The Augustan Attitudes of the Poetic Persona of Tibullus
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Satyricon of Petronius Arbiter
Satyricon of Petronius Arbiter Translated by Firebaugh Satyricon of Petronius Arbiter Table of Contents Satyricon of Petronius Arbiter..........................................................................................................................1 Translated by Firebaugh..........................................................................................................................1 INTRODUCTION...................................................................................................................................5 I................................................................................................................................................................6 II THE AUTHOR....................................................................................................................................6 III REALISM...........................................................................................................................................8 IV FORGERIES OF PETRONIUS.........................................................................................................9 VOLUME 1.ADVENTURES OF ENCOLPIUS AND HIS COMPANIONS................................................11 CHAPTER THE FIRST.........................................................................................................................11 CHAPTER THE SECOND...................................................................................................................12 CHAPTER THE THIRD.......................................................................................................................12 -
Mihi Blanditias Dixit: the Puella As Poet in Amores 3.7 in Amores 3.7, Ovid
Mihi blanditias dixit: the Puella as Poet in Amores 3.7 In Amores 3.7, Ovid describes the lover-poet in a difficult position: he has been unable to achieve an erection while trying sleep with a beautiful puella. The poem describes her repeated attempts to excite him and their mutual frustration at her lack of success, until she finally scolds him and walks away. I argue that Ovid describes the unnamed puella as a failed elegist in this poem, and that her failure is part of a broader pattern of disengagement from elegy in the third book of the Amores. Amores 3.7 has received relatively little scholarly attention, as only four articles focus on this poem. Baeza Angulo compares Amores 3.7 with other ancient literature on impotence (1989), Mauger-Plichon examines the poem alongside parts of the Satyrica and Maximianus 5 (1999), and Holzberg argues that Ovid almost breaches the propriety of elegiac diction in Amores 3.7 (2009). I build on Sharrock’s 1995 article, which presents a metapoetic reading of the poem: that Ovid blurs the line between sex and poetry in Amores 3.7, allowing the reader to interpret the lover-poet’s impotence not just as literal, but also as poetic. I focus on the puella’s role as a poet, rather than on the amator, and therefore also engage with Wyke’s (e.g. 1987) and James’ (2003) discussions of the elegiac mistress as a poetic fiction, as well as Keith’s examination of elegiac language used to describe Corinna in Amores 1.5 (1994). -
Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack. -
What the Romans Knew Piero Scaruffi Copyright 2018 • Part II
What the Romans knew Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know • Part II 1 What the Romans knew Archaic Roma Capitolium Forum 2 (Museo della Civiltà Romana, Roma) What the Romans Knew • Greek! – Wars against Carthage resulted in conquest of the Phoenician and Greek civilizations – Greek pantheon (Zeus=Jupiter, Juno = Hera, Minerva = Athena, Mars= Ares, Mercury = Hermes, Hercules = Heracles, Venus = Aphrodite,…) – Greek city plan (agora/forum, temples, theater, stadium/circus) – Beginning of Roman literature: the translation and adaptation of Greek epic and dramatic poetry (240 BC) – Beginning of Roman philosophy: adoption of Greek schools of philosophy (155 BC) – Roman sculpture: Greek sculpture 3 What the Romans Knew • Greek! – Greeks: knowing over doing – Romans: doing over knowing (never translated Aristotle in Latin) – “The day will come when posterity will be amazed that we remained ignorant of things that will to them seem so plain” (Seneca, 1st c AD) – Impoverished mythology – Indifference to metaphysics – Pragmatic/social religion (expressing devotion to the state) 4 What the Romans Knew • Greek! – Western civilization = the combined effect of Greece's construction of a new culture and Rome's destruction of all other cultures. 5 What the Romans Knew • The Mediterranean Sea (Mare Nostrum) – Rome was mainly a sea power, an Etruscan legacy – Battle of Actium (31 BC) created the “mare nostrum”, a peaceful, safe sea for trade and communication – Disappearance of piracy – Sea routes were used by merchants, soldiers, -
Cultural History of the Lunar and Solar Eclipse in the Early Roman Empire
Cultural History of the Lunar and Solar Eclipse in the Early Roman Empire Richard C. Carrier The regularity and consistency of human imagination may be first displayed in the beliefs connected with eclipses. It is well known that these phenomena, to us now crucial instances of the exactness of natural laws, are, throughout the lower stages of civilization, the very embodiment of miraculous disaster.1 Fifteen hundred years have not yet passed since Greece numbered and named the stars and yet many nations today only know the heavens by their appearance, and do not yet understand why the moon fails or how it is overshadowed.2 More than fifteen hundred years separates these two remarks. Each reveals a gulf between the learned and unlearned, but for Tylor it is a contrast between today and long ago, or here and far away, while for Seneca it is a contrast between the wise and the vulgar, who live in the same time and place. For the lunar and solar eclipse is a phenomenon where the strongest and clearest divide appears between the educated Roman and the common multitude. In contrast with almost everything else in Roman experience, from earthquakes to disease, eclipses of sun and moon can be understood in their entirety, and explained with mathematical precision, without the aid of advanced technology or modern scientific methods. But to those who lacked the encouragement to employ careful observation and physical explanation, and who lacked the breadth of information available to the literate, the eclipse was the most awesome and dire event in human experience. -
