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Xerox University Microfilms 300 North Zeab Road Ann Arbor, Michigan 48106 74-3227 LAWRENCE, Curtis Pleasant, 1941- THE STRUCTURE OF OVID'S AMORES II. The Ohio State University, Ph.D., 1973 Language and Literature, classical
University Microfilms,A XEROX Company , Ann Arbor, Michigan
© 1973
CURTIS PLEASANT LAWRENCE
ALL RIGHTS RESERVED THE STRUCTURE OP OVID'S AMORES II
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By Curtis P. Lawrence. B.A., M.A.
* * * * *
The Ohio State University 1973 •
Reading Committee* Approved By John T, Davis, Chairman Kenneth M. Abbott Mark P. 0. Morford L (J Adviser Department of Classics ACKNOWLEDGMENTS
I am grateful to The Ohio State University for their support through the Dissertation Year Fellowship which allowed me to be in residence at Cambridge where this dissertation was written. My thanks to the Fellows and members of Corpus Christi College, Cambridge for their help and support during my year of research and writing in their splendid libraries. At Cambridge, Mr. Geoffrey Woodhead, Mr. W.A. Camps, and Mr. Guy Lee were particularly helpful. In Columbus, Professors John Davis and Kenneth Abbott spent considerable time and effort in reading the various stages of this work, and I am indebted to them. Particular attention must be given in crediting my wife Bianca who contributed greatly in many ways to the accomplishment of the dissertation.
ii VITA
June 1941 Born--Norman, Oklahoma
1959 Diploma, Pauls Valley Highschool, Pauls Valley, Oklahoma 1963 B.A,, Baylor University, Waco, Texas 1964 M.A., The Ohio State University, Columbus, Ohio 1964-1966 Instructor, in Classics, Baylor University, Waco, Texas 1966-1970 Intelligence Officer, United States Air Force
1970-1972 Teaching Associate, The Ohio State University, Columbus, Ohio
1972-1973 Dissertation Year Fellow, The Ohio State University, Columbus, Ohio, and Research Student at Corpus Christi College, Cambridge,
iii TABLE OF CONTENTS
page ACKNOWLEDGMENTS ii VITA iii INTRODUCTION 1 CHAPTER I* AMORES II.1, 2, 3, 18, and 19 29 CHAPTER II* AMORES II.4, 10, and 1? 52 CHAPTER Hit AMORES II.5. 6. 15* and 16 6 6 CHAPTER IV* AMORES II.7* 8, 9* 9b* 11, 12, 13, and 14 , 83 CONCLUSION 110 APPENDIX 113 SELECTED BIBLIOGRAPHY 114 INTRODUCTION
My purpose in this dissertation is to analyze Ovid’s use of theme and symmetry in the arrangement of the individual poems in Amores II.1 To appreciate the artistry of the poet in arranging the second book of the Amores. it is necessary to consider first the obvious bases for the book’s structure before treating the more 2 subjective ones.
1 Ernestus Rautenberg in his dissertation De Arte Compositionis quae est in Ovidii Amoribus (Vratislaviae, 1868), p. 3 2* sees an arrangement of this book of poetry which contains in embryonic form the idea v/hich will be further developed and defended here. His theory and a diagram of it are to be found in Appendix A. 2 In the commentary of Pseudo-Probus on Vergil’s first Eclogue (vol. Ill, page 328 of Thilo’s edition of Servius), wehave an indication of ancient interest in book arrangement* Sed non eodem ordine edidit, quo scripsit. Est enim ecloga, qua ereptos sibi agros queritur, sic incohans
^Wilhelm Port, "Die Anordnung in GedichtbUchern augusteischer Zeit," Philologus. 81 (1926), pp. 280-308 and ^27-^68. Note especially his summary, pp. **58-*f6l. allowed a further development in arrangement by providing the poet the opportunity of balancing one half of a book against the other half based upon one of the basic elements of any book of poetry, with the middle poem functioning as the pivotal or unifying poem for the two halves. The third arrangement which Port has noticed is by pairs or cycles of poems. On the basis of meter, addressee, or theme, the" poet could write two or more poems within a book meant to be read together, frequently in Propertius and Ovid even reflecting the same dramatic situation. This resulted in cycles of poems and pairs of poems. An example of a cycle of poems is found in Horace Odes III.1-6 (the Roman Odes). These poems form an organic whole with a 'common interest in extolling Roman virtues* 1, frugal!tast 2, patientia and fides» 3* iustitia atque constantia: 4, consilium* 5t virtus and fortitudo* 6, pietas and castitas. An example of paired poems in Propertius is I.8a and b. In I.8a, the poet has written a propempticon in which he exhorts his mistress to remain with him instead of accompanying another man on a dangerous sea voyage. In I.8b, his argument has won and Cynthia is in his arms (line 2« . vicimus). In Ovid's Amores many paired poems are to be found of which five pairs will be discussed extensively in this dissertation. The cycles and pairs can be * related dramatically, sharing the same dramatic situation but different moments in that situation, or thematically, i t sharing the same topic in varying aspects. The basic elements of book arrangement are meter, addressee, and theme or subject matter. The poet in arranging his book of poetry would combine at least one element from meter, addressee, and theme with at least one principle of arrangement (variatio. point of emphasis, and pairs) in order to make the book a unified whole. The Augustan poets seem not to have been content with thinking of a book of poetry as so many collected poems. Rather, they treated it as an organic whole in which the various poems played definite roles, to varying degrees, of *5 influence upon one another and upon the book.-^
k ## Klaus Jager, Zweigliedrige Gedichte und Gedicht- paare bei Pro-perz und in Ovids Amores CInaugural Disser tation^ Tubingem 1967).
^In his article, "Propertius* single book," HSCP. 70 (1965), P» l6. Brooks Otis says "The Monobiblo3 is a work of art based on a major theme (the servitium amoris or Gallus* combination of Catullus with the Hellenistic sermo amatorius) most intricately worked out in symmetrical contrasts and similarities." See also, F, Solmsen, "Three elegies from Propertius' first book," CP, 57 (1962), pp. 7^-80. The poets wrote each poem aiming at a particular effect, but when read in the context of the book as a whole that effect became amplified, colored, or changed in the light of the poems preceding and following it. This is particularly obvious in the paired poems and cycles of poems, but applies to the other poems of any one book as well. The poet's purpose in this unification was to construct a completed whole, the parts of which contri bute to the effect of one another and of the book. By positioning balanced poems at the beginning and end of a book, the poet was able to emphasize certain ideas I and frequently extended this scheme to include the middle poem of the book as a pivotal poem around which the two halves of the book revolved. Furthermore, through the use of pairs, cycles, juxtaposition, analogy and thematic contrast the poet was able to develop between or among poems a theme, or themes, in a variety of tones and moods, all the more to emphasize the theme of the book as a whole. While each individual poem (excluding pairs and cycles) can be read alone with considerable effectiveness, the full intent of the poet may very likely be lessened, if not missed, unless the poem is read in its fuller context of the book of poetry in which the artist for his own*reasons placed the poem. Just as one couplet taken out of context loses considerable meaning, so one poem taken out of the book as a whole will lose a part of its effectiveness Of the first two elements used to unify the arrangement of a book of poetry, meter and addressee, there are two excellent examples. Callimachus* Iambi share a common metrical unit, the iamb, and are arranged on the principle of variatio. Poems 1-5 are written in the choliambic meter. Poems 6-12 are written in variations of iambic trimeter and poem 13 is written in choliambic trimeter. Poems 1 and 13 are programmatic, intended to introduce and conclude the book of poetry I through criticism of Callimachus' contemporaries and in turn answering their criticisms. The invective and criticism of poems 2-5 lead one to consider them as a group while the personal and aetiological themes of 6-12 outline another group. Poems 1, 2, and 4 are concerned with criticism of Callimachus* contemporaries and poems 3 and 5 are personal attacks and concern the subject of oaidikos eros. Poems 7* 8, 9, 10, and 11 are aitia while poem 6 (a propempticon) and poem 12
^Christopher Dawson, "The Iambi of Callimachus," YCS. 11 (1950), pp. 3-168. James R. Hofstaedter, The Structure of Ovid's Amores. Book I (Dissertation. Columbust The Ohio State University, 1972), pp. 5-7* (a birthday poem) are personal* Poems 1-5 are in the Ionic dialect while Ionic and Doric alternate as the dialects in poems 6-1 3 . The variatio of the book's arrangement is achieved through the grouping or dis persing of the poems according to theme# tone, and meter. The following diagram illustrates the arrangement of these poemst — 1 . programmatic poem — 2. criticism of contemporaries by using fable
-3. personal invective— paidikos eros criticism of contemporaries by using fable -5. personal invective— paidikos eros -6. personal— propemptic on 7 - 11. aetiological 12. personal— birthday poem •13. programmatic poem The use of addressee as an element in book arrangement is apparent in the Tibullan Corpus IV.2-6.^ The first# middle# and last poems are addressed to a deity. In poems 2, 4# and 6# the poet speaks to a deity# o while in poems 3 and 5* Sulpicia speaks to her lover.
^Port, p. 4-^8.
®For a fuller discussion refer to the article mentioned in footnote 3 above. The element of book arrangement’which will be treated more fully here is theme. By "theme* is meant the "general topic of discussion and the poet*s sentiments about it plus any action that takes place in the poem or is imagined to be taking place v/hile the poem is being written.**^ Much work has been done by scholars on the arrangement of books of poetry and a summary of this work is available in Hofstaedter*s dissertation on the structure of Amores I,^° and in Port*s article.1^ For the purpose of introducing the main topic of this dissertation a cursory examination of the main schol arship of the recent past on book arrangement among the Latin elegiac poets will be presented. More detailed
Q •John T. Davis, Fides and the Construction of Propertius* Books I and IV (Dissertation. Ann Arbor* University of Michigan, 1 9 6 7), p. XIII.
^ F o r the full reference see footnote 6 above. Note particularly pp. 1-35* 11 Port, passim. 9 analyses can be found in the sources cited in the footnotes. The reason for examining only Propertius, Tibullus, and Ovid here is that these poets who represent an almost complete, genre, Latin love-elegy, have been shown to be very much concerned with book arrangement and thematic unity, as will be seen in the following discussions.
12The tradition before these poets of thematic arrangement of books of poetry is strong. The Hellenistic authors using this device were Theocritus and Herodast Gilbert Lawall, Theocritus* Goan Pastorals (Center for Hellenic Studies! Washington, 19^7); Hofstaedter, pp. 7-11. The possibility exists that Catullus may have intended something of this sort in poems 2-11* Charles P. Segal, "The Order of Catullus,, Poems 2-11,H Latomus. 27 (1 9 6 8 ), pp. 305-321* H.D. Rankin, "The Progress of Pessimism in Catullus, Poems 2-11,*' Latomus, 31 (1972), pp. 744-751; Kenneth Quinn, Catullus1 An Interpretation (New York* Barnes and Noble, 1972). The Augustan poets Vergil and Horace, also probably used this type of arrangement in the Eclogues and the Satires* Port, •passim. Vergil* Hofstaedter, pp. 21-24*Brooks Otis, Virg-il t A Study in Civilized Poetry (Oxford* Clarendon Press, 19^4), pp. 98-143* Paul Maury, "Le Secret de Virgile et l ’Architecture des Bucoliques,** (Lettres d*Humanit€ III (1944), pp. 71-1^7i Otto Skutsch, "Symmetry and Sense in the Eclogues.** HSCP, 73 (1 9 6 9 ), pp. 153-169. Horace* Walther Ludwig, "Zu Horace, C.2, 1-12," Hermes. 85 (1957)$ pp. 336-3^5; Hofstaedter, pp. 12-21* Jacques Perret, Horace. trans., by B. Humex (New York University Press, 1964), pp. 80-86* E. Frankel, Horace (Oxford* Clarendon Press, 1957)* p. 260* W. Ludwig, "Die Anordnung des vierten horazischen Odenbuches," MH, 18 (1961), pp. 1-10* Robert Carrubba, The Arrangement and Structure of Horace’s • "Erodes1* (Princeton University Press , 1 9 6 4); C ,A. van Rooy, "Arrangement and Structure of Satires in Horace, Sermones. Book I,** Acta Classics. 11 (I9 6 8 ), pp. 38-72* F. Boll, "Die Anordnung im zweiten Buch von Horaz* Satiren," Hermes. 48 (1913), pp. 143-145. 10 A study of the immediate tradition before Ovid*s Amores will give us a substantial understanding of the literary interests in Latin poetry of the Augustan era, and in particular in Latin love-elegy. Tibullus, as Port has suggested,^ arranged his first book of poems so that the poems of the first half of the book balanced poems in the second half. 1,1 and I.10 are both programmatic poems framing the entire book. Poems 2 and 6 portray Delia as being in the control of smother man* poems 3 and 7 are addressed to Messala* poems 4 and 8 are about Marathus* poems 5 11l and 9 are about infidelity. As noted by R.J. Littlewood the two halves have contrasting moods of hope (2-5) and cynicism or humor (&-9) which serve as the unifying themes of the book. Several scholars have suggested structural _ arrangements for Propertius * Monobiblos. 1*5 But at least three of them, Skutsch, Otis, and Davis, agree in one
^Port, pp. 443-444.
l4«The Symbolic Structure of Tibullus Book I.,* Latomus. 29 (1970)* PP* 6 6 1-6 6 9,
^Marcus Ites, De Fropertji Elegiis inter se Conexis (Diss. GottenenT 1908)5 Otto Skutsch, "The Structure of the Propertian Monobiblos," CP, 58 (19^3), pp. 2 3 8- 239* Brooks Otis, "Propertius* Single Book," HSCP. 70 (1965), pp. 1-44* Davis, pp. 1-70. 11 basic point*^ that the central poems of the book (6-l*f) have a definite arrangement. Poems 6 and Im balance one another thematically in that Propertius compares himself with his friend Tullus and in both Tullus is addressed. These two poems provide the frame for two groups of poems* 7-9 and 10-13* which are each arranged chiastically. -6. Tullus and Propertius 7. Warning to Ponticus 8a, Pear r-8b. Fear dispelled -9. Warning to Ponticus come true '10. Galius • love -11, Fear c*12. Fear confirmed -13. Galius* love -1/+. Tullus and Propertius Complete agreement on the rest of the book's arrangement is not to be found, although at different points different 17 views will match. Skutsch 1 would consider poems 1-5
^Skutsch, p. 238f Otis, "Propertius* Single Book," p. 8i Davis, p, 19.
17Skutsch, p. 238, 12 as the first group of poems in the book balanced by poems 15-19I he would make poems 20-22 the concluding poems of the book and therefore an independent unit 18 not balanced by other poems in the book. Otis, however, finds much more unity in these poems than Skutsch and would balance the poems as shown in the following diagram* -1* Propertius to Tullus To Cynthia (unadorned is best) -3. The sleeping Cynthia
— Propertius to Bassus (leave me to Cynthia) 5- Propertius to Gallus (leave Cynthia to me) -15. Cynthia (adornment shows indifference) -16. The waking lover -17. Propertius away from Cynthia, 18._l Propertius away from Cynthia ■19. To Cynthia* constancy until death Davis, 1 9 7 however, would consider poem 1 to be introductory and balanced by poems 21-22 through their common addressee (Tullus) and their common motif of men in anguish.
^®0tis, p. 8.
