The Tibullus Conversation
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Didactic Poetry: the Hellenistic Invention of a Pre-Existing Genre
in Richard Hunter, Antonios Rengakos, and Evina Sistakou (eds.), Hellenistic Studies at a Crossroads: Exploring Texts, Contexts and Metatexts, Trends in Classics, Supplementary Volume 25 (Berlin 2014) David Sider Didactic poetry: The Hellenistic invention of a pre-existing genre For all that it is almost a cliché that Hellenistic poets were acutely aware of genre —who before Callimachus would or could have boasted of his πολυείδεια?—,¹ discussions, let alone definitions, of didactic poetry as a genre are scarce. Why bother, when it seems so obvious? Look at Aratus and Nicander, whose model was Hesiod, and nothing more need be said. Nonetheless, that will be my aim here. There have of course been many useful studies of classical didactic poetry,² some of which offer various classifications (see below); yet I have long felt that insufficient attention has been paid, both by the ancients themselves and by us today, to the development of the poems called didactic, although modern termi- nology and the ancients are not in complete agreement as to what constitutes a Bibliography at end. Some earlier poets did in fact write in more than one genre, but could have boasted of it only in particular terms, i.e., by specifying “I write poems of type X and Y,” as we see at the end of the Symposium 223d ὁμολογεῖναὐτοὺςτοῦαὐτοῦἀνδρὸςεἶναι κωμῳδίαν καὶ τραγῳδίαν ἐπίστασθαι ποιεῖν, καὶ τὸν τέχνῃ τραγῳδοποιὸν ὄντα <καὶ> κωμῳδοποιὸνεἶναι (“They agreed that the same man can know how to compose both comedy and tragedy, and that the skilled tragic poet is also a skilled writer of comedies”)—to which one can add that Plato has himself done this within this very dialogue, adding satyrography, as Bacon (1959) shows. -
GREEK HOMOSEXUALITY Blank PAGE GREEK HOMOSEXUALITY Updated and with a New Postscript
GREEK HOMOSEXUALITY BlANK PAGE GREEK HOMOSEXUALITY Updated and with a new Postscript K.J. Dover Harvard University Press Cambridge, Massachusetts Copyright © 1978, 1989 by K.J. Dover All rights reserved Printed in the United States of America 10 9 8 7 6 5 4 Library of Congress Cataloging-in-Publication Data Dover, Kenneth James. Greek homosexuality I K.J. Dover.-Updated and with a new postcript. p. em. Bibliography: p. Includes indexes. 1. Homosexuality-Greece-History. 2. Homosexuality Law and legislation-Greece-History. 3. Homosexuality in art-History. 4. Homosexuality in literature-History. 5. Greece-Civilization-To 146 B.C. I. Title. HQ76.3.G8D68 1989 306.76'6'09495-dc20 89-34289 CIP ISBN 0-674-36261-6 ISBN 0-674-36270-5 (pbk.) Illustrations Thanks are due to the many museums holding vases reproduced in this book (see List of Vases, pp. 205-226), who have been most helpful in providing prints. Special permission is acknowledged from the following: National Museum, Copenhagen for B 16, R 1027; the Director of Antiquities and the Cyprus Museum for B65; Musee du Louvre, Paris, and Chuzeville, Paris., for B 166, B462, B4 70, B494, C19,, R59, R348, R422, R454, R659; Museum of Fine Arts, Boston for B342, B598a and b. R223, R456, R577, R603, R651, R783; Antikenmuseum, Staatliche Museum Preussischer Kulturbesitz, Berlin (West) for BB24, R196a, R259, R303, R970, R1127; Musee du Petit l>alais, Paris, and Etablissements Bulloz, Paris, for R414; Mr Walter Bareiss and the Metropolitan Museum of Art, New York for R462; Tony Raubitschek for R547; the Fitzwilliam Museum, Cambridge for R684; the Fogg Art Museum, Harvard University (David M. -
A Mixed Place: the Pastoral Symposium of Horace, Odes 1.17
