund University 2016 Nor Ovid’s Heroides dic Ecolabel 3041 0903 and the Ethopoeia Were Ovid’s Heroides inspired by the contemporary practice in oratory at schools? The similarity of the poems to the rhetorical exercise ethopoeia has made scholars believe so for many centuries. However, there are very few studies into the matter, and the comparison has been controversial. In this thesis, the author explores the concept of ethopoeia, arguing that it needs to be reassessed and that the term can be successfully applied to Ovid’s famous poems. This discovery provides new perspectives on ancient literary composition and the influence of rhetorical Ovid’s Heroides and the Ethopoeia training on the Heroides. MARTINA BJÖRK FACULTIES OF HUMANITIES AND ThEOLOGY | LUND UNIVERSITY 2016 Faculties of Humanities and Theology Centre for Language and Literature 473004 ISBN 978-91-88473-00-4 Studia Graeca et Latina Lundensia 22 ISSN 1100-7931 789188 22 9 Ovid’s Heroides and the Ethopoeia 1 2 Studia Graeca et Latina Lundensia 22 Ovid’s Heroides and the Ethopoeia Martina Björk 3 Cover: Hypsipyle, from Ovid, Héroïdes, translation into French by Octavien de Saint-Gelais, 1496-1498. Copyright: Bibliothèque Nationale de France. Faculties of Humanities and Theology | Centre for Language and Literature | Lund University Studia Graeca et Latina Lundensia. Books from the series can be ordered via Lund University: www.ht.lu.se/en/serie/sgll, e-mail: [email protected] ISBN: 978-91-88473-00-4 (print) ISBN: 978-91-88473-01-1 (online) ISSN: 1100-7931 Printed in Sweden by Media-Tryck, Lund University Lund 2016 4 Marco et Lydiae Lauraeque 5 6 Acknowledgements First and foremost, I would like to express my cordial gratitude to my primary supervisor, Prof. Arne Jönsson, who with tireless energy has followed and encouraged me along the way, right from the outset of my Latin studies. Without him, this project would not have been realized. My deepest thanks also go to my secondary supervisor, Prof. Anders Sigrell, who has given me new perspectives in crucial matters and always been very helpful. In addition, I am indebted to Associate Prof. Anders Eriksson, who has functioned as an informal supervisor, providing me with suggestions for my project. I owe many thanks as well to the opponent of my final seminar, Prof. Mathilde Skoie, Oslo University, who guided me in bringing this ship into port. I am grateful to the members of the Latin Seminar of Lund University for their patience in reading my drafts and for giving constructive criticism. Special thanks to Senior Lecturer Cajsa Sjöberg for loyal friendship and support over the years, and Dr. Aron Sjöblad for many stimulating conversations. Thanks to a scholarship from the Hjalmar Gullberg’s and Greta Thott’s Fund, I was able to spend a month at the University of Wales. Here, Associate Prof. Magdalena Öhrman gave me the opportunity to join her classes, and I am thankful to her for the important Ovidian insights she gave me. Another three months were spent at the Swedish Institute in Rome, for which I thank The Royal Swedish Academy of Letters, History and Antiquities, for granting me a scholarship from The Gihl’s foundation. Important contributors have also been Christopher Jarnvall who awarded me the Christopher Jarnvall and Res Tuta Premium for a preliminary study of the present work, and Associate Prof. David Bell (rtd) who has carried out a careful proofreading of my thesis. All remaining errors that may occur are my own responsibility. Last but not least, I would like to express my thanks and my love to the cornerstone of my life, my husband Marcus, cum quo sum pariter facta parente parens (Heroides 12.198): et tua, quod superest temporis, esse precor! (Heroides 5.158). 7 8 Content Acknowledgements 7 Content 9 1 Introduction 13 1.1 Aim of study 13 1.2 Some remarks 15 1.3 Authenticity and transmission of the text 16 1.4 The Heroides and Ovid’s other works 19 1.5 Scholarship on the Heroides – some preoccupations and trends 30 1.6 A neglected approach 35 1.7 Poems with blemishes? 41 1.8 Repetitions 46 2 Rhetoric, education and poetry 59 2.1 Rhetoric, oratory and eloquence 59 2.2 Homer as the fount of rhetoric 60 2.3 Poetry and oratory 62 2.4 Ovid and rhetorical education 66 2.5 Imitatio 75 2.6 The progymnasmata 80 2.7 The Heroides as suasoriae? 