^Davis, p. 19 Poems 2-5 are written around the theme of fides and are balanced in the book by poems 15-20 which are written on the theme of perfidia. On the arrangement of poems 6-14 he agrees with Skutsch and Otis. The major contri bution of Davis is that the book is arranged around a thematic development involving fides. perfidia. and servitium. In the framing poems, 6 and l^t Propertius portrays fides in servitium. The unifying theme of poems 7-9 is the idea that poetry provides the poet some amount of power over his mistress* fidest in poems 10-13 the theme is that servitium is the controlling power over the poet's fides. In the following diagram, the interior poems (6-14) are as'Skutsch, Otis, and Davis would arrange them. The remaining poems are arranged according to Davis* thematic structure. 1A
Propertius* Monobiblos
1. Tullus, a gloomy introduction ^ to the poet's theme • 2. Cynthia, disguised admonition to Cynthia on her fides 3. Cynthia, Propertius cares for a fides in sleeping Cynthia; her profession of servitium fides 4. Bassus, don't try to break my . fides to Cynthia £. Gallus, don't try to break Cynthia's fides to me 6. Tullus, fides in servitium poetry as — 7. Ponticus, failure in love threatened power over because of poetry mistress• r-8a, Cynthia, perfidia threatened fides L-Sb. perfidia averted through poetry — 9. Ponticus, failure in love realized because of poetry — 10. Gallus, advice on how to be servitium successful in love as power over r-11. Cynthia, perf idia threatened poet's fides •—12. ' Rome, perfidia realized — 13, Gallus, hope that his love will be successful 1*K Tullus, fides in servitium 15* Cynthia, overt admonition to Cynthia on her fides perfidia in 16. paraclausithvrom exempluin of servitium perfidia in elegiac love 17. (nature), Propertius has broken fides and left Cynthia 18. (nature), Cynthia has broken fides and left Propertius 19* Cynthia, Propertius' profession of fides 20. Gallus, Hylas epyllion* exempluin of separation C21, soldier (22. Tullus, a gloomy autobiography of the poet t
15 Herbert Juhnke has recently proposed a structural analysis for Propertius II and III which includes a thematic development. But I have found his arguments 20 less than convincing. It is important for the literary critic to work with stable texts as much as possible in studying the arrangements of books of poetry. Because of the manuscript tradition for Propertius such a study of Book II will commence with considerable handicaps.. A. Woolley 21 has also proposed an arrangement for Propertius III, but this, too, has not seemed convincing to me. Propertius* fourth book, like his first, has I received much attention as to structure 22 and once again
20Herbert Juhnke, "Zum Aufbau des zweiten und dritten Buches des Properz," Hermes. 99 (1971), pp. 91-125. 21 A. Woolley, "The Structure of Propertius Book Hit" BISC. 14 (1967), pp. 80-82.
22Albrecht Dieterich, "Die Widmungselegie des letzten Buches des Propertius," RM, 55 (1900), pp. 191- 221* Ites, passim* A. Otto, "Die Reihenfolge der Gedichte des Propertius," Hermes. 20 (1885), 552-572* L. Alfonsi, "Nuovi Appunti Properziani," Rendiconti dell* Istituto Lombardo di scienze e lettere. 76 (1942-1943). p p . 152 ff,* Pierre Grimal, "Les Intentions de Properce et la composi- • tion du livre IV des Elegies," Collection Latomus. 12 (Brussels* Berchem, 1953)* W.R. Nethercut, Propertius and Augustus (Dissertation. New York* Columbia University, 1963)? Davis, pp. 71 ff. 16 complete agreement cannot be found,- There is enough agreement, however, that one can say that the book is built upon a thematic development. Beginning with Otto,2** followed by Ites,2** Grimal,2'* Nethercut,2^ and finally Davis2*^ the book has been seen to be divided in half based upon aetiological poems and elegiac loves of noted Roman women. Exactly how the poems balance one another is debated. Davis would let complete symmetry slip a little to match the poems, poem 1 being independent and introductory with elements of both themes. The aetiological poems and the poems about women each have a separate arrangement. Of the aetiological elegies, poems 2 and 10 have all-male castst poem 4 and poem 9 pit man against womanr poem 6 is the central poem of the aetiological elegies and adds special emphasis thereby to it3 honor of Actian Apollo, Similar analogies exist
230tto, pp. 552-572,
2l*Ites. pp, 73-76.
2^Grimal, pp. 49-53.
2^Nethercut, pp. 24-3 ff.
2^Davis, pp. 107-168. 17 among the non-aetiological poems. Poems 3 and 11 are about loyal wivest poems 5 and 8 are about contrasting situations in which Cynthia is either being taught un faithfulness or is actually faithful while Propertius is noti poem 7 is the central poem of this group adding particular emphasis to its recall of a faithful Cynthia, Grimal’s proposal would achieve a triangular symmetry with poem 6 central to the book and each of the other poems corresponding to its opposite in the legs of the triangle. Diagrammed it would be thusi 6 5 7 4 8 3 9 2 10 .1 1 1 Davis, however, finds too many weaknesses in this scheme 2 8 although he would allow it to stand. His own suggestion, however,would overcome the problem of pairing poems 1 and 11 which really do not share that much in common. A diagram of Davis* theory for the arrangement of Book IV is as followst
28Davis, pp. 99-102 l--Introduction with contents divided into two themes which will serve as the basis for the entire book -3— 'Arethusa, a loyal wife r-S-'-Bawd, an attempt to make Cynthia unfaithful non-aeti- ological 7— Cynthia's ghost, a loyal mistress poems L—8--Party, Cynthia is faithful, the poet is not -11-Cornelia, a loyal wife — 2— Vertumnus (all male) —*f--Tarpeia (man vs, woman) aetiolog 6— Actian Apollo ical poems _9--Ara Maxima (man vs. woman) I — 10-Jupiter Feretrius (all male) According to Davis the prevailing idea in Propertius' mind in composing Book IV was that he was "the divinely inspired poet of love and the vates and verus harusoex of his country."2^ The unifying theme of the book is fides as manifested in the relationships between man and woman or the fides of the legendary promises of Roman greatness with their fulfillment in Propertius' day. 30 In the aetiological poems Propertius wants "his readers to grasp the spiritual unity behind the
2^Davis, p. 78.
^°Davis, p. ix. 19 11' physical diversity of* Roman history**’*' The capstone of this comes in elegy 6 when he writes of Actian Apollo, and the true greatness of Rome as exemplified at Actium. In the non-aetiological poems (poems 3, 5# ?• 8 and 10) he takes the fides which made Rome great (in poems 2, 6, 9* and 11) and turns it to the normal version of elegiac fides, woman to man. In these poems wives and* mistresses are faithful even when their men are not. The climactic poem is elegy 7 in which Propertius emphasizes Cynthia’s devotion to him even in death. Port dismisses the idea that Ovid arranged the 32 poems within each individual hook of the Amores-^ based upon the theory that he had used a broader scheme
-^Davis, p. 108^
*^2Port, p. 452. His words are* Es zeigt sich. daQ Ovid bestrebt war, die in ihr'en Kotiven ahnlichen Gedichte nach Mbglichkeit auf verschiedene Bucher zu verteilen. Hierdurch schon erreichte er variatio der Gedichte innerhalb der einzelnen Bucher. Diese Verteilung auf die Bttcher war der leitende Gedanke. Eine Anordnung innerhalb derselben, die jedem Gedicht einen bestimmten Platz anweist, wie wir sie bei andern Dichtern finden, hat Ovid nicht vorgenommen, weil durch die Verteilung der ahnlichen Gedichte auf verschiedene Bfccher schon die Gefahr der Einforraigkeit innerhalb jeden Buches vermieden war. Nur.gewissen Gedichten, die er durch ihre Stellung besonders hervorzuheben wbnschte, gab er einen bestimmten Platz. 20 of arrangement within the entire collection. This new method of arrangement used by Ovid, according to Port, is variatio-^ and consists of analogous poems distri buted through the various books so that they do not stand together, but do provide a unifying force for the work as a whole. The analogous poems found by Port^ are as follows* DaB der Dichter die Einleitungsgedichte 1.1, II.1, 111,1 und die Schlu-gedichte 1,15 und III.15 an die erste und letzte Stelle der Bucher setzte, ist nicht weiter auffallig. Drei Gedichte der Sammlung zeigen, uns den Dichter in ungestortem Zusammensein mit der Geliebten, das wir sonst nirgends mehr finden, namlich sehen wir den Dichter nie in ungetrWb- ter Freude des Besitzes der Geliebten. In drei Gedichten besteht ein Hindernis, das ihn nicht zum GenuB seiner Liebe kommen laflt* in 1,13 ist es der anbrechende Morgen, in 11.11 Corinnas geplante Seereise, in III. 6 der angeschwollene GieBbach, der ihn von der Herrin trennt. Die Sehnsucht nach der fernen Geliebten spricht Ovid in II.16 und III.10 aus. Abscheu vor der Begehrlichkeit und Habsucht der Geliebten gibt ihm Anlafl zur Klage in den Gedichten.I.10 und III.8 ( die Gabe des Dichters, die carmina. genbgen ihr nicht mehr. Der Umfang der beiden Gedichte ist fast der gleiche. Wir konnen einen Zusammenhang annehmen. Xhnliche Gedichte sind auch 11.17 und III.12. Beide zeigen die Treulos- igkeit der Geliebten, die in Zusammenhang steht
^Port, p. **56. His words are* Die Untersuchung der Anordnung von Ovids Amores hat uns einen wichtigen Schritt weiter gefbhrt, indera wir hier eine neue Methode der Anordnung kennen lernten, namlich die Verteilung 'ahnlicher Gedichte auf verschiedene Bdcher.
^Port, pp. 21 mit der Besingung derselben in Liebesgediehten, In 1.17 ist Corinna trotz der carmina des Dichters, die sie verherrlichen, treulos, in 1 1 1 . 1 2 sind erfttllt von Vorwurfen an die Geliebte wegen gewisser Eingriffe in ihren Korper, die ihre Schbnheit oder sogar ihr Leben vernichten. Den Gedichten 1 .4 und II.5# die sich auch ira Umfang nahe kommen, kann roan die gemeinsarae Oberschrift geben* Hentergehung beim Symposion. In 1.4 gibt Ovid Corinna Vorschriften, wie sie ihren vir beim Symposion hintergehen und sich an seiner Statt mit ihm vergnbgen solle. II.5 zeigt, wie Corinna diese Vorschriften zuungunsten Ovids sich zu eigen geraacht hatte. 11.19 und III.4 sind an den virgerichtet und beziehen sich auf die Bewachung der Geliebten. Sie sind Gegenstbckei In 11.19 klagt Ovid uber die zu grofte Freiheit, die die Geliebte habe, so daG die Leiclitigkiet der Hintergehung des Nebenbuhlers sie unbegehrt mache, in III.4 bietet die zu strenge Bewachung Anlafi zur Klage. Eine Bitte an den Wachter, das Zusammensein mit der Geliebten zu ermbglichen, zeigt 1.6 und II.2. He admits-^ that there are to be found within a single book some analogous poems, but he does not consider this to be the primary aim of the poet. This dissertation will qualify Port*s stand. The principle of variatio in the Amores is undeniably being used, but I suggest not exclusively. Hofstaedter has found in Amores I an internal arrangement, of the poems within the book and it is the purpose of this dissertation to prove a similar arrangement for Amores II.
3 5Port, p. 454. 1.4, 1 0 | II.3, 8 , 1 2 , 14* and III.6 , and 10. 22
Around 9 B.C.,3** Ovid published the second edition of his Amores. after having considerably shortened and edited the work.3^ The proof of this second edition comes from Ovid himself in his introductory epigram to the new edition* Qui modo Nasonis fueramus quinque libelli, Tres 3umusi hoc illi praetulit auctor opus* Ut iam nulla tibi nos sit legisse voluptas, At levior demptis poena duobus erit* It is probable that the new edition involved more than merely discarding two books* In all likelihood, the poet selected his best poems from all five books, enough to make up three new books. 3 8 The probably unique
3 S. d*Elia, HI1 problems cronologico degli • A m o r e s , Ovidiana. Recherches sur Ovide. (N.I. Herescu, ed,)• Paris* 1958, PP* 210-223.
3^Port in his article, pp. 4-50-^51* says that the reason for the second edition was H. . , daB Ovid in der aweiten ausgabe deshalb die Bucher auf drei reduzierte, weil er vieles Unreife und allzu Bedenkliche ausmergen wollte."
3 8Port, p. 454, n. 219* \ 23 position of Ovid, up to his time, in producing personally a second edition of a poetry-book allowed him this selectivity. At the same time, it allowed him the opportunity to arrange the selected poems within the work, thus enhancing the effect of the adjoining poems, the individual books, and the work as a whole. As we have seen, there was a definite tradition for the arrangement of books of poetry based upon theme. Because of Ovid*s extensive knowledge of literature, both Hellenistic and Roman, it is quite possible that he could have been influenced by this tradition. He certainly would not have been pioneering. The thematic arrangement of Amores I is discussed in Hofstaedter*s dissertation. He notes that Ovid in' Amores I placed special poems at the beginning, middle, and end of the book. Poems 1 and 2 serve as the programmatic poemsi poems 8 and 9 are the central elegies in both location and subject matter» and poem 1 5 is the concluding pro grammatic poem. Symmetry is achieved in the rest of the book through an equal number of poems on either side of the central poems (1 .3, 4, 5* 6 , and 7 vs. 1 .1 0 , 11, 12, 13, and 14). There is a thematic unity achieved through the balance and contrast of poems based upon the ideas of success or failure in love,-^
^Hofstaedter, pp. i2 2-1 2 3. 24 In poems 3-5 of Book I Ovid is successful in a variety of amorous involvements• These are balanced in the arrangement of the book by poems 1 0 - 1 2 in which the poet is unsuccessful. The lack of success in love on the part of the poet in poems 6 and 7 is balanced by his successes in poems 13-14. The central poems of the book (II. 8 and 9) are devoted to instruction on matters of love. In poem 8 # the bawd instructs the mistress on how to be successful in getting her way with her lover. In poem 9 he portrays himself as nraeceptor amoris for a friend, working for his success in love 4o and having his own way with his mistress. The diagram of Hofstaedter*s arrangement of Book I is as follows*
**°Hofstaedter* p. 44 and passim. 25 Ovid*s Amores I
i-l. programmatic poem -2 . love— Ovid yields to Cupid -3. to mistress— the poet pledges his faithfulness poet is to mistress— A message deliv successful ered in public and the anti cipation is happy
L 5. no addressee— an afternoon of love poet is 6v-j to janitor— a oaraclausithyron unsuccessful 7.-~ violence— the poet censures himself for abusing his mistress love and bawd--praeceotor amoris war are uncer tain C lover as soldier— oraeceptor amoris (“ 10. to mistress— she is unfaithful poet is unsuc 11. to mistress— a message deliv cessful ered in private and the anti cipation is anxious H 12. no addressee— there is no love-making today
13.” to Aurora— the poet's appeal is vain, but he is with his poet is mistress successful UK- violence— the poet censures his mistress for abusing herself -15. programmatic poem 26 The symmetrical arrangement of* the poems in Booh II which will he defended in this dissertation is as follows*
-1 * program poem* elegy and epic "“2* custos poem* girl is too well guarded c 3 * custos poem* girl is still too well guarded poet confesses his guilt of being promiscuous -5 . the kiss* the girl has been unfaithful -6 , the parrot* a gift eulogized Cypassist denial of affair -G: Cypassis* admission of affair r9. prayer to be released from the rigors of love ~9 b. prayer to be in love always —1 0 * the poet denies the assertion that one cannot love two girls at the same time -1 1 . propempticon 1 2 . victory song* the girl is in his arms r*1 3 . abortion* poet is more worried than angered *~-l*f, abortion* poet is more angered than worried -1 5 . ring* a gift envied -16. Sulmo. Poet is faithful even in separation -1 7 , poet confesses to be the slave of one girl -1 8 . program poem* elegy and tragedy -1 9 . custos poem* girl is not well enough guarded The thematic arrangement of the hook has two basic halves, the poems of the first half portraying nequitia in some form, the poems of the second half illustrating servitium amoris. By **nequitiaM Ovid seems to have meant almost the opposite of servitium, that is a kind of discreet perfidia. In it he saw a free- swinging involvement in love affairs in which both parties were free to diversity, but always discreetly* By servitium he meant the complete devotion of one person to another. The following is a diagram of the proposed thematic arrangement* 1 Program and custos 2
5 6 Nequitia 7 8 9 L-9b Combined neouitia 10 and servitium rSLi 12 13 Servitium amoris 14 15 16 *-17 Program and custos I—18 •-1—19 28 The poems of Book II will be treated in detail in this dissertation with respect to their symmetrical and thematic arrangement. The themes will be extensively defined in Chapter I and then the poems will be examined in groups based upon the proposed symmetrical arrangement. After the arrangement of each group has been established, the thematic adherence of the poems within the group ill will be discussed. The text used is that of Munari.