John Carroll University Carroll Collected 2018 Faculty Bibliography Faculty Bibliographies Community Homepage 2-2018 A Mixed Place: The aP storal Symposium of Horace Kristen Ehrhardt John Carroll University, [email protected] Follow this and additional works at: https://collected.jcu.edu/fac_bib_2018 Part of the Classical Literature and Philology Commons Recommended Citation Ehrhardt, Kristen, "A Mixed Place: The asP toral Symposium of Horace" (2018). 2018 Faculty Bibliography. 14. https://collected.jcu.edu/fac_bib_2018/14 This Article is brought to you for free and open access by the Faculty Bibliographies Community Homepage at Carroll Collected. It has been accepted for inclusion in 2018 Faculty Bibliography by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. A Mixed Place: The Pastoral Symposium of Horace, Odes 1.17 Kristen Ehrhardt ABSTRACT: When Horace invites Tyndaris to an outdoor drinking party in Odes 1.17, he mixes the locus amoenus of pastoral with the trappings of symposia. I argue that the mixture of the two poetic spaces creates a potentially volatile combination by muddling the expectations of each place’s safety and danger. I read 1.17 in light of other pastoral poems in Odes 1 to establish Horace’s creation of safe places through the negation of natural perils. Although pastoral has its own dangers, the addition of sympotic motifs in 1.17 attracts different beasts—sexual predators—to Tyndaris’ party. A central conceit of Horace’s pastoral poems is the preternatural safety of their speakers: despite whatever dangers might lurk in the natural realm, the speaker himself remains unharmed. -
The Female Body in Latin Love Poetry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository The Female Body in Latin Love Poetry Erika Zimmermann Damer A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics. Chapel Hill 2010 Approved by: Sharon James, advisor. James O’Hara, reader. Alison Keith, reader. Paul Allen Miller, reader. Eric Downing, reader. i © 2010 Erika Zimmermann Damer ALL RIGHTS RESERVED ii ABSTRACT ERIKA ZIMMERMANN DAMER: The Female Body in Latin Love Poetry (Under the direction of Sharon James) This dissertation seeks to rethink the female body in Latin love elegy in its aesthetic and political significance, and argues that the sexualized body creates poetic subjectivity. It juxtaposes close readings of the elegies of Tibullus, Propertius, and Ovid alongside contemporary theorizations of the female body found in Irigaray, Kristeva, and Grosz. By expanding critical focus to encompass all the women of elegy, this dissertation demonstrates a surprising ambivalence towards the female body in a genre that claims to celebrate female beauty, and offers a new view of elegy’s role within Roman conceptions of gender, sexuality, bodies, and empire. Chapter one offers a brief introduction to contemporary feminist theories of the body as well as an overview of critical literature on the elegiac body. Chapter two examines Lucretius’ diatribe against love, Horace Epodes 8 and 12, and the Augustan marital legislation as major background for elegy’s female body. -
Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse. -
Some Imitations of Pindar and Sappho by Horace
Some imitations of Pindar and Sappho by Horace The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2015.12.31. "Some imitations of Pindar and Sappho by Horace." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/some-imitations-of- pindar-and-sappho-by-horace/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39699959 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. -
The Social and Political Context for Obstruction in Roman Love
THE SOCIAL AND POLITICAL CONTEXT FOR OBSTRUCTION IN ROMAN LOVE ELEGY by AMY K. LEONARD (Under the Direction of Charles Platter) ABSTRACT This thesis will examine the presence of erotic obstruction in the poems of the first century B.C. writers of Roman love elegy: Tibullus, Propertius and Ovid. While erotic poetry prior to this time period had long necessitated a sense of obstruction, the deliberate construction of a failed love-affair by the Roman elegists serves to define their particular use of obstruction as a unique discursive strategy. The observation has been made that the time period marking the emergence and disappearance of Roman elegy qualifies it as a discrete, time-bound genre. In light of these time considerations, the obstruction motif in elegy, as a means of articulating a continual sense of failure, is capable of giving involuntary voice to events taking place on the Roman socio-political front, specifically, as this thesis will argue, a perceived loss of autonomy under the changing political structures at the end of the Republic. INDEX WORDS: Obstruction, Roman love elegy, Tibullus, Propertius, Ovid, Door, Vir, Lena, Illness, Distance, Unfaithfulness, Amores 