85 2.8 The ethopoeia 88 2.8.1 The ethopoeia according to the rhetoricians 89 2.8.2 The ethopoeia according to the progymnasmata handbooks 95 2.8.3 Model ethopoeiae 101 2.8.4 Female speech? 111 2.9 Summary 113 9 3 Ethopoeia in ancient literature 117 3.1 The literary ethopoeia as an autonomous text 119 3.1.1 The letters of Aelian and Alciphron 119 3.1.2 Anthologia Palatina 123 3.2 The literary ethopoeia as an incorporated text 126 3.2.1 Lucian, Vera Historia 2.35 126 3.2.2 Ethopoeia in classical Greek tragedy 127 3.3 Summary 161 4 Ethopoeiae in the Metamorphoses 163 4.1 Progymnasmatic speeches 164 4.2 Inachus, Metamorphoses 1.653-663 170 4.3 Narcissus, Metamorphoses 3.442-473 171 4.4 Philomela, Metamorphoses 6.533-548 175 4.5 Hercules, Metamorphoses 9.176-204 176 4.6 Apollo, Metamorphoses 10.196-208 179 4.7 Hecuba, Metamorphoses 13.494-532 181 4.8 Summary 186 5 Ethopoeiae in the Heroides 189 5.1 The Heroides as ethopoeiae 189 5.2 Tria tempora in the Heroides 199 5.2.1 Tria tempora with deviations: the example of Hypsipyle 200 5.2.2 Tria tempora in a strict sense: the example of Canace 201 5.2.3 Two ethopoeiae in one poem? 208 5.3 The present 210 5.3.1 The present is miserable 210 5.3.2 Now and then 215 5.3.3 Watch me now 219 5.4 The past 223 5.4.1 The golden days of the past 226 5.4.2 A course of events 228 5.4.3 Previous deeds 233 5.5 The future 237 5.6 Summary 243 10 6 Reading the Heroides as ethopoeiae 247 6.1 Heroines of a lower status than their men: Briseis, Oenone and Medea 248 6.1.1 The background to Briseis’ and Medea’s letters 249 6.1.2 “A rapta Briseide littera venit” – ‘This letter has come from the abducted Briseis’ 250 6.1.3 ”Coacta nocens – ‘I had to become noxious’ 254 6.1.4 The others 257 6.1.5 Loci of argumentation: Briseis and Medea 262 6.1.6 The background to Oenone’s letter 267 6.1.7 ”Dignaque sum” – ‘And I am worthy’ 267 6.1.8 The others 274 6.1.9 Loci of argumentation: Oenone 275 6.1.10 Briseis, Oenone and Medea 277 6.2 Banished daughters: Canace and Hypermestra 279 6.2.1 The background to Canace’s and Hypermestra’s letters 280 6.2.2 “Haec est Aeolidos fratri scribentis imago” – ‘This is the picture of Aeolus’ daughter writing to her brother’ 280 6.2.3 “Timor et pietas crudelibus obstitit ausis” – ‘Fear and piety prevented my cruel doings’ 284 6.2.4 The others 287 6.2.5 “Non faciunt molles ad fera tela manus” – ‘My soft hands do not suit fierce weapons’ 290 6.2.6 Canace and Hypermestra 295 6.3 Girls in every port: Phyllis, Dido and Hypsipyle 296 6.3.1 The background to Phyllis’ and Dido’s letters 298 6.3.2 Phyllis as an “altera Dido”? 299 6.3.3 Phyllis and Dido retold 300 6.3.4 “Coacta mori” – ‘Forced to die’ 303 6.3.5 “Amans hospita capta dolo est” – ‘The loving hostess was captured by treachery’ 305 6.3.6 “Parce, Venus, nurui” – ‘Venus, spare your daughter-in-law’ 309 6.3.7 “Quod crimen dicis praeter amasse meum?” – ‘What do you say is my crime except for having loved?’ 310 11 6.3.8 “Simplicitas digna favore fuit” – ‘My credulity deserved a favour’ 311 6.3.9 Dido or Elissa? 312 6.3.10 The others 312 6.3.11 The background to Hypsipyle’s letter 314 6.3.12 “Urbe virum vidua tectoque animoque recepi” – ‘I welcomed a man with my city, with my home and with my heart’ 315 6.3.13 “Faxque sub arsuros dignior ire rogos” – ‘And the wedding torch, more worthy to ignite funeral pyres’ 316 6.3.14 The others 318 6.3.15 Phyllis, Dido and Hypsipyle 321 6.4 “Nescistis amare: defuit ars vobis” – ‘You did not know how to love: you lacked art’ 323 7 Summary and conclusions 325 7.1 Transposing rhetorical teaching into poetry 325 7.2 Words without weight 328 7.3 Ethopoetic letters 329 7.4 The ethopoeia and the tragic monologue 330 7.5 The characterization 331 7.6 Ovid’s Heroides and the ethopoeia reappraised 333 Bibliography 334 Ancient authors 334 Scholarship 336 Index Locorum 344 Studia Graeca et Latina Lundensia 352 12 1 Introduction 1.1 Aim of study Ovid’s collection Heroides (or Epistulae Heroidum)1 is regarded as the poet’s most rhetorical work.2 The elegiac poems, written as fictitious letters by love-struck characters from Greco-Roman mythology, abound in argumentation and stylistic figures.
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