^Franco Munari (ed.), P. Ovidi Wasonis Amores, 5th ed. (Firenzei La Nuova Italia. 1970)• CHAPTER I
■ Amores II.1 was intended by Ovid to introduce the book as a whole and to set the program for the various poems in the book. The poet says that once he wrote about wars, Juppiter, and associated subjects. But his mistress had shut her door to him and he found it necessary to return to writing whatever Amor should dictate. In this poem he provided*the book with both a "signature** and a "program." The "signature" had a long tradition before Ovid. It is first found in Theognis
(lines 19-26)i but because of the textual tradition, it is impossible to identify the original position of these lines in the poet's work. The first signature with a certain position is that of Meleager in A.P. XII.257* Nearly every author after Meleager who used a "signature" placed such at the end of the book.3*
■^Others in addition to Meleager were* Timotheus Pers. 2^1-248* Callimachus Hymns I and II* Nieander Theriaca 957-958* Nieander Alex. 629-630* Vergil Georgies IV.5 6 3-5 6 6, Horace Odes 3*30* Horace Epistles 1.20* Propertius 1.22* and finally Ovid Amores 111.15, and Tristia IV.10. E. Paratore, "L'Evoluzione della 'sphragis* 'in Ovidio," Atti del Convegno internazionale Ovidiano. I, pp. 173-203, presents a full discussion of the Latin antecedents to Ovid's signature. 29 30 Moreover, most of^the poems in this tradition show the same elementsi the poet's name, a reference to his birthplace, and a claim of authorship of the poem, or book of poems. In II.1, Ovid identifies himself by name i and native land and he also claims authorship. Hoc quoque composui Paelignis natus aouosis, Ilie ego nequitiae Naso poeta meae (1-2), He differs from the tradition in that the sphragis comes at the beginning of a poem which introduces a book of poetry. In the first two lines he also identifies the theme of the book by nequitiae. . .meae (2) and in line 3, Hoc quoque iussit Amor, , • he identifies the motivating force of his poetry. * It will be the neauitia of line 2 and the servitium amoris alluded to in line 3 which will provide the themes for Book II, Normally in the elegiac poets servitium amoris is used to express the poet's enslavement to the one he o loves. This idea is apparent in Tibullus 11.4.1-**-. Hie mihi servitium video dominaraque paratami iam mihi, libertas ilia paterna, vale, servitium sed triste datur, teneorque catenis, et numquam misero vincla remittit Amor,
2 * See Rene Pichon, Da Sermone Amatorio (Dissertation, Parisi 1902), p. 262, and F.O. Copley, “Servitium Amoris in the Roman Elegists," TAPhA. 7 8 (1947), pp, 285-300, 31 Propertius in III.25.3-4, while lamenting Cynthia’s guile, expresses his own devotion to her. quinque tibi potui servire fideliter annost ungue meara morso saepe querere fidem. Ovid also considers himself to be the slave of his mistress* lusta precori quae me nuper praedata puella est Aut amet aut faciat cur ego semper amem. A, niinium voluil tantum patiatur amarii Audierit nostras tot Cytherea preces. Accipe, per longos tibi qui deserviat annos, Accipe, qui pura norit amare fide. (Amores I .3.1-6)• In II *1, however, and in poems and 10 of Book II, Ovid has used a less frequent, but still traditional,^ interpretation of the phrase to show that he is more a servus Cupidinis than a servus dominae. The following examples illustrate the antecedents upon which Ovid could have drawn for this use of servitium. Catullus in XLV.14 has Acme call Septimius to the servitude of Amor, huic uni domino usque serviamus. Although Tibullus and Propertius usually think of servitium amoris in terms of a particular woman, Tibullus does express a different sentiment in 1.2.97-98. at mihi parce, Venus* semper tibi dedita servit mens meat quid messes uris acerba tuas? Propertius in II.13♦35-36, when thinking of his own death, suggests that an appropriate inscription would be
•^Pichon, p. 2612. 3 2 et duo sint versus, 'qui nunc iacet horrida pulvis, unius hie quondam servus Amoris erat.* And his inclination to several, involvements is obvious in II ,22a.41-42. nam melius duo defendunt retinacula navim, tutius et geminos anxia mater alit. Ovid expresses himself similarly in Amores 1.2.17-20. Acrius invitos multoque ferocius urget, Quam qui servitium ferre fatentur. Amor. En ego confiteor* tua sum nova praeda, Cupidoi Porrigimus victas ad tua iura manus. In this poem his allusion to enslavement to Cupid is contained in line 2 with the words “iussit Amor.** The military metaphor serves to heighten the effect of the poet's subservience to Amor. Nequitia is usually used by the amatory poets to describe naughtiness. The occasion of Cynthia's birthday gave Propertius the opportunity to talk of his mistress' naughtiness. " tibia nocturnis succumbat rauca choreis, et sint nequitiae libera verba tuae, (III.1 0 .23-24). On two occasions in the Amores does Ovid use the word, in this sense. Nequitiam vinosa tuaro convivia narrant, Narrant in multas conpita secta vias. (III*1.17-18). and Est qui nequitiam locus exigati omnibus ilium Deliciis inple, stet procul inde pudor. (111.14.17-18).
^Pichon, p. 212. 33 It is also treated as a natural and very strong force which is deeply imbedded in the poet's soul,^ Propertius gives us this idea in 1 .6 .2 5-2 6. me sine, quera semper voluit fortune iacere, hanc animam extremae reddere nequitiae. Ovid echoes the sentiment in Amores 111,4.9-10. Cui peccare licet, peccat minusi ipsa potestas Semina nequitiae languidiora facit. Sometimes, however, it can take on a significance which is almost the opposite of servitium. that is perfidia.^ Propertius in II.24.5-6, when he is complaining of Cynthia's infidelity, uses this word. quod si tam facilis spiraret Cynthia nobis, non ego nequitiae dicerer esse caput. He echoes this same sentiment in II.5•1-4. Hoc verum est, tota te ferri, Cynthia, Roma, et non ignota vivere nequitia? haec merui sperare? dabis mihi, perfida, poenasj et nobis Aquilo, Cynthia, ventus erit. Ovid has a similar complaint in Amores III.11.37-38* but while he would like to flee his mistress* perfidia. her beauty keeps him near. Nequitiam fugio, fugientem forma reduciti Aversor morum crimina, corpus amo; • *
-*Pichon, p. 212.
^Pichon, p. 212. 3^ These two aspects of the poet*s•character as portrayed in the Amores II do not seem to be exact opposites. In fact, Ovid is a servus nequitiae and a servus amoris' at the same time. By neouitia he seems to be talking about his various amorous involvements, infatuations so to speak, and their implications. One of these implica tions is servitium amoris. In the course of any one of his affairs it is possible for the poet to become so devoted to his puella that he metaphorically becomes a slave. But Ovid is more than a slave to just one girl, at least at the outset of Book II, He is a slave to love in general. He is at the command of Amor and because of this, his infatuations come frequently and easily. This is the nequitia which he is writing about. To him servitium. as a development of nequitia. could exist at the same time as nequitia. He would begin any affair as a playful involvement commanded by Amor (nequitia), Some of these affairs (or, in the Amores. only one, that with Corinna) develop beyond the stage intended and the poet finds himself limited and even constrained to a particular love (servitium), These are
7 'Ovid does not use these two phrases, I use them here as a convenient way of defining more clearly exactly what Ovid intended in servitium and nequitia. 35 "the two themes which will be seen to provide the basis * Tor the thematic arrangement of Book II and Ovid appro priately announces them at the outset of the book. The remainder of line 3 and all of line 4 give notice to the readers that the theme of the book is not lofty, , , .Procul hinc, procul este, severit Non estis teneris apta theatra roodis, (3-*0. Ovid is warding off criticism by indicating that he had no intention of edifying the reader and that the severi should not hold him at fault for not treating his topics seriously. Moreover, Ovid himself says that if a person is told not to do something, usually he will do just that, Nitimur in vetitum semper cupimusque negata* (Amores III.4.17). In this way he could have intended the warning to serve also as an enticement to the reader. There is also significance in the predicative application of apta theatra to severi. By associating his readers to the audience of a play, he implies metaphorically that his poetry is only as autobiographically accurate as a play. Ovid seems to have meant the warning not so much to keep readers away as to be sure that they approached his poetry with the proper frame of mind. He uses a similar caveat in the Ars Amatoria (1,31-32). 36 Este procul, vittae tenues, insigne pudoris, Quaeque tegis medios instita longa pedes. In these lines from Amores 11,1, he takes a ritualistic phrase intended to keep at a distance the defiled and uninitiated and turns it to his own use. One would have expected profani instead of severi (cf, Horace,
Odes III,19 Propertius IV,6 , and Vergil, Aeneid VI,256)t but Ovid professed to be concerned that his poetry might be read by loveless and humorless prudes. The poet makes it even more clear in lines 5-10 that he is not necessarily writing about particular experiences of his own or of anyone else. Me legat in sponsi facie non frigida virgo Et rudis ignoto tactus amore puer* Atque aliquis iuvenum* quo nunc ego, saucius arcu Agnoscat flammae conscia signa suae Miratusque diu "quo" dicat ”ab indice doctus Conposuit casus iste poeta meos?" (5-10). Rather, the experiences are of such a sort that they could have meaning for the majority of the readers, at least those who were lovers. This is forcefully stated when the aliouis iuvenum thinks that the poet has learned of his affair and written it down. In these lines Ovid is essentially identifying his public. He wrote for those who had loved or hoped to love. In these first ten lines, therefore, Ovid packs a considerable amount of information. He identifies him self, his homeland! he gives the theme for the book 37 (meae nequitiae) and the motivating force behind his poetry* He also indicates that his poems are to have impact with those who had loved or hoped to love and that the experiences portrayed are not necessarily to be identified with any particular individual* In lines 11-20, the poet picks up the theme with Q which he began Book I* he had attempted some other form of literary activity. As in 1,1, so in 11,1, the other form is epic, He has begun to write of mighty wars of gods and men. Just as in 1,1, his attention is turned by a laughing Cupid, so in 11,1 his attention is turned by the closed doors of his mistress. All is in vain and in 1 1 ,2 ,2 1 -3^* he once again turns to elegy. Probably the most effective part of this poem is the defeat of epic as seen through the war with Juppiter's weapons (tela) and the victory.of the poet with blanditias elegosque levis (lines 1 5 -2 2), In manibus nimbos et cum love fulmen habebam. Quod bene pro caelo mitteret ill'e suo, Clausit arnica fores* ego cum love fulmina misii Excidit ingenio Iuppiter ipse meo, Iuppiter, ignoscas* nil me tua tela iuvabanti Clausa tuo maius ianua fulmen habet,. Blanditias elegosque levis, raea tela, resumpsii Mollierunt duras lenia verba fores. For the poet in love elegy was a much more effective
8 This theme was by no means novel* cf. Propertius 1 1 ,1 . 38 medium of expression than the epic stories of war,^ The tua tela of line 19 refers to Juppiter’s thunderbolts and the mea tela of line 21 refers to Ovid’s elegiac verse, The uselessness of the tua tela compared to the power of the mea tela in love is the point of the passage. In Ovid’s opinion, his own weapons were more effective for what he wanted to do, that is to be with his mistress. The contrast between the two types of weapons is empha
sized by the words blanditias and elegosoue levis (2 1 ) to describe those of Ovid. The loves of elegiac poetry are preferred by the poet over the rattle and bang of
epic. 1 0 In lines 21-22, he tells why he took up elegy instead of epic and at the same time states the purpose
of his poetry (2 2). With line 2 2 Ovid looks forward to the various successes in love which are to be seen in the poems of Book II• Poems 11 and 12 are examples of what the poet says in II.1. In poem 11 he uses his poetry to persuade an obdurate mistress (the duras fores of
^This sentiment appears elsewhere in elegyt cf. Propertius 1.7 and 9t 11*1*
. ^ T h e poet as a warrior is a very common motif * cf. Prop. 1.6.30* Tib. I.1.75f*.i II.7.13ff,i II.l4.23ff.* III.5.3* Prop. IV.16.148* Ovid Amores 1 .6 .3 0* I.7.35ff* I.9t II.9.1* 11.12* II.18.35ff* See also A. Spies, Militat Omnis Amans (Dissertation, Tubingae* 1930). 39 II.1.22) and in poem 12 he sings of the bloodless victory when he held his mistress in his arms, implying that the victory was won through his poetry (verba lenia of 1 1 .1 .2 2). The "program** element of this poem is provided in lines 1 - 2 quoted above and in lines 3 5-3 8 . Magna datur raercesj heroum clara valete Nomina* non apta est gratia vestra mihi. Ad mea formonsos vultus adhibete. puellae. Carmina. purpureus quae mihi dietat Amor. "Program** poems were traditional in Greek and Roman poetry and they manifest certain common character- 12 istiesi the poet calls on a god or muse for help or inspiration* he states a traditional preference for elegy and he begins to develop his subject. The poem nearly always comes at the beginning of a book of poetry, but does occasionally occur at the end. In II.1, Ovid provides
"Program" elements are found in Homer Iliad 1,1, Hesiod Theogony 29-3** ■ Callimachus Aetia (fragment 1, Pfeiffer), and Vergil Aeneid.1.1. "Program" poems are found in Horace Odes I.1, Propertius I.1, 1.22, III.l, and IV,1 as well as Tibullus 1.1 and Ovid Amores 1,1, 1.15, II.1, 11.18, III.l, and III.15. 12 Dietmar Korzeniewski, "Ovids elegisches Proomium," Hermes. 92 (196*0, pp. 182-213. 4 0 his version of a program using much that is conventional. It is in lines 35-38 where he says that he will continue in the same vein as in Book It writing love poetry (quae mihi dlctat Amor). If these line3 were taken alone, however, as being the complete program for Book II, any set of love poems could reasonably be made to follow, Ovid, however, makes the particular theme of the whole book known to his reader in poem 1. There is mention of the theme of neauitia which will be seen to be developed in the body of the bpok. The neauitia of the poet is boldly declared in line 2 where he announces his own identity with literally every word. The theme of servitium I is treated in lines 17-22 when Ovid is compelled to write love poetry because of his enslavement to love. Again, and perhaps more obviously, the theme is apparent in line 3 when Amor commands Ovid to compose the Amores. The poet is clearly a slave worthy of performing the commands of his master. The overall topic of the book as introduced in II.1 is Ovid’s love described in such a way as to i * make it generally readable and enjoyable. This, however, is what elegy in general is about. It will be shown in this dissertation, therefore, that Ovid narrowed the scope of-his treatment, at least for Book II, to neouitia and servitium as aspects of this love. It is important to remember what Ovid himself says in his own defense. k l Vita verecunda est, Musa iocosa. mea. (Tristia 11.35*0. In this he disclaims any moral license on his own part and defers any criticism to poetic license. It is from this that he draws his vivid images. His effort seems less to immortalize any particular affair,1-^ than to have his readers delight in the ups and downs of love and to remember their own experiences through those of the poet. Just as II.1 is a programmatic poem meant to introduce the book, so 11*18 is a programmatic poem intended for closing the book. The two poems share many of the same elements and motives which link them themat ically. As in II.1, so in 11.18, Ovid says that he tried * to put aside love poetry, but was unsuccessful. He mentions his efforts in tragedy* then he passes to the Heroides and ends the poem by suggesting that his friend and fellow-poet Macer too prefers love poetry to epic and will soon join his own camp, exchanging epic love for elegiac. Propertius in 1.7 used this same motif, addressing his elegy to Fonticus. Propertius, however, was more concerned with warning Poriticus not to deride elegy in his preference for epic, whereas Ovid is actually interested in his friend's conversion. He creates the
• •'Corinna is not mentioned in this poem and in only seven of Book II *s twenty poems does her name appear. 42 scene in lines 1-12, Carmen ad iratum dum tu perdueis Achillem Primaque iuratis induis arma viris. Nos, Macer, ignava Veneris cessamus in umbra, Et tener ausuros grandia frangit Amor. Saepe meae "tandem* dixi "discede" puellaet In gremio sedit protinus ilia meo. Saepe "pudet" dixi» lacrimis vix ilia retentis "Me miseram, iam te* dixit "amare pudet?" Inplicuitque suos circum mea colla lacertos Et, quae me perdunt, oscula mille dedit. Vincor et ingenium sumptis revocatur ab arrais Resque domi gestas et mea bella cano, Here his girlfriend shames and prods him into leaving his endeavors outside of elegy. This is reminiscent of II.1.15-22 where his puella causes him to give up epic aspirations by shutting her door on him. In II.1 it is refusal which changes the poet's mind, whereas in 11.18, it is temptation. The subject of the poem becomes clear* with the first wordt Carmen. Ovid saw a struggle between elegy and epic developing in the poetry of Macer and wrote of his own experiences in attempting other literary forms than elegy. His effort in tragedy is discussed in lines 13-18, Sceptra tamen sumpsi curaque Tragoedia nostra Crevit et huic operi quamlibet aptus erami Risit Amor pallamque meam pictosque cothurnos - Sceptraque privata tarn cito sumpta manut Hinc quoque me dominae numen deduxit iniquae, Deque cothurnato vate triumphat Amor. but this was unsuccessful, and Amor's reaction (Risit Amor) recalls his similar reaction in 1.1.3 (risisse Cupido dicitur)• 43 Lines 19-26 of poem 18 show the poet as being successful in his return to elegy through the reference to the successful Heroides and their responses by Sabinus (lines 27-34). The point of the poem is made in lines 35-40, Nec tibi, qua tutum vati, Macer. arrca canenti Aureus in medio Marte tacetur Amort Et Paris est illic et adultera, nobile crimen, Et comes extincto Laudaraia viro. Si bene te novi, non bella libentius istis Dieis et a vestris in mea castra venis* Love manages to creep in even in the midst of war. The poem is programmatic in that it tells what the poet has done (lines 11-12, quoted above) and because I it is concerned with poetry itself (lines 1, 12, and 22). At the same time, he subtly provides a signature by identifying himself as the author of another work, the Heroides and possibly the Ars Amatoria (lines 19-20), in the Amores. In this way he completes the signature of II.1 where he identifies himself as a man* here he identifies himself as a poet. In II.1, he identifies himself by name and tells of his subservience to Amor. In.II.18, his identity is evident in his references to his amatory works which are products of his servitude to love. Poems 1 and 18 are closely associated with one 1/f another due to their close similarity in subject matter. Both poems are, without doubt, programmatic (1.35-38, 18.21-34) and in praise of elegy (1.3* 18.11-18)* and both are signature poems in that Ovid identifies himself (1.1-2, 18.21-26). In both he creates the same image of a demanding master (Amor) and a subservient poet (1.21-22, 18.17-18, 18.35-36). In both poems he uses a girl as the reason for his change of subject (1.17 and 18,5-12). In both he is an elegiac poet concerned with writing love poetry and not inclined to anything else (1.35-36, 18.17-20). These two recusationes are complementary in that elegy, is the preferred medium. In both poems the role of the poet is imagined to be one of the highest calling (1.34, 18.35)* and the fact that the two poems are located at, or near, either end of the book demonstrates that Ovid meant the poems to serve as the introduction and conclusion of the book. Why 11.18 is not the last poem in the book is a challenging problem. Ovid in his ingenious way was always interested in doing the unexpected. We have
^Richard Milller, in his Motlvkatalog der romischen Elegie (Zurich* Juris-Verlag, 1952, pp. 56-57), classes the two poems together because of their common motif. 4 5 already seen proof of "this in the sphragis of poem 1, since it comes at the beginning of a book instead of at the end. We must remember that Ovid calls himself lusor (Tristia III.3.73* IV.10,1, and V.l,22)i therefore we should not be surprised to find him playing tricks in the arrangement of his books. I find it interesting that the "guard,'* or custos poems (2, 3» and 19) are, figuratively, positioned on the one hand inside the "door (poem 1)" of the book and on the other just outside the "door (poem 18)" of the book. This idea will be examined further in the discussion of poems 2, 3* and 19.