2.19, Amores 3.4 THE SOCIAL AND POLITICAL CONTEXT FOR OBSTRUCTION IN ROMAN LOVE ELEGY by AMY KIRK LEONARD B.A., The University of Georgia, 1996 A Thesis Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 © 2004 Amy Kirk Leonard All Rights Reserved THE SOCIAL AND POLITICAL CONTEXT FOR OBSTRUCTION IN ROMAN LOVE ELEGY by AMY KIRK LEONARD Major Professor: Charles Platter Committee: Keith Dix Nancy Felson Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2004 DEDICATION I dedicate this thesis to my husband, David Leonard, without whose unconditional support during my years in graduate school I would never have made it to the completion of this degree. -
Roman Literature Under Nerva, Trajan and Hadrian
Roman Literature under Nerva, Trajan and Hadrian Literary Interactions, ad 96–138 Edited by Alice König and Christopher Whitton ROMAN LITE·RATURE UNDER NERVA, TRAJAN AND HADRIAN Literary Interactions, AD 96-I38 for John Henderson EDITED BY ALICE KÖNIG Univenity ofSt And~s, Scotland CHRISTOPHER WHITTON Univenity of Cambridge EI CAMBRIDGE ~ UNIVERSITY PRESS 20 /18 ROMAN LITERATURE UNDER NERVA, TRAJAN AND HADRIAN This volume is the first holistic investigation of Roman liceracure and literary culture under Nerva, Trajan and Hadrian (AD 96-138). Wich case scudies from Frontinus, Juvenal, Martial, Pliny the Younger, Plutarch, Quintilian, Suetonius and Tacitus among others, the eigh teen chapters offer not just innovative readings ofliterary (and some 'less literary') texts, but a collaborative enquiry into the networks and culcure in which they are embedded. The book brings together estab lished and novel methodologies to explore the connections, conver sations and silences between these texts and their authors, both on and off the page. The scholarly dialogues that result not only shed fresh light on the dynamics of literary production and consumption in the 'High Roman Empire', but offer new provocations to students ofintercextuality and interdiscursivity across classical literature. How can and should we read textual interactions in their social, literary and cultural contexts? ALICE KÖNIG is Senior Lecturer in Classics at the University of St Andrews. Her research focuses on ancient technical literature and the history of science, and the relationship between politics, society and literature in the early principate. She is preparing a monograph on ehe author and statesman Sextus Julius Frontinus, and has published a series of articles on Vitruvius, Frontinus and Tacitus. -
Odes and Epodes (Loeb Classical Library) by Horace
Odes and Epodes (Loeb Classical Library) by Horace Ebook Odes and Epodes (Loeb Classical Library) currently available for review only, if you need complete ebook Odes and Epodes (Loeb Classical Library) please fill out registration form to access in our databases Download here >> Series:::: Loeb Classical Library (Book 33)+++Hardcover:::: 368 pages+++Publisher:::: Harvard University Press (June 1, 2004)+++Language:::: English+++ISBN-10:::: 9780674996090+++ISBN-13:::: 978-0674996090+++ASIN:::: 0674996097+++Product Dimensions::::4.2 x 1 x 6.5 inches++++++ ISBN10 9780674996090 ISBN13 978-0674996 Download here >> Description: The poetry of Horace (born 65 BCE) is richly varied, its focus moving between public and private concerns, urban and rural settings, Stoic and Epicurean thought. Here is a new Loeb Classical Library edition of the great Roman poets Odes and Epodes, a fluid translation facing the Latin text.Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of the odes are on private themes: chiding or advising friends; speaking about love and amorous situations, often amusingly. Horaces seventeen epodes, which he called iambi, were also an innovation for Roman literature. Like the odes they were inspired by a Greek model: the seventh-century iambic poetry of Archilochus. -
The Poems of Catullus As They Went to the Printer for the first Time, in Venice 400 Years Ago
