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Form Vs. Function in Ovid's "Remedia Amoris" Author(S): Christopher Brunelle Source: the Classical Journal, Vol

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Form Vs. Function in Ovid's Form vs. Function in Ovid's "Remedia Amoris" Author(s): Christopher Brunelle Source: The Classical Journal, Vol. 96, No. 2 (Dec., 2000 - Jan., 2001), pp. 123-140 Published by: The Classical Association of the Middle West and South Stable URL: http://www.jstor.org/stable/3298120 Accessed: 25-06-2015 17:09 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp 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]. The Classical Association of the Middle West and South is collaborating with JSTOR to digitize, preserve and extend access to The Classical Journal. http://www.jstor.org This content downloaded from 151.100.47.155 on Thu, 25 Jun 2015 17:09:45 UTC All use subject to JSTOR Terms and Conditions FORM VS. FUNCTION IN OVID'S REMEDIA AMORIS Ich zweifle aber,ob so ein Gedicht,das die Liebezwar abwehrend,aber doch so reizend behandelt,nicht eher zur Liebelockt, als davon wegschreckt.1 As August Graf von Platen noticed, there is something odd about Ovid's Remedia amoris: the poem claims to teach us how to escape love, but its generally charming tone may well have the opposite effect. The dangerous charm of its tone is at least in part a result of the meter of the poem, since Ovid has already claimed that the elegiac couplet is naturally suited to themes of eros (369, discussed below). Elegy had earlier introduced herself as the lena of Venus, and now she is likened to a levis amica;2can we really trust her to cooperate with the anti-erotic goal of the Remedia? A passage near the end of the poem answers this question in the negative. Ovid slyly admits what von Platen suggests, that the poem's form and function tend in opposite directions. In lines 751- 66 Ovid creates a previously unrecognized paradox between didactic content and elegiac style, and any student reading the Remedia to learn how to fall out of love should not be reading the Remedia. Close analysis of this passage and its Ovidian context illustrates the poem's relevance to any discussion of the workings of didactic poetry and its reliance on the bond between narrator and reader. The paradox of the Remediabecomes all the more clear in comparison with the De rerum natura. Lucretius too addresses the issue of form and content in didactic poetry, but the disjunction between how and what we read is not as great as he claims; form and function actually cooperate in the De rerum natura, and the poetry improves the philosophy. By contrast, Ovid's elegiac poetry impedes his erotic pedagogy; the Remedia amoris not only brings to an end Ovid's experiment in love elegy but also explores the logical limits of didactic poetry. 'August Graf von Platen, in his diary, July 12, 1818. Quoted in Stroh (1969) 102. 2Am. 3.1.43-4: rustica sit sine me lascivi mater Amoris: / huic ego proveni lena comesquedeae. Rem. 379-80: blandapharetratos Elegia cantet Amores / et levis arbitrio ludat amica suo. Kiippers (1981) 2518 n.36 makes the connection. THE CLASSICALJOURNAL 96.2 (2000-01) 123-140 This content downloaded from 151.100.47.155 on Thu, 25 Jun 2015 17:09:45 UTC All use subject to JSTOR Terms and Conditions 124 CHRISTOPHER BRUNELLE Near the end of the Remedia, Ovid warns his student away from two particularly nefarious dangers. Pantomime shows and love poetry, he claims, represent erotic passion so forcefully that they could easily cause anyone whose emotions are not under control to fall back under the power of love (751-66). at tanti tibi sit non indulgeretheatris, dum bene de vacuo pectore cedat amor. enervantanimos citharaelotosque lyraeque et vox et numerisbracchia mota suis. illic assidue ficti saltanturamantes, quod caveas;actor, qua iuvat, arte docet. eloquarinvitus: teneros ne tange poetas; summoveo dotes impius ipse meas. Callimachumfugito, non est inimicus amori; et cum Callimachotu quoque, Coe, noces. me certe Sappho melioremfecit amicae, nec rigidos mores Teia Musa dedit. carminaquis potuit tuto legisse Tibulli vel tua, cuius opus Cynthiasola fuit? quis poterit lecto durus discedereGallo? et mea nescioquidcarmina tale sonant.3 The first three couplets (751-6) warn of the dangers of attending the theater, specifically the pantomime shows.4 The ear as well as the eye is imperiled: in addition to the visual representation of love (ficti saltanturamantes) the citharae,vox, lotos,and lyraealso threaten the lover's recovery. The amatory content of the staged