* * ■*
Poems 2 and 3 are "custos" poems whose central characters are Bagous, 1*5 the eunuch guard, the poet, and a girl whom Bagous guards too carefully, preventing a rendezvous. In poem 2 the poet has been denied a meeting because the guard watches his mistress too closely. In poem 3 the eunuch continues his surveillance and Ovid's desire for the girl has increased because of their inability to meet and because his own patience has run out.
15-'Bagous, codd. Bagoas, Kenney. 46 The poems have always been thought of as belonging together, Scaliger and G. Luck would make them into one poem* E.J. Kenney and F,W. Lenz would make them a pair,*^ but all editors agree in treating the two poems together, whether as a pair or as one poem. It is clear that Ovid meant them to be read together. The scene for the two poems is set in 2,1-8. Quera penes, est dominam servandi cura, Eagoe, Dura perago tecum pauca, sed apta, vaca. Hesterna vidi spatiantem luce puellam Ilia, quae Danae porticus agmen habet. Protinus, ut placuit, misi .scriptoque rogavi* Rescripsit trepida "non licet** ilia manui Et, cur non liceat, quaerenti reddita causa est. Quod nimium dominae cura molesta tua est. Si sapis, o custos, odium, mihi crede, mereri Desinet quem metuit quisque, perisse cupit. A particular class of the "custos** genre, paraclausjthvron. was traditional in elegy^ and had long been treated in literature, Ovid himself wrote such a poem in 1.6,
The various editions of the Amores in my bibliography will provide further information on this thorny problem. For a treatment of the poems as a pair, see F.W, Lenz, **Ara 11,2 e 3, una sola poesia?” Maia. XVII (1 9 6 5), pp. 119-124. For the other point of view, see G. Luck's review of E.J, Kenney's edition in Gnomon. xxxv (1 9 6 3), p. 2 6 0. ~~---- 17 fE. Burek, "Das Paraklausithyron," Hum.. Gvmn.. (1932), pp. 186 ff, and F.O. Copley, Exclusus Amat'ort A Study in Latin Love Poetry. New York* A,P.A. Monographs, 17. 1956. ^7 The poems under consideration here (II.2, 3# and 19) differ from the paraclausithvron in that no door actually plays a role in them. In common with the paraclau- sithvron. however, is the fact that the two lovers are separated and not allowed together. The force providing the separation in the paraclausithvron is either the door itself, or its janitor. The "custos" poem in the hands of Ovid becomes a tool for him to advise his mistress* guardian how best to guard his mistress in order to further his own cause. This is the case with II.2 and 3. The custos of these poems is the conventional one, a eunuch, devoted to protecting his mistress and 18 completely unyielding to lovers* pleas. The fact that
^F, Cauer, "Bagoas," P.W. R.E.. vol. II, coll. 2771-2* Terence Eunuchus (and thereby Menander's play of the same nameT^ Probably the most vivid image comes in Juvenal VI, 0.31-378. •pone seram, cohibe.* sed quis custodiet ipsos custodes, qui nunc lascivae furta puellae hac mercede silent? crimen commune, tacetur. prospicit hoc prudens et ab illis incipit uxor, sunt quas eunuchi inbelles ac mollia semper oscula delectent et desperatio barbae et quod abortive non est opus, ilia voluptas .summa tamen, quom iam calida matura iuventa inguina traduntur medicis, iam pectine nigro. ergo expectatos ac iussos crescere primum testiculos, postquam coeperunt esse bilibres,. tonsoris tantura damno rapit Heliodorus. • mangonum pueros vera ac miserabilis urit debilitas, follisque pudet cicerisque relicti. conspicuus longe cunctisque notabilis intrat balnea nec dubie custodem vitis et horti provocat a domina factus spado. dormiat ille cum domina, sed tu iam durum, Postume, iamque tondendum eiunucho Bromium committere noli. 48 Bagous is a eunuch is not made much of until poem 3* His name was probably chosen by Ovid because of its historical association with hated eunuchs so as to 19 emphasize Ovid's contempt for him. Poem 2 is mostly devoted to advice for the custos on how best to serve his mistress (lines 9 -6 2)* if followed, the lovers' cause would win the day, and Bagous would find himself a more influential member of the household. Poem 3 is mostly a reminder for Bagous of his position and its inherent obligations, Ei mihi, quod dominam nec vir nec femina servas Mutua nec Veneris gaudaa nosse potes! Qui primus pueris genitalia membra recidit, Vulnera quae fecit debuit ipse pati. Mollis in obsequium facilisque rogantibus esses. Si tuus in quavis praetepuisset amor. Non tu natus equo, non fortibus utilis armis, Bellica non dextrae convenit hasta tuae, Ista mares tractent, tu spes depone viriles* Sunt tibi cum domina signa ferenda tua, Hanc inple meritis, huius tibi gratia prosit* Si careas ilia, quis tuus usus erit? Est etiam facies, sunt apti lusibus anni* Indigna est pigro forma perire situ, (3.1-14), There can now be no doubt but that Ovid despises the eunuch as revealed in XI.3* Still, however, he knows that the guard has it in his power to allow a meeting
^L. Alfon3i, "Notes de Lecture," Latomus, 23 (1964), p. 349* Munari, p. 145, n. 5* Brandt, p. 93, n.l. 49 of the lovers and to better his own station by serving his mistress in her affair* in spite of the harangue in 3,1-14 which Ovid intended only to soften the eunuch’s hard heart and*to remind him of his place, he does not let pass the opportunity to plead his case. Fallere te potuit, quamvis habeare molestus* Non caret effectu quod voluere duo. Aptius at fuerit precibus temptasse* rogamus, Dum bene ponendi munera tempus habes (15-18). This veiled threat carries even more weight when considered in light of the similar plea made in 2 ,6 3-6 6. Non scelus adgredimurv non. ad miscenda coimus Toxica, non stricto fulminat ense inarms* Quaerimus ut tuto per te possimus amare* Quid precibus nostris raollius esse potest? Amores 11.19 is a variation of the custos motif, but in this poem Ovid is concerned that his latest love is too easily gotten and he admonishes her vir to guard her more carefully so that he can keep. his interest up. In this poem the conventional theme of the custos is completely reversed* 20 the. girl is not well enough guarded.. Ovid's complaint, is that, he might very likely lose interest if the game were too easy.
' 20Francis Cairns, Generic Composition in Greek and Roman Poetry (Edinburgh* University Press, 1972), considers inversion.to be one of the main constructive principles of genre-poems. 2 and 3 vs. 19 would be an example of this principle. See in particular, pp. 127-137. 5 0 The point or poem 19 is for Ovid to advise the stultus vir to guard his girl more carefully so that i Ovid's interest in her might continue to flourish. The poet is actually working against his own cause in order to advance it. The contempt for the vir is plainly visible in the stultus of line 1. Si tibi non opus est servata, stulte, puella. At mihi fac serves, quo magis ipse velira. (1-2). In lines 1-18, the poet advises the man to make love more difficult for Ovid. In lines 19-26,. advice is given to the puella. also in an attempt to make the affair more intriguing,by making it harder to.come by. Finally, in lines 3 7-6 0 , the poet returns to giving advice to the vir in hopes that he will do something to make things interesting. Not only do poems 2, 3, and.19 share the same subject matteri the concern for guarding, or not guarding, 21 the mistressi they even share very similar introductory linest Quem penes est dominam servandi cura, Bagoe (2.1) and Si tibi non opus est servata, stulte, puella (19.1).
21 The frequent use of servare and custodire alone illustrates this common factori 2.1, 2.9, 2.11, 2.^5 (twice), 3.1, 19*1* 19*2, 19.29* 19.^7, 19.50. 5 1 The words of one line are distinctly alluded to in the words of the other line* servandi ( 2 * 1 ) vs* servata (19.1)* Bagoe (2*1) vs. stulte (19.1)* dominam (2.1) vs. puella ( 1 9 . 1 ) * penes est ( 2 . 1 ) vs. o p u s est ( 1 9 . 1 ) . Moreover, in both poems the poet is interested in advising someonet in poems 2 and 3* the custos* in poem 1 9 , the vir and the puella. Poems 2 and 3 contain advice intended
to open doors too carefully guarded* poem 1 9 is devoted to advice which should close some doors which are too easily entered. It is also interesting to note that
servandi ( 2 , 1 ) and servata ( 1 9 . 1 ) share the same metrical position in their respective lines, Ovid may well have placed poems 2 and 3 following the introductory poem of* Book II to serve as the literal and figurative **guards** of the beginning of the book. Poem 19 was placed at the very end of the book, after the epilogue, to serve with poem i8 as a preamble to the disillusioned love of Book III which has come too. easily. Ovid's arrangement, therefore, of poems 1-3 and 18-19 is apparent. In poem 1 he sets the program for the book. In poems 2 and 3 he "guards’* the opening of the book and illustrates his inclination to neouitia. . With poem 18 he recalls poem 1 through the analogous motif. In poem 19 he recalls through the shared motif of .the cu3to3 poems 2 and 3 and wishes for more interest in love. CHAP T E R II
Ovid provided a ■thematic frame for Book II with poems 4, 10, and 17, His theme for this book, as introduced in II.1, is nequitia (on the part of Ovid and his mistress) together with his own servitium to a single mistress. It will be seen in this and the following chapters that in II.4-9b, there is the recurrence of nequitia as a basic theme and in 11.11-17, the concern of the poet is devotion to one girl. Poem 10, therefore, becomes the central poem of the book and in it Ovid expresses the two themes together as best he can. He is a servus (to two girls) but at the same time a servant of nequitia.1 Taking 4, 10, and 17 as the frame for the book we find in 4 that the poet is completely absorbed with love and loves many girls. Denique quas tota quisquam probat Urbe puellas, Noster in has omnis ambitiosus amor (4.47-48). In poem 10, he loves only two girl3. Ecce, duas uno tempore turpis amo (10.4).