1.Catullus, Poems 1/12/05 2:52 PM Page 1 INTRODUCTION LIFE AND BACKGROUND We know very little for certain about Catullus himself, and most of that has to be extrapolated from his own work, always a risky procedure, and nowadays with the full weight of critical opinion against it (though this is always mutable, and there are signs of change in the air). On the other hand, we know a great deal about the last century of the Roman Republic, in which his short but intense life was spent, and about many of the public figures, both literary and political, whom he counted among his friends and enemies. Like Byron, whom in ways he resembled, he moved in fashionable circles, was radical without being constructively political, and wrote poetry that gives the overwhelming impression of being generated by the public aªairs, literary fashions, and aristocratic private scandals of the day. How far all these were fictionalized in his poetry we shall never know, but that they were pure invention is unlikely in the extreme: what need to make up stories when there was so much splendid material to hand? Obviously we can’t take what Catullus writes about Caesar or Mamurra at face value, any more than we can By- ron’s portraits of George III and Southey in “The Vision of Judgement,” or Dry- den’s of James II and the Duke of Buckingham in “Absalom and Achitophel.” Yet it would be hard to deny that in every case the poetic version contained more than a grain of truth. -
Haec Nobis Fingebamus: Tibullus, Ovid, and the Power of Imagination
Haec Nobis Fingebamus: Tibullus, Ovid, and the Power of Imagination This paper will explore the parallel uses of imagination in two elegiac poems: Tibullus 1.5 and Ovid’s Tristia 4.2. In poem 1.5, Tibullus depicts a scene in which he and his beloved Delia live a pleasant life together in the countryside, far from the greed and rivals of the city. Eventually, however, he must admit that he was imagining it all (haec mihi fingebam, Tib. 1.5.35) and later reveals that he is in fact still locked out of his beloved’s house in the city. In Tristia 4.2, Ovid similarly uses his imagination to place himself back in Rome during Tiberius’ German triumph. He, too, must eventually admit that this is only possible in his imagination (at mihi fingendo, Trist. 4.2.67), due to the reality of his exile. A number of scholars have discussed Tibullus’ fantasies in poem 1.5 and have tended to focus on the ultimate failure of these fantasies (see Luck 1969, Ross 1975, Lyne 1980, Lee- Stecum 1998). Scholars of Ovid’s exile poetry, meanwhile, have argued that Ovid’s imagination in these poems provides him with mental access to Rome in spite of his physical absence (see Edwards 1996; Claassen 1999, 2008; Hardie 2002). My paper will refine this view of Ovid’s exile poetry by reading it in tandem with Tibullus 1.5 rather than on its own. I will argue that Ovid’s imagination in Tristia 4.2 turns out to be as ineffectual as Tibullus’ in 1.5, and functions as a failed fantasy in line with Tibullus’ earlier model. -
2018 Fjcl Certamen Advanced Round 1
2018 FJCL CERTAMEN ADVANCED ROUND 1 1. Born along the Alban Hills in the town of Tusculum, what Roman citizen and bearer of numerous offices is remembered as a champion of ancient Roman virtues and a fierce opponent of what he considered Hellenistic cultural contamination? CATO THE ELDER B1: In which work of his does Cato recount the founding of Rome and numerous other Italian cities? ORGINIĒS B2: Identify one of the two works of Cicero in which Cato the Elder is praised and idealized. DĒ RĒ PUBLICĀ or DĒ SENECTUTE 2. The Latin abbreviation s.o.s. has what meaning in English? IF THERE IS NEED B1: Give the Latin for that abbreviation. SI OPUS SIT B2: The Latin abbreviation p.r.n. is synonymous with s.o.s. Give the Latin for p.r.n. PRŌ RĒ NATĀ 3. Give the comparative form of saepe. SAEPIUS B1: Give the comparative form of satis. SATIUS B2: Give the comparative form of secus. SETIUS 4. Although it was originally called the Albula River, what more common name is given to the river which flows through Rome? TIBER B1: What king drowned in the Albula, prompting a change in its nomenclature? TIBERINUS B2: According to Suetonius, what emperor instituted curātorēs ripārum et alveī Tiberis in order to help control the river’s inundations? AUGUSTUS 5. A stone and a foal were two items used by what Titaness to trick her cannibalistic husband and protect her children? RHEA B1: Which of her offspring did Rhea replace with a foal? POSEIDON B2: With what Roman goddess is Rhea identified? OPS 6.