adulteries combines with the seductive thrill of the music and poetry to damage the lover's attempt to return to health. In describing the power of pantomime as the combination of dance, poetry, and song, Ovid takes a firm stand in the ancient debate over Ethoslehreon the side of those who claim that music does have an ethical influence upon those who hear it. His description of the effect of pantomime is akin to the views of Aristides Quintilianus, who champions the combination of word, melody, and dance as the most effective educational format that the arts have to offer. Ovid agrees that pantomime is effective, and dangerously so: the stories and the music both cast an erotic spell over the audience.5 3 My text follows Kenney's OCT (1994, corrected 1995) except in line 756, discussed below. 4 Lucke (1982) ad 753ff. lists ancient sources for pantomime. The theater is dangerous as well for the erotic attractions of the audience (cf. Ars 1.89-162, 3.394), though this particular danger is not spelled out in this passage of the Remedia. McKeown (1979) shows the influence of mime and pantomime on the elegiac poets; here, Ovid shows the influence of on the elegiac lover. ' pantomime Aristid. Quint. De musica 2.6. Wille (1967) 434-8 catalogs Roman attitudes to This content downloaded from 151.100.47.155 on Thu, 25 Jun 2015 17:09:45 UTC All use subject to JSTOR Terms and Conditions FORMVS. FUNCTION 125 The actor also casts a spell, very much like the spell that Ovid himself casts. The text of line 756 is still debated, but there are good reasons to read actor, qua iuvat, arte docet, because the danger of watching pantomime thus resembles even more closely the danger of reading love poetry.6 Now the dancer of the pantomime is dangerous because he has an educative role, and his portrayal of the lover is not only pleasant (iuvat)but instructive(docet). Pinotti rejects this variant reading for a poetic reason: if we read docet instead of nocet,the actorthen takes on a didactic role normally reserved in the poem for Ovid himself.7 But Ovid is the consummate actor of love. He is not so jealous of his role that he would refuse to have a colleague; Cupid (or a vision of the god) has already given him advice (557-74). Like the actor,Ovid uses the numeriof love to keep his students' and readers' minds continually focused on his erotic themes.8 He more than anyone would be ready to notice that the pantomime dancer on stage, though mute, purveys a message very similar to his own. Ovid's warnings about the dangers of pantomime naturally lead us to the next passage, a catalog of hazardous poetry. The shift from stage to page is minimal, because love poetry, like pantomime, endangers the student not only by what it says but by how it says it. Its erotic content is of course a problem for the recovering patient: if one reads of amorous dalliances, one may be tempted to enact them oneself or at the very least to compare those fictive relationships with one's own, and at this point of the curative process, the student has been instructed not to dwell on that relationship. The Remedia musical Ethoslehre,quoting Remedia751-6 at 438 n.306. Lucian De saltationeoffers a remarkablypositive appraisalof the pantomime'seffects on the audience:the narrator claims that even a lover will be broughtback to a healthy state of mind by seeing the undesirableresults of illicit and improperlove. 6 Except for caveas and arte, every word in the line is textually uncertain, although much of the sense is clear. Kenney obelizes the reading of R, quid caveas auctorqua iuvet arte docet,and hesitantly suggests quod (or id) caveas:actor, qua iuvat arte,nocet. Pinotti (1988)ad 755-6synthesizes the line's textualhistory. 7 Pinotti (1988) ad 755-6. She prefers nocet (in EKZ)to docet (in RYO) for two other reasons:nocere is an unsurprisinglycommon word near the end of the Remedia (579, 725, 730, 760, 810; but docereappears in 684), and Ovid often pairs the ideas of pleasure and harm (Ep. 17.169,Tr. 4.1.35, Pont. 2.3.54). Against this second point one that the entireArs amatoria combines and instruction. mightI object pleasure Compare(754) numerisbracchia mota suis with (372)ad numerosexige quidque suos and (379) blandapharetratos Elegia cantet Amores Dancer and poet alike beguile their audienceswith the appropriatenumeri. 9 Lucke (1982) ad 757ff. notes that the Remediadoes at times urge its student to dwell on and to exaggerate the imperfections of the lover, in contrast to the implications of the present passage (cf. 299-306with 643-8 and 487 with 757-66).
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