*1 prefer to avoid as much as possible the term •promiscuous* which has certain moral overtones to twentieth century man which would not have applied to Ovid. 53 Finally, in poem 17, Ovid devotes himself to one girl alone, Corinna. Siquis erit qui turpe putet servire puellae, Illo convincar iudice turpis ego» (17.1-2) and Ingenio causas tu dabis una meo (17.34), Within this framework he arranged the remaining poems of the book in two halves> the first half devoted to nequitia. the second half given to devotion to one girl, the elegiac servitium amoris. In this chapter this framework for Book II will be examined, each poem individually and finally the three together. « In poem 4, Ovid confesses that he is a lover of many women. He finds any girl who is pleasing to someone else pleasing to himself. In lines 1-10, he confesses his guilt. In lines 11-30, he begins to list Ha hundred reasons (causae)** for his amorous inclination. With lines 31-32, he declares the general weakness of the most chaste in similar circumstances. He continues the list of causae (stopping short of one hundred) in lines 33-^6. The last couplet (lines 47-48) reaffirms his confession. The first image of the poem to strike the reader is that of the courtroom. The poet*s language draws the scene. We find him in a “courtroom*' where he is 5* confessing hi3 guilt. His crime is-that he loves many girls. Non ego mendosos ausim defendere mores Falsaque pro vitiis arma movere meis, Confiteor, siquid prodest delicta fateri* In mea nunc demens crimina fassus eo, Odi nec possum cupiens non esse, quod odit Heui quam, quae studeas ponere, ferre grave estl Nam desunt vires ad me mihi iusque regendumj Auferor ut rapida concita puppis aqua. Non est certa meos quae forma invitet amorest Centura sunt causae cur ego semper amem. (1-10). The legal vocabulary is obvious ini defendere (1), vitiis (2), confiteor (3)* fateri (3)» crimina (*0, and fassus (4). The same is continued with ius regendum (7) and causae (10), The poet speaks harshly of himself with mendosos. . .roor.es and describes his inner turmoil in line 5 with an obvious allusion to o Catullus 85* This turmoil is emphasized by the poet when he begins the list of causae. His various reasons for his infatuations are not consistent with one another. When he likes one characteristic in a girl, later he will find himself enthralled by its opposite in another. The first list of causae takes up lines 11-30. He drives home his lioase" in lines 31*32 when he applies his own situation to the most chaste of men--Hippolytus. Ut taceara de me, qui causa tangor ab omni, Illic Hippdlytum pone, Priapus erit. •
^0, Winreich, Die Distichen des Catull (Tubingeni 1926), p. 70. 55 With line 33 he begins another list* of Qatisae for his crime and continues this through line 46. In lines 4-7-48, he re-emphasizes his confession by stating that he loves anyone who is found pleasing by someone else. Denique quas tota quisquam probat Urbe puellas, Noster in has omnis ambitiosus amor* The dramatic situation imagined by the poet is carried throughout the poem* The combination of the language and the lists of causae plus the "anyone else would have done the same" sustain the image and give the poem an entertaining and captivating air. Moreover, these factors and the motif of love for more than one girl make the reader acquaint himself with the nequitia of the poet and the motivating forces (causae) behind the- man, it is significant that he deals not with one girl, but with many, indeed, with girls in general. He says in line 10 that there are a hundred reasons for this infatuation* but he stops short of giving us all
of them (he includes approximately 2 5), knowing that those given illustrate well enough his complex and frus trating (lines 5-6) situation. The poet plays his role in the scene which he set. He confesses his guilt and explains what causes him to commit the crime. 56 Poems 4 and 10 share the motif of love for more than one* but there is more evidence which will help to establish an even stronger bond between the two poems. As already mentioned, poem 10 is the center of Book II and it is in this poem that Ovid combines the two themes of the booki nequitia and servitium. His interest in the poem is to deny the assertion made by Graecinus that it is impossible for one person to love two women at one time. The proof for the denial is in Ovid himself. His testimony of love for two women is itself ironical since he remains prone to nequitia. but he now tempers this with devotion. He is in love I with two girls and professes a sense of shame, based upon Graecinus* precepts, for the situation. Ecce, duas uno tempore turpis amo. (10.4). He questions why such a situation should exist and blames Venus (Erycina) for it. Quid geminas, Erycina, raeos sine fine dolores? Non erat in curas una puella satis? Quid folia arboribus, quid pleno sidera caelo, In freta collectas alta quid addis aquas? (il-14). But he knows the answer. £>ed tamen hoc melius, quam si sine amore iacerem. Hostibus eveniat vita severa meis. (15-16). The questions of lines 11-14 together with the intro spective turpis of line 4 show the poet's frustration in his servitium. But his delight in love-making 57 continues and his nequitia is seen in Saepe ego lascive consumpsi tempora noctis, Utilis et forti corpore.mane fui. Felix, quem Veneris certaraina mutua rumpuntl Di faciant leti causa sit ista meit (27-30). What he found in the loves of poem 10 was a combination of nequitia and servitium. He delighted in his nocturnal activities and the contests of love and because of this delight he became a slave to love itself. At mihi contingat Veneris languescere motu, Cura moriar, medium solvar et inter opus, Atque aliquis nostro lacrimans in funere dicati "Conveniens vitae mors fuit ista tuae." (35-38). Just as the aliouis of line 37 is torn between two emotions (weeping opposed to crediting Ovid with a deserved end), so Ovid prays to be torn between two loves. The poet’s struggle between nequitia and servitium is ironically transposed to a scene after his death in which the mourner is similarly struggling between two emotions. This use of irony and contrast of emotions serve to emphasize the poet’s turmoil in his present condition. Ovid remains, however, still more devoted to love itself than to any particular girl (or, in this instance, girls), as seen in lines 35-36 quoted above. Should the poet’s devotion have been given its fullest expression we should expect to find the name (or names) of the lover immortalized. This will come only in 17. 58 The point of departure, that is’the self-criticism, of II.10.4 echoes the similar sentiment of 11.4,1, Both poems share the motif of love for more than one girl. There is, however, a refinement of the motif in poem 10. No longer is the poet involved with many girls. There are only two. Poem 10 i3 a combination of the themes which Ovid chose for Book II. In poem 4, he is dominated by nequitia in that he loves any girl who comes his way. With poem 10 he shows servitium to love itself as a direct outgrowth of his wide-ranging love and this combination in the center of the book emphasizes the contrast among poems 4, 10, and 17 which will become apparent in the discussion of poem 17* In 11.17• Ovid credits Corinna alone with the inspiration of his poetry. He confesses that he is a slave of one girl and he complains of her harshness, wishing for mercy. He reminds her that his poetry is responsible for making her famous in an attempt to calm her pride in her own beauty,- The reader is presented with a charge in line 1 to which the poet confesses his guilt in line 2, The use of turpis in both lines makes his self-depreciation more forceful than ever before. The scene is metaphor ically that of a courtroom with a judge presiding. Siquis erit qui turpe putet servire puellaet Illo convincar iudice turpis ego* (1-2). 4 59 * « And his enslavement cannot be doubted. In this poem, he does not want Corinna to be overly proud in her own beauty and the point of the poem is to remind her of her place. He credits her with beauty, (0 facies oculos nata tenere meosI) (12), but reminds her that she is not the first beautiful woman to love a seemingly inferior man (lines 13-24). .Ovid considers his contribution to the match to be his poetry. Sunt mihi pro magno felicia carmina censu, Et multae per me nomen habere volunt. (27-28). He does, however, credit Corinna with the inspiration of that poetry. Nec nisi tu nostris. cantabitur ulla libellisj Ingenio causas tu dabis una raeo. (33-34). In the poem there is no doubt but that Ovid is a victim of servitium amoris. His use of servire in - line 1, his reference to himself as "booty (praeda. lines 5 and 6)," and his last couplet (lines 33-34) demonstrate his state, amply. He combined the motif with that of poetic inspiration and completed the image of the poet as servus. The association of poems 4 and 10 due to their common motif was mentioned above. Now, however, with the discussion of 17, one can see that Ovid had something more in mind than merely associating 4 and 10. These three poems present a progressive development of the poet's amorous inclination from nequitia through servitium to two girls at the same time (an Ovidian version of serv5.tlum amor Is) to servitium to one girl (the usual version of servitium amoris as found in the elegiac poets). Poem 4 is a confession of guilt to the charge of loving many girls. Poem 10 is a denial of the asser tion of Graecinus that it is impossible for one man to love two women at the same time. Poem 1? is a confession of guilt to being a servant of one woman. The theme of nequitia in poem 4 is contrasted with the theme of servitium in poem 17# and the two themes are combined in poem 10, when the poet in his delight with nequitia finds himself a slave to love itself. In all three poems, the fact that the poet considers his state, whether it was nequitia or servitium, as shameful is apparent through the use of the adjectives turpis and mendosus early in the poem to show self-depreciation. In poems'4 and 17, the language used is dominated by legal terms such as defendere. confiteor, crimina. convincar and iudex creating the common scene of a courtoom and a legal proceeding. 61 In poem 4 the poet's interest in his craft is reflected in lines 19-22. Est quae Callitnachi prae nostris rustica dicat Carminai cui placeo, protinus ipsa placet Est etiam quae me vatem et mea carmina culpetf Culpantis cupiam sustinuisse femur. This is significantly recalled in poem 17*27-34. * Sunt mihi pro magno felicia carmina censu, Et multae per me noraen habere volunt. Novi aliquam, quae se circumferat esse Corinnamt Ut fiat, quid non ilia dedisse velit? Sed neque diversi ripa labuntur eadem Frigidus Eurotas populiferque Fadus, Nec nisi tu nostris cantabitur ulla libellist Ingenio causas tu dabis una meo. The girls in poem 4 are not treated as having inspired the poetry. Their conversations and criticisms of I Ovid's literature were only charms which helped to captivate the poet's heart. In poem 17» however, the scene is entirely changed and Corinna alone is credited with the ingenium of his poetry. This further illustrates the poet's nequitia in contrast to his servitium. It is through servitium amori3 that Ingenium comes. 62 « It is surprising that scholars Would treat 4 and 10 as analogous poems, but overlook 17*^ It is not enough that all three poems in question deal with his love. All of his poems do this in some way. Nor is it enough that poem ^ and poem 10 share the same motif. In light of the above discussion, however, the reader should think of poems and 17 as having been placed by Ovid in his arrangement of Book II to complement, that is to contrast, with one another thematically. He used poem 10, moreover, as a part- of that analogy in order to portray further the contrasting attitudes of the poet Cnequitia vs, servitium). Moreover, in poems 4 and 17 the poet is confessing his guilt', on the one hand to a charge of nequitia and on the other to a charge of servitium.
-^The following consider poems 4 and 10 to be comparable* Munari (53); R. Muller, (7 0); Port (45^)i P. Tremoli, Influssi Petorici e Isoirazione Poetica negli **Amores“ di Ovidio (Trieste* Istituto Filologico Classico, n. 1. 1955* PP* ^ ff.)i G. Luck, Latin Love Elegy (I0 6-I7 7), All of these, however, are looking at the common motif and treat the poems separately. I propose that the book should be treated as a whole so that the relationships of individual poems become further developed, or even changed. A.G. Lee in ^Tenerorura Lusor Amorurn,•* Critical Studies in Latin Literature* Lyric and Elegy [ed. J.P. Sullivan). p. 74~.~ savs. "It would appear that the germinal idea of most of the poems ■ was intellectual and not emotional.’* His point is for one poem, but applies to most. This would certainly allow that many of the poems could have been written, or at least arranged within the books, with certain analogies in mind. 63 Poem 10 is the poet's refutation of Graecinus' precept on servitium amoris. In one book of poetry Ovid is naughty, devoted, and an advocate of a hew morality. In creating this framework not only did he achieve a balance of themes in the book, but also he provided the framework for the symmetrical arrangement of the rest of the poems in Book II. Ovid arranged hi's poems with an overall plan in mind (albeit modified by variatio), Book I of the Amores * a is concentrated on successful development of love. Book III is devoted *to disillusionment with love.^ The purpose of Book II seems to have been to combine the two* first to develop the lover's servitium and to destroy his neauitiai and finally, to set the dramatic scene for the disillusionment to come in Book III.
h. Hofstaedter, p. 44,
G « Luck, Latin Love Elegy, p. 157. 64 Poem 4 is the first of the principal part of the book** and represents the nequitia of the poet which led to his successes. Poem 17 is the last of the core and represents the fullest development of the poet's servitium which led to his disillusionment. Poem 10 is located in the center of the remaining poems and shows the poet's state of development at mid-point. The remainder of the poems in Book II (5-9b» 11-16) will be seen to provide variations on this theme. Ovid formulated a generalized idea of the **typicalH love affair, inserted himself as the protagonist, and developed in a generally logical 1 sequence the various twists and turns of this love affair. He was more interested in the contrast of the themes neouitia and servitium than in presenting each episode in a correct.chronological sequence. We must remember that Ovidrs purpose in writing his Amores was to entertain. To this purpose he was seriously inclined. He intended, however, neither serious poetry nor autobiography.
**It has already been mentioned that the body of the book is considered to be poems 4-17. The other poems (1-3• 18-19) are introductory and closing poems and do not obviously fit into the thematic arrangement of the. book. It is possible that the closed doors in poems ■ 2 and 3 and the poet's desire to open them because of his neouitia contrast with the open doors of poem 19 and his desire to close them at least slightly. This could be a subtle presentation of the themes. The poems before 10 (5-9^) will, how be shown to deal mostly with nequitia. whether of the poet or his mistress. The poems after 10 (11-16) will be shown to deal primarily with the development of the poet's servitium to one girl. CHAPTER III
To understand the hook's arrangement around two themes, it is necessary here to re-state the ideas involved in Ovid's themes. To him, neouitia is a state of infatuation in which neither party is legally hound ^ ■* . to the other and in which a certain amount of "extra curricular" activity by both is expected. The only condition to be applied to this accepted infidelity is that it should be discreet so that either party can plausibly deny any such affair to the other. This is well illustrated in Amores III.5*5-10, Non mihi deceptae nudant tua facta tabellae, Nec data furtive munera crimen habent. 0 utinam arguerem sic ut non vincere possemj Me miserum, quare tarn bona causa mea est? Felix, qui quod amat defendere fortiter audet, Cui sua "non feci" dicere arnica potest. Ovid's version of servitium allies one party to the . other much more closely than the alliance found in neouitia. In the elegiac sense, they are legally bound to each other. This is well illustrated in Amores I.3*5-6. Accipe, per longos tibi qui deserviat annos, Accipe, qui pura norit amare fide. ; 67 The idea in servitium that one party in an affair has very definite responsibilities to the other party is very strong in Ovid's poetry. It is on these two themes and their various implications that he based the arrange ment of Book II. Chapter II of this dissertation has already illustrated the framing and central poems of the book and has shown how they articulate the thematic arrange- \ ment. In this chapter, poems 5» 6, 15 and 16 will be considered. The theme of nequitia chosen by Ovid for the first half of the book is well illustrated in poem 5. In this piece, the poet imagines himself at a banquet I where he has caught his mistress in an embrace with another man. His complaint is not so much that she had betrayed him as that she cannot attempt to hide her infidelity through her own indiscretion. The first fourteen lines of this poem set the scene. Nullus amor tanti est (abeas, pharetrate Cupido) Ut mihi sint totiens maxima vota mori. Vota mori mea sunt, cum te peccasse recorder, Ei mihi, perpetuum nata puella malum. Non mihi deceptae nudant tua facta tabellae, Nec data furtive munera crimen habent. 0 utinam arguerem sic ut non vincere possemi Me miserum, quare tam bona causa mea est? Felix, qui quod amat defendere fortiter audet, Cui sua "non feci" dicere arnica potest. F.erreus est nimiumque suo favet ille dolori, Cui petitur victa palma cruenta rea. Ipse miser vidi, cum me dormire putares, Sobrius apposito crimina vestra raero. (1-14). 68 The poet actually caught his girlfriend‘at an indiscreet moment. He wishes it were possible for her to deny the event* but he himself was the witness. What he saw is described in lines 15-28* the sensuous kiss. He describes some of the tactics used to deceive him* but they were useless. He was only feigning drunken stupor. His mistress, v/hen confronted, is eager to calm him and does so, momentarily, without speaking a word (lines 29-48). Then, as a reward for his leniency and at his request, she kisses him. It is as good a kis3 as he could want and its power in calming his ire is expressed in lines 51-52. Risit et ex animo dedit optima, qualia possent Excutere irato tela trisulca Iovi, The allusion here is one open to vivid interpretation. It is possible that Ovid meant to recall the episode in poem 1 of tua tela vs. the mea tela of the elegiac poet. It is also possible that Ovid meant the reader to associate the poet with Juppiter and to illustrate the helplessness of everyone, even Juppiter, in the throes of love. The kiss, however, does nothing other than disturb the poet and remind him of her*affair. It seems as though she had developed a new technique which could only have been learned in bed* and, what is more, only from another. 69 The overall dramatic situation of the poem is caused by the girl*s indiscreet neouitia. her faith lessness to the poet. Ovid, however, seems to lament more her indiscretion than her faithlessness (lines 9-10), This is in keeping with his presentation of nequitia in Book II in that it is expected of both partiest but discretion must be used. In poem 7» he will be able to disavow an affair with Cypassis. In 9*> (19-22) he will delight in the "game** of love which includes deception even on the part of the girl. Me modo decipiant voces fallacis arnicae (Sperando certe gaudia magna feram), Et modo blanditias dicat. modo iurgia nectat, Saepe fruar domina, saepe repulsus earn. It seems, therefore, that "cheating" was to be expected. But with that a measure of discretion was mandatory. The tone of accusation and incrimination is dominant in the first ten lines of 11,5* ueccasse (3), crimen (6), arguerem (7), vincere (7), causa (8), defendere (9)» and non feci (10). The nequitia of the mistress is vividly portrayed in the two passages in which the kisses are described (lines 15-28 and 49-62).- The futility of protestation is apparent in Qui modo saevus eram, supplex ultroque rogavi Oscula ne nobis deteriora daret (49-50). 70 Defeat and complete frustration are undeniable in the last couplet. Ilia nisi in lecto nusquam potuere doceri. Nescio quis pretium grande magister habet. <61-62). This is an Ovidian twist on the praeceptor amoris theme. It is not the poet who has done the instructingt rather, it has been his rival* The image of the poet here is that of the insulted lover, who, ostensibly, had every right to complain of his girlfriend*s adventurous infidelity, but chooses instead to complain more of her indiscretion. The poet's complaint about his mistress* infi delity in poem 5 is echoed in potem 16. Moreover, just as poem 5 well illustrates nequitia as the theme for the first half of Book II, so poem 16 serves to illustrate servitium as the theme for the second half of the book. In. this poem Ovid is at Sulmo and is full of praise for his native land. His happiness* however, . is not complete. While his love is present with-him in Sulmo,* his beloved is not (lines 1-10). He wishes for her presence (lines 11-18) and dreams of his increased capacities should she come (lines 19-32). . The dramatic situation of poem 16 is caused by the faithfullness of the poet in contrast to the faithlessness of the mistress. At mihi te comitera iuraras usque futuram Per me perque oculos, sidera nostra, tuos* Verba puellarum, foliis leviora caducis, Inrita, qua visum est, ventus et unda ferunt. (16.43-46). It is apparent in lines 11-12 that he is still devoted to her. At raeus ignis abest, Verbo peccavimus unoi Quae movet ardores est procul, ardor adest. But it is equally apparent that she is trifling with him, or at least riot fulfilling her promise, in lines 43-46, The importance of the girl's presence is empha sized in lines 19-32 where he would be capable of moving heaven and earth with her nearby*. The impact of this passage is underlined by the framing passages, 11-18 and 33-40, in which the poet's attitude is negative and he paints a bleak picture of what life would be worth to him without her. The two negative passages frame the central and positive passage increasing the effect of lines 19-32 and driving home the poet's need for his girlfriend's presence. The purpose of the poem was to convince the errant mistress to mend her broken promises and to hasten to Ovid's side, Siqua mei tamen est in te pia cura relicti, Incipe pollicitus addere facta tuis (47-48), 72 In the last couplet it may be that he really wishes for his mistress a pleasant journey to his side. In reality, however, it would be more in the nature of Ovid’s Amores should these lines be read as erotic allusions to his mistress herself. Then his real reason for wanting her near becomes all too evident. At vos, qua veniet, tumidi, subsidite, montes, Et faciles curvis vallibus este, viae. (51-52). It should be clear to the reader that poems 5 and 16 share the same dramatic situation. The poet is complaining of the faithlessness of his mistress while he has maintained his*fidelity to her. Poem 5# however, is more a complaint of the girl's neauitia and her indiscretion while poem 16 is meant to empha size the poet's servitium to her. The complaint of poem 5 is that the girl has been indiscreet (lines 9-10). In poem 16 the complaint .is of the fickleness of a girl's promise (lines 45-46). It is seen then that the two poems share common characters, the faithless mistress and the wronged poet. From this it is possible to say that, the poems balance each other thematically in the symmetrical arrangement of the book. Moreover, the girl in poem 5* through her infidelity and indiscre tion, serves as a symbol of neouitia just as Ovid in poem 16, through his devotion to Sulmo and his mistress, serves as the symbol of servitium. Thus, both poems are 73 appropriate illustrations of the theme for their respec tive halves of the book and balance each other symmetric ally in the arrangement of the book.
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In the following discussion of II.6 and 15* the latter will be treated first. The reason for this is that the interpretation of poem 1 5 may help in the defense of the interpretation of poem 6. In 11.15* Ovid is sending his girlfriend a ring as a gift* and while preparing it, his imagination transforms the ring into the poet himself. What ensues is an imaginative personification of the ring making it capable even of physical intimacy. The poem ends, however, very realistically. The poet comes to his senses and recalls the real purpose of the ring* to be a symbol of his fides. The subject of the poem is identified and directly addressed in the first word of the poem* Anule. Anule, forraonsae digitum vincture puellae, (1). The reason for the poem is expressed in the first words - of the third line. Munus eas gratum. • .(3)* l u f The poet is wishing that his gift might be well received and that it would be pleasing. The poem is serving as an imaginative and romantic send-off for the gift. Ovid means the gift to give pleasure to his mistress as seen in, Felix, a domina tractaberis, anule, nostra; (7)* The deeper meaning of the gift is expressed in, Inrita quid foveo? Parvum proficiscere munust Ilia datam tecum sentiat esse fidem. (27-28). The ring is to be a symbol of his fides, his devotion to the girl. In lines 9-26, the ring is highly personified. It fondles the girl* Tunc ego, si cupiam, dominae'tetigisse papillas (11)t it reaches inside her garments; Et laevam tunicis inseruisse manum, (12); it strays in places dreamed of by the poet; Elabar digito quamvis angustus et haerens Inque sinum mira laxus ab arte cadam (13-14); it kisses.the girl; Idem ego, ut arcanas possim signare tabellas Neve tenax ceram siccaque gemma trahat, Umida formonsae tangam prius ora puellae* Tantum ne signem scripta dolenda mihi. (15-18); it holds her tightly, Si trahar . ut condar loculis, exire negabo, Adstringens digitos orbe minore tuos. (19-20), but is not a burden to her. 75 Non ego dedecori tibi sim, mea vita, futurus, Quodve tener digitus ferre recuset, onus. (21-22). It takes a bath with her and enjoys the provocative fragrances of her perfumes. Me gere, cum calidis perfundes imbribus artus, Damnaque sub gemmam perfer euntis aquae. (23-2*0. Finally, the ring even becomes capable of physical intimacy, having been excited by his mistress* nudity. Sed, puto, te nuda me membra libidine surgent, Et peragam partes anulus ille viri (25-26). The poet does not make the personification of the ring real. Rather, he imagines what he would do were he the ring. Inrita quid foveo?. • .(27). arid 0 utinam fieri subito mea munera possem Artibus Aeaeae carpathiive senist (9-10). The verbs in the successive lines whether present sub junctive or future indicative serve to emphasize the dream,’the unreal aspect of Ovid's imaginative trans formation. Concerning the moods, there is some controversy.^- -But the force of the passage remains the same regardless. The whole situation is imagined, an ideal dreamed for.
^R ,P. Oliver, "Ovid in his Ring," CPh, 5 3 (1958), • pp. 103-106. He takes the verbs as future indicative rather than present subjunctive. In this case, the vividness of Ovid’s dream would be emphasized rather than its unreal aspect. The closing lines make the poem, thematically appropriate to its portion of the book. Fides would be a part of servitium and it is a rather strong word to be used only incidentally. It is going as a gift to the girl serving as a symbol of the poet’s devotion and servitium. 11.15 is a type of poem popular in the Palatine Anthology in which the honored subject, normally inanimate is imagined to be alive (eg., XII. 208, V .8 3 and 8*f). Similarly, 11,6 is a type found frequently in the Palatine Anthology in which the recently departed is mourned. Ovid included in his Amores two poems which are classed as enicediat II.6 and III.9# The latter is a serious dirge in honor of his highly respected colleague Tibullus. The former is an Ovidian variation of the dirge, influenced by Catullus (c. 3) and the poets of the Palatine Anthology (VII.189-19^, 197-216). II.6 is a lament on the death of the pet parrot which belonged to Ovid’s mistress. Jose Esteve-Forriol has set out a scheme for the eoicedion and E. Thomas
A Jose Esteve-Forriol. Die Trauer- und Trost- gedichte in der romischen Literature untersucht nach- ihre Tooik und ihrenT Motivschatz tInaugural Dissertation, Munich* 1 9 6 2). 77 has applied this scheme to the poem under consideration here.-* 1-16, Introduction. The mourners are hidden to come to lament the deceased. 17-24, laudatio, "Quid iuvat." This passage is praise of the dead bird. 25-42, laudatio. These lines contain an indignant outburst against a cruel and unjust fate which has taken the bird away. 43-48, descriotio morbi et mortis. Here, the death and the deceased are described in pitiful language. 4-9-58, consolatio. There i3 consolation, however, I in the glories in which the parrot shares in the Elysian fields.
5 9-6 2, descriotio funeris. The tomb is described in these lines and the inscription quoted.
-^Elizabeth Thomas. "A Comparative Analysis of Ovid Amores II.6 and III.9." Latomus. 24 (1965)# pp. 5 9 9-6 0 9 * See also, G. Luck, Latin Love Elegy, pp. 149- 150* L.P. Wilkinson, Ovid Recalled, p p . 65-79. Ancient uses of euicedia with animals as subjects are found in Catullus 3# Statius Silvae II.4 and 5. The Greek models are found in A.P. VII.189-216. See also, A. Pais, "Degli epicedii latini," Riv. di filol.. 1890* R. Lattimore, Themes in Greek and Latin Epitaphs. 1962* G. Herrlinger, Totenklage um Tiere in der ant. Dichtung. 1930* and A.A. Day, Origins of Latin Love Elegy, pp. 134-135. Both of the epicedia which Ovid' included in the Amores are based upon an ancient scheme and the poet allowed himself little freedom in their arrangement. His effectiveness in composing 11,6 lies in his varia tion of tone (pathos to humor) within the scheme of the epicedion. The laudatio is a serious pronouncement on the good-qualities of the dead parrot. It is relieved by the descriptio morbi et mortis in which humor is inserted with the parrot talking to the end, Clamavit moriens linguat "Corinna, valeJ" (48) In the consolatio the serious tone is introduced again and the poet even approaches a lofty philosophical question. Siqua fides dubiis, , .(51)* He reminds the audience of the context of the poem (a book of poetry on love) with _ Oscula dat cupido blanda columba mari (56). Then he returns to the humorous by having, the parrot still talking after death and thus attracting the other members of the blessed fields. Psittacus has inter nemorali sede receptus Convertit volucres in sua verba pias. (57-58) In the descriptio funeris the pathos is returned to its proper place with the appropriate tomb and its inscription. 79 Ossa tegit tumulus, tumulus pro-corpore magnus. Quo lapis exiguus par sibi carmen habeti Colligor ex ipso dominae placuisse sepulcro* Ora fuere mihi plus ave docta loqui. The reader has been carried by the poem from pathos to humor and back to pathos. As already mentioned, this poem was very likely influenced by the Palatine Anthology. Moreover, in the symmetrical arrangement of the book it seems that Ovid intended poems 6 and 15 to balance one another (the frame of 4, 10, and 17, and the balanced poems 5 vs. 16, as well as 1, 2, and 3 vs. 18 and 19 show an emerging pattern which could lead one to expect the association of poems 6 and 15). in addition to all of this, the two poems share basically very similar subjects!
< personified gifts treated as subjects worthy of honorific poetry. These facts incline the reader to look for more in the two poems which might coincide. The subject of poem 6 and why it is the subject are identified in the first two lines of the poem. Psittacus, Eois imitatrix ales ab indis, Occidit* exsequias ite frequenter, aves, (1-2). It is directly addressed in line 16.. Hoc tibi, dum licuit, psittace, turtur erat.,(l6). The parrot was a well-received gift. Quid iuvat, ut datus es, nostrae placuisse puellae? (19). 80 Its last thought was of its mistress, and it felt emotion. Clamavit moriens linguat "Corinna, vale!" (48). Throughout the qualities of the bird are presented as human qualities which may be those which Ovid regarded as his own* It was capable of entertaining conversation*
Convertit volucres in sua verba pias* (58)1 It knew friendship* Omnes, quae liquido libratis in aere cursus, Tu tamen ante alios, turtur amice, dole. Plena fuit vobis omni concordia vita Et stetit ad finem longa tenaxque fidesj (11-14)» it disliked violence* Raptus es invidia* non tu fera bella movebasi Garrulus et placidae pacis amator eras, (25-26)1
it preferred simple foods to others1
Nux erat esca tibi causaeque papavera somni, (31)1 and it was pleasing to its mistress for many qualities. "Colligor ex ipso dominae placuisse sepulcro; Ora fuere mihi plus ave docta loqui*** (61-62)* Because of this extensive personification and the other linking aspects of the two poems which were mentioned above,.it now becomes a temptation to read poem 6 as somewhat allegorical and.in the above description of the parrot to see a self-portrait of the poet just as the ring became personified in the image of the poet. With this in mind, the imitatrix of line 1 and the simulant!or of line 23 would become more significant.
Non fuit in terris vocura simulantior ales* (2 3). 81 * Ovid imitated most of his predecessors in elegy or at least was considerably influenced by their poetry. It is always a problem how far to carry the interpretation of allegory of any poem. This would be the case with II.6 should such an interpretation even be begun. There is much more which may be allegorical (for instance, the relationship of the turtur. the bird of love, to the parrot). In poem 6, he makes the parrot's death more an occasion for mourning by making the bird seem very much like the irreplaceable Ovid. Not only does he take the opportunity to imitate Catullus (c. 3) and the poets of the Palatine Anthology, but he may use it incidentally to describe himself. The dirge was a "set piece" belonging to elegy through a strong tradition.^ That it was traditional later in Latin literature also is evidenced by Statius* SiIvae 2.4, and Martial 7.14._ Ovid was carrying on the traditional motifj but adding his own turn to a traditional genre would not have been unlike him (cf. Amores 1.6, where the janitor is introduced as a major character in the naraclausithvron and even addressed).
**This begins with Homer*s Iliad XXIV. 82 Besides the allegorical interpretation, both poems (6 and 15) have much in common. Both are about a possession of Ovid's mistress, either treasured or to be treasured* both possessions are highly per sonified, the parrot showing a considerable number of human qualities, the ring being capable of physical intimacy* the parrot is dying while the ring is imagina tively coming to life* the parrot was dear to his mistress while it is hoped that the ring will be so*.both possessions are identified immediately at the beginning of the poemi Psittacus and Anule t both are directly addressed in their
respective poems* both were gifts (6.19 and 1 5 *3)• Both poems close on a theme of the mistress* happiness. The parrot had proved pleasing to his mistress* it is hoped that the ring will prove pleasing. But most important, both poems seem to allow Ovid imaginatively to substi tute something for himself. The two poems complement one another through their interest in possessions of the mistress. Moreover, both similarly represent the poet in an imagined or., allegorical situation. Both poems are types . which are traditional to the elegiac genre. CHAPTER IV
In this chapter the poems of Ovid's Amores II which will be discussed are 7# 8, 9# 98* H * 12, 13» and 14* The approach to these poems will be to examine them consecutively in pairs, that is 7*8, 9.9L* 11.12, and 13*14, Then a discussion will be presented on the aspects of their thematic and symmetrical arrangement.
* • «
In poem 7 Corinna has caught Ovid in an affair with her own hairdresser, Cypassis* . The poet denies the involvement and laments the necessity of always being on the defensive. With the first line of the poem, he introduces himself as an.overly-accused culprit. Ergo sufficiam reus in nova crimina semper? (1). The poem is a rebuttal of the recurring charge of his infidelity. .Lines 1-16 are a complaint by the poet that his mistress is constantly nagging him about his various alleged flirtations. The latest affair which has incurred her wrath is one (allegedly) with her hairdresser, 83 Ecce novum crimen* sollers ornare Cypassis Obicitur dominae contemerasse torum. (17-18). In response to the current charge, Ovid defends himself in lines 19-26 by condemning the association of a free man with a slave. His defense is bolstered by an oath to Venus and Cupid. Per Venerem iuro puerique volatilis arcus Me non admissi criminis esse reum. (27-28). The reus and crimina of line 1 set the tone of the poem of wrongdoing and accusation. The same words are repeated in the last line (28) when the poet refuses to admit that he has done anything wrong. He does, however, word his oath very cleverly. He swears by Venus that he is innocent (line 27). Such an oath, according to Ovid is expected of a lover and the goddess who requires it will protect him. At quanto, si forte refers, praesentior ipse Per Veneris feci numina magna fideml Tu, dea, tu iubeas animi periuria puri Carpathium tepidos per mare ferre Notos. (11.8 .17-20) In poem 7» Ovid is interested primarily in making himself out to be innocent by insinuating that as a liber (line 21) he would have nothing to do with a slave (lines 19-26). But at the same time he wants to make his mistress feel pangs of guilt for qonstantly making new accusations of infidelity (lines 3-16). The first two lines introduce the poet as a lover who is being 85 discriminated againsti lines 17-18, present the charge which is of immediate concern to Ovidj and in lines 27-28, Ovid refuses to admit his guilt. Poems 7 and 8 have the same characters! but in one poem Cypassis is talked about and the mistress talked to? in the other Corinna is talked about and the servant is talked to, Ponendis in mille modos perfects capillis, Comere sed solas digna, Cypassi, deas, (6.1-2), and Sensit concubitus unde Corinna tuos? (6). In poem 8, the scene has changed from that of poem 7, but the same dramatic situation exists. The poet is now with Cypassis and demands his reward for having protected the slave from her mistress* wrath. He wants in lines 1-8 to show that no clue was given to Corinna of their affair. In lines 11-12 he flatters her by associating her with some famous mythological mistresses. Thessalus ancillae facie Briseidos arsit, Serva Mycenaeo Phoebas amata ducit (11-12). Nor does he let slip the opportunity to flatter himself in like fashion. Nec sum ego Tantalide maior, nec maior Achille* Quod decuit reges, cur mihi turpe putem? (13-14). In lines 15-20, he describes the confrontation with the mistress in which he made his oath to Benus. At quanto, si forte refers, praesentior ipse Per Veneris feci numina magna fideml (17-18). I
86 The point of this seems to have been to arouse a sense of gratitude in Cypassis for Ovid’s various efforts to cover up the affair* Pro quibus officiis pretium mihi dulce repende Concubitus hodie, fusca Cypassi, tuos. (21-22). If Cypassis* obligations to Ovid do not seem as strong as he would like, he makes it perfectly clear that he is ready and willing to inform his mistress of the whole matter, endangering the slave's very being. Quod si stulta negas, index anteacta fatebor Et veniam culpae proditor ipse meae, Quoque loco tecum fuerim, quotiensque, Cypassi Narrabo dominae, quotque quibusque modis. (25-27). The overall image of the poet in poem 8 is of a culprit who has gotten away with his deception. It is the trend of recent scholarship to treat 7.8 as a pair of poems.^ It is clear that they share the same characters and that they seem to refer to the same dramatic situation. The pause between the two poems allows for a change of scene and characters, a lapse of time, and a dramatic presentation of Ovid's wit. At the end of poem 7 the reader thinks that the poet is innocent of the charges just as Corinna must
‘'‘Fo r 7.8, v. Lenz (179* 196-197)* Munari (^8), Ntfmethy (177)* Brandt (106), Port (*4-5*0* Wilkinson, Ovid Recalled (6 7), Lee, "Tenerorum Lusor Amorum** (155)* Martini (13), Jager (9-1*0# and Luck, Latin Love Elegy (158).. 8 7 have. But in poem 8 it becomes vivdly clear that Ovid is in reality guilty as charged. In poem 7, he defends himself to Corinna against a chargej he admits to Cypassis, in poem 8, that he is guilty (obviously for the sake of the reader). In the pair, necmitia as a theme is undeni able, But it is important to hote that the necessary discretion is there. He can plausibly deny the affair and has done so. This pair of poems presents to the reader two moments centered around the same dramatic situation. In poem 7» he makes his plea and in poem 8 it is clear that he won the case. Corinna has believed his misleading oath and now Cypassis must repay the poet for his daring.
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Poem 9 has come to us in the manuscripts as one poem, Lucian MUller, however, in 1856 suggested that in reality this poem should be two, the second beginning at 9.25, All critics do not agree. But lately many scholars seem inclined to accept the division.-^
2 Lucianus Muller, ' "Be Ovidii Amorum Libris" Philologus. 11 (1856), pp. 89 ff,
-^Those in favor of dividing the elegy into two are Muller, Brandt, Port, Ehwald, Ndmethy, Showerman, Bornecque, Martini, Harder-Marg, and Kenney. Those opposing the division^ are Riese, Edwards, Neumann, Lens, Levy, Eisenhut, and Jager. Munari makes his readers aware of the controversy and provides two sets of numbers.
\ 88 In the following discussion I will treat poem 9 as two separate elegiest 9 and 9b. Munari's alternate set of line numbers for 9b will be used. Poem 9 is a prayer addressed to Cupid in which Ovid complains of his constant activity under the banner of love and asks to be retired. 0 numquam pro me satis indignate Cupido, 0 in corde meo desidiose puer, (1-2). The imagery which he uses is that of the militia amoris. He likens himself to a soldier fighting under the banner of Cupid and he imagines Cupid as having turned on him. Quis me, qui miles numquam tua signa reliqui Laedis, et in castris vulneror ipse meis? Cur tua fax urit, figit tuus arcus amicos? Gloria pugnantes vineere maior erat. (3-6), The poet feels that love has been unfair to him. Quid iuvat in nudis hamata retundere tela Ossibus? Ossa mihi nuda relinquit amor. (13-14), and wishes that love would make itself felt on others. Tot sine amore viri, tot sunt sine amore puellaet Hinc tibi cum magna laude triuraphus eat (15-16). Ovid complains that he is tired of constantly being in love and says that he wants to retire. Fessus in acceptos miles deducitur agros, Mittitur in saltus carcere liber equus, Longaque subduetarn celant navalia pinum, Tutaque deposito poscitur ense rudisi Me quoque, qui totiens merui^sub amore puellae, Defunctum placide vivere tempus erat. (19-24). 89 In these metaphors he compares himself to a worn-out soldier, a horse which should be put to pasture, a ship in need of dry-doek, and a gladiator ready to retire* He is apparently very much averse to another love affair. He uses this poem to show his disenchantment with love. The only representation of neouitia as a theme is a negative one in which Ovid portrays it as a tiring and soul-devouring aspect of love. But this Is once again Ovid's wit at work. Just as in poems h, 7,8, so in 9.9t>, we do not understand correctly the image of the first poem until we have read the second. The real purpose of 9 is to prepare the reader's mind for a dramatic jolt. In 9*>, it becomes evident that what Ovid wants is exactly the opposite of 9, Poem 9b was written by Ovid in praise of the . rigors of love. The first line, "Vive" deus "posito" siquis roihi dicat Hamore,M (1), ties this poem to poem 9. The deus referred to is the Cupid to whom 9 is addressed. And the god's response in 9b is to the poet's prayer in 9. This sets the
^Nemethy (182), Brandt (109), Port (45^), and Martini (13) treat 9.9b as a pair of dramatically related poems. dramatic scene, tying the two poems together as a pair, and allows Ovid to present forcefully his emulation of love. To him a girl is a sweet evil, Deprecer, usque adeo dulce puella malum est, (2) The metaphors used in lines 3-10 show that he would always find new momentum for another affair just as the old one was dying. Cum hene pertaesum est, animoque relanguit ardor Nescio quo miserae turbine mentis agor, Ut rapit in praeceps dominum spumantia frustra Frena retentantem durior oris equus, Ut subitus, prope iam prensa tellure, carinam Tangentem portus ventus in alta rapit. Sic me saepe refert incerta Cupidinis aura Notaque purpureus tela resumit Amor, With lines 11-14, Ovid offers himself up to the will of Cupid, again with a striking military metaphor, Fige, puert positis nudus tibi praebeor armist Hie tibi sunt vires', hie tua dextra facitt Hue tamquam iussae veniunt iam sponte sagittaei Vix illis prae me nota pharetra sua est. He pities the man who can sleep all night. Longa quiescendi tempora fata dabunt. (18), His prayer for the continuation of the rigors of love is in lines 19-22. Me modo decipiant voces fallacis amicae (Sperando certe gaudia magna feram), Et modo blanditias dicat, modo iurgia nectat, Saepe fruar domina, saepe repulsus earn. The poem ends with an appropriately prayerful wish for the glory of the deity. Accedant regno, nimium vaga- turba, puellaej Ambobus populis sic venerandus eris. (29-30), In this poem the poet is definitely interested in more amorous adventures and in this way the poem illustrates the theme of neouitia. Moreover, through the pairing of 9,9b, the pair becomes thematically appropriate. We can now see that 9 was not the real prayer which Ovid intended. It was only to illustrate exactly what the poet did not want and in 9b he makes this clear. With the first couplet of 9b, he sets aside the prayer of 9 and proceeds to present Cupid with his real desirei that he should always be in love.
* * *
In poem 13 Corinna had either had'an abortion or had tried to have an abortion,^ and the poet is horrified at her action. But his own sense of responsi bility and concern for the girl causes him to pray at length for her survival.
-*The interpretation of this poem is uncertain. It is possible that Corinna only attempted an abortion in 13 and only in 14 do we learn that it or another was eventually successful. An alternative interpreta tion and equally plausible is that she was successful in the abortion of 13* but was seriously ill from complications. By the time of 14, her health had improved to allow the poet's anger to swell, his fear of poem 13 having abated somewhat. Since either interpretation is possible from what Ovid wrote, it must be taken that the context of the poem was of no concern to Ovid and, therefore, should not be to us, * 92 * In this poem, Corinna is in danger of losing her life. Dura labefactat onus gravidi temeraria ventris. In dubio vitae lassa Croinna iacet. (1-2), Ovid is both angered and frightened by her action, but, for the time being, yields to fear. Ilia quidem clam me tantum raolita pericli Ira digna mea, sed cadit ira raetu, (3-^). The reason for his fear is his devotion for Corinna and the knowledge that he is possibly responsible, Sed tamen aut ex me conceperat, aut ego credot Est mkhi pro facto saepe quod esse potest, (5-6), Because of his fear and sense of responsibility, he begins to pray for her (7-26), The first prayer is to Isis. Hue adhibe vultus, et in una parce duobust . Nam vitam dominae tu dabis, ilia mihi, (15-16), His own life is dependent upon the survival of Corinna, so devoted is he to her. The reason for his appeal to Isis is that Corinna had often participated in her rites. Saepe tibi sedit certis operata diebus. Qua tingit laurus gallica turma tuas. (17-18). The second prayer is made by Ovid to Ilithyia who is the protectress of pregnant women and childbirth. Denis ades precibusque meis fave, Ilithyia! Digna est quam iubeas muneris esse tui. (21-22), To promote the goodwill.of the goddess, he promises her gifts. 93 Ipse ego tura dabo fumosis candidus aris. Ipse ferara ante tuos rounera vota pedest Adiciam titulum "servata Naso Corinna," Tu modo fac titulo muneribusque locum, (23-26). The last couplet of the poem is directed toward Corinna and consists of advice that she should not try such a thing again. Si tamen in tanto fas est monuisse timore, Hac tibi sit pugna dimicuisse satis* (27-28). The poem is mostly devoted to prayers for Corinna*s health, and for the moment at least, his anger slips from the forefront, allowing him to make an apology on behalf of his mistress (he shares the responsibility) and to pray for her in spite of her guilt. His devotion to her through a sense of responsibility for the situation puts his anger in second place to his concern and prayers. In this way the poem portrays Ovid as a servus amoris who is consumed by an inordinate degree of anxiety and
t responsibility and is appropriate thematically to its position in Book II. In poem 14, an abortion once again provides the dramatic situation. The scene, however, is developed beyond that of 13, His mistress has apparently passed the crisis stage since he is more intent upon castigating her for her rash action in having an abortion than in poem 13. In lines 1-8, Ovid queries the point of a woman* life safe from war if she is to risk her life in an abortion. Quid iuvat immunes belli cessare puellas Nec fera peltatas agmina velle sequi. Si sine Marte suis patiuntur vulnera tells Et caecas armant in sua fata manus? Quae prima instituit teneros convellere fetus. Militia fuerat digna perire sua. Scilicet, ut careat rugarum crimine venter, Sternetur pugnae tristis harena tuae? He goes on in lines 9-^0 to discuss Corinna*s action as a crime against nature and reason. His first point is made by referring to those great characters of history v/ho would not have been born had their mothers reacted similarly. He concludes this section with Corinna and himself, * Ipse ego, cum fuerim melius periturus amando, Vidissem nullos matre necante dies, (21-22), He emphasizes this point with an extensive metaphor on nature• Quid plenam fraudas vitem crescentibus uvis Pomaque crudeli vellis acerba manu? Sponte fluant matura sua, sine crescere natai Est pretium parvae non leve vita morae (23-26) He definitely considers her abortion to have been the wrong thing to do. If Corinna should have reasons such as those of Medea and Procne, Ovid is prepared to understand her actiont but in lines 27-3^-i he makes it clear that in his opinion she does not. 95 Dieite quis Tereus, quis vos inritet Iaso Figere sollicita corpora vestra cnanu, (33-34). At the same time, by including this section, he defends himself against any possible responsibility. His point is that she does not have a Jason or Tereus causing her rash action. He considers her action to make her less civilized than even the wild beasts. Hoc neque in Armeniis tigres fecere latebris, Perdere nec fetus ausa leaena suos. (35-36). He even suggests that perhaps Corinna should have died with her child in order to maintain honor. At tenerae faciunt, sed non inpune, puellae* Saepe, suos utero quae necat, ipsa perit. Ipsa perit ferturque rogo resoluta capillos, Et clamant "merito" qui modo cumque vident. (37-^0). Ovid, however, in all of his anger against her concludes the poem with a prayer. He hopes that his words will have no effect on the gods and that they will grant safety to Corinna, allowing her to. pay for her foolishness the next time. Ista sed aetherias vanescant dicta per auras, Et sint ominibus pondera nulla meis. Di faciles, peccasse semel concedite tuto; Et satis estf poenam culpa secunda ferat (41-44). His attitude towards Corinna is definitely one of castigation, and he accepts no responsibility for her action. He remains, however, devoted to her, as evidenced in his prayer for her life at the conclusion of the 9 6 poem. He remains* in spite of his anger* a servus amoris.
Just as in poems 7*8 * so it is with 13.14 the trend of modern scholarship to treat the two poems as a dramatic pair.** They share the same dramatic situations an abortion. They share the same characters. The mood
of 1 3 , however, is one of fear and shared responsibility while in 14 it changes to one of outrage and refusal to accept responsibility. The pause between the poems allows the mistress' condition to improve and the poet's attitude to change. In neither poem is Ovid the frivolous man prone to nequltia* rather his mood is at first responsibility and servitium. but always servitium. While 13 is an apology for Corinna, 14 is a condemnation* but both are prayers for her survival.
* * #
Poem 11 is.intended as a propempticon for Corinna. Its purpose rs~ first to convince her not to depart on her planned voyage. Failing that, he wishes her a safe journey and speedy return to his arms.
6v. Munari (56-59), N^methy (195). Brandt (119)* Port (454), Neumann (55)* Martini (13)* Jager (20-25)* and Luck, Latin Love Elegy (158). 97 The first six lines of the poem in their similarity to the first few lines of Euripides * Medea compel the reader to associate Ovid's situation to Medea's.* Prima malas docuit mirantibus aequoris undis Peliaco pinus vertice caesa viasf Quae concurrentis inter temeraria cautes Conspicuam fulvo vellere vexit ovem* 0 utinam, nequis remo freta longa moveret, Argo funestas pressa bibisset et aquasl (11*1-6)*
Etd* w Ovid's first complaint is that the Argo was launched. He places the blame for Corinna's departure by ship, on the invention of the ship exemplified by the Argo. - But indirectly Ovid is calling the reader to remember Medea and her passionate devotion to the fickle Jason and the ill wind which brought her into such a situation. He considers his plight to be a similar one. The real problem for Ovid is told in lines 7-8 , Ecce fugit notumque torum sociosque Penates Fallacisque vias ire Corinna parat. 98 ' • ■ ■ • In an attempt to persuade Corinna not to go on her planned voyage, Ovid describes in lines 9-32 the various dangers, discomforts, and uncertainties of the sea trip. These dangers are found elsewhere in other properaptica including those for Gallus (Vergil, Eclogue X.46-^49) and Propertius (I,8 a). With line 33, Ovid begins the second half of the poem. In lines 3 3 - 3 6 he briefly wishes her well should she insist upon going. At, si vana ferunt volucres mea dicta procellae, Aequa tamen puppi sit Galatea tuae. Vestrum crimen erit talis iactura puellae, Nereidesque deae Nereidumque pater. This is followed by a lengthier passage (lines 37-56) in which the poet wishes her a speedy and safe return to her devoted lover*s arms. Ovid*s joy upon her return, should she go, would be unbounded. Primus ego aspiciam notam* de litore puppim Et dicam “nostros advehit ilia deos." Excipiamque uroeris et multa sine ordine carpam Osculat pro reditu victims vota cadet, Inque tori formam molles sternentur harenae, Et tumulus mensae quilibet instar erit. (43-^8). Ovid wanted to shame Corinna to convince her to remain with him. The image of the faithful lover waiting eagerly and anxiously for the return of his mistress • would make Corinna*s departure difficult and rather embarrassing. 99 The poem is an emotional plea made in order to * convince his mistress to stay with him. He is not averse to using any tricks he can to overcome the obstacles placed before him. His devotion to Corinna » « is evident throughout the poem and is the key in his emotional appeal (the faithful lover standing alone on the shore). Poem 12 has the1 same two characters as poem 11, Ovid and Corinna, but the scene is completely reversed. In this poem Ovid claims a victory. His mistress is in his arms, and it is through his skill that he has won his cause. Ite triumphales circum nea tempora laurust Vicimus* in nostro est, ecce, Corinna sinu, Quam vir, quam custos, quam ianua firma, tot h03tis, Servabant, nequa posset ab arte capi, (l-*f). With strong military metaphors and illustrations with epic proportions, he compares his victory in love with those victories in war. Likewise, he associates himself with epic heroes and his mistress with those epic heroines who had caused wars. In this way he enlarges his characters so that they become grander than life and, therefore, his victory all the greater. His victory, however, differs in one very significant way from all of his exemola and he is eager for the reader to know the difference. At me seposita est et ab omni milite dissors Gloria, nee titulum muneris alter habet* Me duce ad hanc voti finera, me milite veni* Ipse eques, ipse pedes, signifer ipse fui. (11-14). He had won his victory through no bloodshed. And he had won the victory alone and not with an epic host. His commander-in-chief was Cupid. Me quoque, qui multos. sed me sine caede, Cupido Iussit militiae signa movere suae. (2 7-2 8 ). The "Cupido/Iussit* recalls to the reader similar expressions in poem 1 of Book IIi "Hoc quoque iussit Amor (II.1.3)," and "Carmina. ourpureus quae mihi dictat Amor (II.1.38).** In this Ovid alludes that his victory of poem 1 2 was won through the efforts of his poetry. The poet is delighted with the victory not only because he has wont he is also ecstatic because the bloodless victory has been effected by the poetry which he feels compelled to write. In writing poem 12, Ovid created an ironical situation. It is clear in the first couplet that he has won a great victory (vicimus). The fact that the "war" was even fought, however, shows th&t the real victor hais been Corinna, since he is so captivated by her that he deems her worth the effort. This irony is emphasized in lines 2 7 - 2 8 when he shows himself not as the leader, but as one who performs the duties ordered him (Curido/lussit). He is victorious, but the victory really belongs to Cupid* Nonetheless, for the moment at least, he is devoted to Corinna and jubilant in his victory. There are several reasons to consider poems 11 and 12 as a pair of poems. They have the same character. Poem 12 can reasonably be a shout of victory made by the poet when Corinna yields to his emotional arguments and stays home rather than sail away on her planned voyage. Moreover, I have already mentioned that Propertius wrote a propempticon with many of the same devices as Ovid’s (Propertius I.8 a). It is very curious that the poem which Ovid placed after his propempticon echoes the poem which Propertius placed after his. Hie erit, hie iurata manet. Rumpantur iniquit Vicimusi assiduas non tulit ilia preces. (Propertius I*8 b). The rumpantur inioui of Propertius is echoed by Ovid with lines 3-4-. Propertius’ hie erit. hie iurata manet is echoed by Ovid in line 2. And the most important word in both poems is in the same place (line 2« vicimus). Propertius I.8 a and b are usually considered to be a pair of poems.^ Felix Jacoby first-noted this similarity ^Butler and Barber. The Elegies of Propertius, pp. 164— 166. 102 i of Ovid's poems to Propertius* and because of this evidence considered 1 1 .1 2 to be a pair of poemst but he Q did admit that his case was weak. Mit dem Jubelruf* hie erit* hie iurata manet. rumpantur iniquit vicimus* assiduas non tulit ilia preces. beginnt das folgende Gedicht (I.8 b). Die beiden Elegieen sind zwar selbst&ndigj aber sie stehen als Gegenstttcke in einem engeren Zusammenhang untereinander, als mit den umgebenden Gedichten. Diese von Properz auch sonst verwendete Form der Komposition ist von Ovid mehrfach nachgeahmt, besonders aber in seinem Froperaptikon flir Corinna Am, 11.11.12, Denn wenn dieses letztere Gedicht mit offenbarem Auklang an das Eingangsdistichon von Propert. I.8 b anhebti ite triumphales circum mea tempora laurust vicimusi in nostro est ecce Corinna sinu! so charakterisirt es sich eben dadurch als Gegenstuck zu 11.11. Freilich auch nur dadurch, Denn im Ubrigen hat das Gedicht gar keinen Inhalt. Es besteht aus einer Reihe von Bildern aus Mythologie, Natur, und Geshichte, bunten Lappen, mit denen Ovid seinen Sieg illustrirt und das Fehlen jedes wirklichen Inhalts nicht ungeschickt verdeckt. Neumann tried to adapt Jacoby's theory and to make the 9 pair more plausible. 7 Properti carmen 1,8, quod in codiciub3 unum est, in elegias duas dividenda est, Properti I.8 a Ovidius in elegia 11,11 componenda imitatus est. Ut apud Propertium 8 a et b inter se respondent, ita Ovidius elegiam 11.11 facit sequentem II .'12, quae quidem cum 1 1 , 1 1 ratione sententiarum conexa non est. • • Q F. Jacoby, HZur Entstehung der romischen Elegie," RM, 60 (1905), P. 77. ^R. Neumann, Quo modo Ovidius in Amoribus scribendi Properti Elegis usum sit (Inaugural Pisserta- tion, Gottingae* Officina Academica Dieterichiana, 1919)* P. 106. I•J 103 Jager, however, dismissed the proposal. 10 So sind die beiden Elegien 2.11 and 2.12 in der Sammlung nicht naher verbunden als zwei beliebige andere, und sie entsprechen in keinder Weise der Norm der anderen Doppelkompositionen, bei denen immer das zweite Gedicht das erste in zeitlicher Linie fortsetzt. Since the trend of recent scholarship has been to accept poems 7 . 8 and 1 3 .1 *f as pairs and since reason ably sound scholarship has defended 9 .9 b as a pair, and with the common factors of 1 1 .1 2 in mind which were men tioned earlier it would be most convenient if 1 1 .1 2 were considered to be a thematically linked pair.*1''*' This would make two pairs of poems before 1 0 illustrating neauitia and two pairs after 1 0 illustrating servitium. Moreover, if there were four pairs of poems in the center of the book, each pair would show the same pattern* the first poem of each pair presents a pessimistic tone, whether it be in love or in lifes the second poem of each pair turns the mood to one of optimism. The optimism of l*f is generated by the assumedly improved condition of Corinna which permits the poet's anger to rise. Klaus Jager. Zweigliedrige Gedichte und Gedichtnaare bei Pronerz und in Ovids Amores (Inaugural Dissertation. Tubingen* 1 9 6 7), p. 3 3, ■^This is to distinguish from dramatically paired poems such as 11,7 and 8 were the second poem relies upon the first for its dramatic situation and is obviously linked to it. The thematically paired poems are united by a common theme or situation, but not necessarily the same dramatic situation in both poems 104 Jacoby's and Neumann's arguments on behalf of 1 1 . 1 2 remain, however, weak. Nor has recent scholarship 12 more adequately defended the pair. The contribution of this dissertation to the defense of the pair is that if 11.12 are a pair, then it seems that Ovid arranged all of the poems in Book II in a symmetrical order, two pairs being on either side of the central poem,, each pair appropriately placed for the theme which it portrays. Since it has been shown in the previous discussion that 7.8 , 9 .9 b, and 13*14 are pairs and since one more pair is necessary to make the symmetry of the book's arrangement complete, it seems reasonable, after considering the common factors of 1 1 .1 2 , to consider them to be a pair. It must be admitted, however, that they form a pair with weaker connections than any other pair of poems in Book II. . _ * * * In this dissertation the following analogies have been shown to exist in Amores II* 1 vs* 18, 2 and 3 vs. 19, ^ vs. 1 0 vs. 1 7, 5 vs. 1 6 , and 6 vs. 15. If this symmetrical pattern is continued in the poems dis cussed in this chapter one would expect 7 * 8 to be analogous to 13.14 and 9.9b to be analogous to 11.12. In fact, 12 T.W. Dickson, "Borrowed Themes in Ovid's Amores." CJ, 59 (1964), p. 177. ------4 * 105 they seem to be. In poems 7# 8 , Ovid is guilty of infidelity to Corinna* but is capable of defending himself successfully because of his own discretion. A similar situation exists in 13,l4t Corinna is guilty (this time of a crime against nature), but Ovid, through a sense of responsibility and concern, is able to pray for her forgiveness. In poem 13, he even makes a defense for her by accepting the possibility of his own responsi bility (line 5 ). In both pairs the situation is one of wrongdoing and incrimination, but at the same time of defense• I Pairs 9*9b and 11,12 are linked to one another through the contrasting aspects of love, frustration and delight, which are found in each pair. Poem 9 is about the frustration which the poet experiences in the constant progression of love affairs. His desperation leads him even to pray for complete release from the rigors of love. Poem 9b, however, expresses the opposite emotion, that of delight in love. Not only does the poet want the rigors of love affairs, but he is prepared to experience failures in his advances. The important thing to him, the thing which gives him the greatest pleasure, is the attempt, whether successful or not. 106 Poem 11 portrays Ovid as frustrated by his mistress* insistence upon the sea voyage, and more than that, upon being away from him. His plea is very emo tional and made to convince. In poem 12 Ovid reaches the height of his delights. After all is told, he has overcome all obstacles and is enjoying the delight of having his mistress in his arms. One can imagine his shouting the 'vicimus* of line 2 , These pairs sure both extensive developments of the metaphor militia amoris. This provides a further unifying force between the pairs. While Ovid is. very fond of this metaphor, seldom do,es he develop it as 13 extensively as he does in 9 .9 b and 1 1 ,1 2 , Another association of the pairs comes in the prayer of 9 b. Saepe fruar domina, saepe repulsus earn. (21). Both elements of this prayer are found fulfilled in 11,12, In poem 11, the poet is being rejected, perhaps for another man, although Ovid does not say so. This fulfills the prayer "saepe reoulsus earn.** . Furthermore, in poem 1 2 he is at the height of ecstasy, enjoying the embraces * of his mistress. This is the fulfillment of the prayer “saene fruar domina.** ^Another extensive development of this metaphor is Amores 1,9# See footnote 10 above on page 3 8 . 107 * * This series of analogies would be diagrammed as followsi This is not to say that other analogous diagrams different from this could not be made. There are many ideas running through these pairs and they all could be related to one another in certain ways. One principle of arrangement which Ovid did follow throughout the bpok is the division of the book into halves, based on the themes of neauitia and servitium. In the poems under consideration in this chapter, Ovid maintained the integrity of this thematic arrangement. Poems 7 and 8 portray the poet at the height of neouitia. He has been unfaithful. But his nequltia is appropriate in the elegiac sense because he can believably deny the fact. He has been discreet in his infidelity. Poems 9 and 9b also describe the neouitia of the poet. In 9 in order to develop dramatic tension to heighten the effect of 9b he feigns disillusionment with love. When in 9b it suddenly becomes apparent that . 108 in reality he is a slave to love, the unexpected dis closure is much more forceful than if poem 9 had not led the reader to expect the opposite. Ovid would even have preferred unsuccessful affairs to none at all (9b,21-22). In poem 11, his own servitium to his mistress compels him to write a propempticon. He uses the image of the faithful lover waiting alone at the port, for the beloved's return to play on the sympathy of his mistress. In poem 12, his elation at success in love with his mistress shows him with her in his arms and gives him the occasion to express the glories of his victory, Me quoque, qui multos, sed me sine caede, Cupido Iussit militiae signa movere suae. (27-28). But his servitude to Cupid as emphasized in the military metaphor is a companion to his victory. He is a servus amoris. Poems 13 and l*t also exemplify the theme of the second half of the book in that Ovid, in spite of his inclination to anger (first, repressed; then given full range) was tempered in both poems with a prayer or prayers for the safety of Corinna and for the goddess' forgiveness of her. 109 Poems 7* 8, 9* 9b* 11* 12* 13# suid 1^ are seen* therefore* to be a curious mixture of poems* probably 1 Jk paired, with complex inter-relationships preventing a single myoptic examination of their symmetrical arrangement. Rather* they compel the reader* as Ovid must have intended* to look at them as two groups of poems on either side .of the book's central poem* each illustrating the theme of its appropriate half of the book* whether it be neouitia or servitium. Wilhelm Port, p. £55* says "AuBerdem sind die Gruppen von Gedichtpaaren filr dieses Buch charakterischt 2.3, 7.8, 9»9b, 1 3 .1 ^*H and.he leaves out 11.12. CONCLUSION We have seen in this dissertation that Ovid used a combination of theme and symmetry in the arrange ment of Amores II. The themes he selected were neouitia and servitium. To Ovid the meaning of neouitia in the Amores was a playful involvement in many, or at least several, love affairs at the same time. By servitium he meant complete devotion to one mistress. These themes were key-noted respectively in II.^ and 11.17 with II.1 serving as the introduction to both. In 11.10 he combined these themes to show how frustrated the lover can be as a servus neouitiae. While Ovid does not use this term, it seems to be appropriate, at least in 11.10. This would imply that he was continuing in his role of free-swinging lover for several mistresses* but it also means that he has become a slave to love and cannot live without his various affairs. It is around these key poems that he arranged the rest of Book II. The poems before poem 10 (II.4-9b) illustrate the theme of neouitia and the poems after 11.10 (11-17) are written as though the relationship between poet and mistress is servitium amoris. In addition to this thematic deployment of 110 Ill his poems within the book, he chose to balance these poems against one another in contrasting themes giving a definite symmetry to the book* A characteristic of the book is paired poems and this is evidenced by the presence of five separate pairs of poems within the book. Moreover, four of these pairs make up the heart of the book framing the central poem, 11.10, and they balance one another in a symmetrical fashion. The significance of this arrangement by theme and symmetry lies in its contribution to the total poetic effect of the book of poetry. Through these devices he enhanced the artistic effect of the work and with a small cast, a few dramatic situations and a small repetoire * of motives he gave an impression of a much more precise and polished work. He made his poetry ironical, better understood, or he even gave necessary dramatic background, but at the same time he made it more enjoyable through the mechanical# but not slavish, device of book arrangement. Furthermore, he increased the intellectual appeal of the poetry through his combination of this device with rhetoric and traditional treatment of genre-poems. His originality and ingenuity constantly found expression and kept him from repeating tradition. Rather, they made tradition for him another device. 112 Book arrangement in the hands of Ovid was not an "end all*" It was only one of many elements which the artist employed. Nor did he employ it throughout as strongly as he did in certain places. But he used it extensively enough for it to be obvious and in that the literary critic can add to the reader’s appreciation of the artistry which Ovid shows in the composition of his Amores, Furthermore, by taking the poems in the context of the book as the poet arranged them a fuller under standing of the significance of a particular poem can be gained. i \ APPENDIX A Ernestus Rautenberg, De Arte Comoositionis Quae est in Ovidii Amoribus (Inaugural Dissertation, Vratislavia, 1868), On page 32, note 1 of the cited source Rautenberg gives his idea of the structure of Amores II, I quote it here, Silentio praetermittere non possum, secundi libri carmina aut singular! poetae consilio aut miro casu artificiose disposita esse, si modo, quod hie probare studui, rectum, Carmina enim II, et III, VII et VIII, XIII et XIV, XlXa et XlXb artius quam cetera inter se cohaerent, II et III, quae ad eundem eunuchum dominae custodem sint scripta, VII et VIII, quae de Cypassi, XIII et XIV, quae de Corinnae aborta, XlXa et XlXb, quae de eodem themate,'quod licet ingratum esU agantj illis cetera carmina diversi inter se argumenti ita sunt interposita, ut sibi quasi respondeant* _ 1 I ----2 II-III 3 IV-VI 1— 2 VII-VIII 5 IXa-XII *— 2 XIII-XIV 3 XV-XVII ----2 XlXa-XIXb 1 XVIII 113 SELECTED BIBLIOGRAPHY EDITIONS! 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