Emily Savage Virtue and Vice in Juvenal's Satires
Emily Savage Virtue and Vice in Juvenal's Satires Thesis Advisor: Dr. William Wycislo Spring 2004 Acknowledgments My sincerest thanks go to Dr. Wycislo, without whose time and effort this project would have never have happened. Abstract Juvenal was a satirist who has made his mark on our literature and vernacular ever since his works first gained prominence (Kimball 6). His use of allusion and epic references gave his satires a timeless quality. His satires were more than just social commentary; they were passionate pleas to better his society. Juvenal claimed to give the uncensored truth about the evils that surrounded him (Highet 157). He argued that virtue and vice were replacing one another in the Roman Empire. In order to gain better understanding of his claim, in the following paper, I looked into his moral origins as well as his arguments on virtue and vice before drawing conclusions based on Juvenal, his outlook on society, and his solutions. Before we can understand how Juvenal chose to praise or condemn individuals and circumstances, we need to understand his moral origins. Much of Juvenal's beliefs come from writings on early Rome and long held Roman traditions. I focused on the writings of Livy, Cicero, and Polybius as well as the importance of concepts such as pietas andjides. I also examined the different philosophies that influenced Juvenal. The bulk of the paper deals with virtue and vice replacing one another. This trend is present in three areas: interpersonal relationships, Roman cultural trends, and religious issues. First, Juvenal insisted that a focus on wealth, extravagance, and luxury dissolved the common bonds between citizens (Courtney 231). -
The Roman Poets of the Augustan Age: Virgil by W
The Project Gutenberg EBook of The Roman Poets of the Augustan Age: Virgil by W. Y. Sellar This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Roman Poets of the Augustan Age: Virgil Author: W. Y. Sellar Release Date: October 29, 2010 [Ebook 34163] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL*** THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL. BY W. Y. SELLAR, M.A., LL.D. LATE PROFESSOR OF HUMANITY IN THE UNIVERSITY OF EDINBURGH AND FELLOW OF ORIEL COLLEGE, OXFORD iv The Roman Poets of the Augustan Age: Virgil THIRD EDITION OXFORD AT THE CLARENDON PRESS OXFORD UNIVERSITY PRESS AMEN HOUSE, E.C. 4 London Edinburgh Glasgow New York Toronto Melbourne Capetown Bombay Calcutta Madras HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY vi The Roman Poets of the Augustan Age: Virgil IMPRESSION OF 1941 FIRST EDITION, 1877 THIRD EDITION, 1897 vii PRINTED IN GREAT BRITAIN TO E. L. LUSHINGTON, ESQ., D.C.L., LL.D., ETC. LATE PROFESSOR OF GREEK IN THE UNIVERSITY OF GLASGOW. MY DEAR LUSHINGTON, Any old pupil of yours, in finishing a work either of classical scholarship or illustrative of ancient literature, must feel that he owes to you, probably more than to any one else, the impulse which directed him to these studies. -
Ovid at Falerii
University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 2014 The Poet in an Artificial Landscape: Ovid at Falerii Joseph Farrell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classics Commons Recommended Citation (OVERRIDE) Farrell, Joseph. (2014). “The Poet in an Artificial Landscape: Ovid at alerii.F ” In D. P. Nelis and Manuel Royo (Eds.), Lire la Ville: fragments d’une archéologie littéraire de Rome antique (pp. 215–236). Bordeaux: Éditions Ausonius. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/128 For more information, please contact [email protected]. The Poet in an Artificial Landscape: Ovid at Falerii Abstract For Ovid, erotic elegy is a quintessentially urban genre. In the Amores, excursions outside the city are infrequent. Distance from the city generally equals distance from the beloved, and so from the life of the lover. This is peculiarly true of Amores, 3.13, a poem that seems to signal the end of Ovid’s career as a literary lover and to predict his future as a poet of rituals and antiquities. For a student of poetry, it is tempting to read the landscape of such a poem as purely symbolic; and I will begin by sketching such a reading. But, as we will see, testing this reading against what can be known about the actual landscape in which the poem is set forces a revision of the results. And this revision is twofold. In the first instance, taking into account certain specific eaturf es of the landscape makes possible the correction of the particular, somewhat limited interpretive hypothesis that a purely literary reading would most probably recommend, and this is valuable in itself. -
Identity Crisis: Scriptae Personae in Ovid's Amores
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks IDENTITY CRISIS: SCRIPTAE PERSONAE IN OVID’S AMORES 1.4 AND 2.5 BY Monique Imair Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Tara Welch, Chairperson Committee Members : Michael Shaw Pamela Gordon Date Defended: 04/01/2011 The Thesis Committee for Monique S. Imair certifies that this is the approved version of the following thesis: IDENTITY CRISIS: SCRIPTAE PERSONAE IN OVID’S AMORES 1.4 AND 2.5 Tara Welch, Chairperson Committee Members : Michael Shaw Pamela Gordon Date Accepted: 06/13/2011 ii Page left intentionally blank iii Abstract The purpose of this thesis is to discuss the multifaceted personae of Ovid’s Amores, specifically in Amores 1.4 and 2.5. These personae range from Ovid as poet (poeta), lover (amator), and love teacher (praeceptor amoris); the poet’s love interest, the puella; the rival, the vir; other unnamed rivals; and reader. I argue that Ovid complicates the roles of the personae in his poetry by means of subversion, inversion and amalgamation. Furthermore, I conclude that as readers, when we understand how these personae interact with each other and ourselves (as readers), we can better comprehend Ovid’s poetry and quite possibly gain some insight into his other poetic works. iv TABLE OF CONTENTS Chapter One. Introduction 1 Chapter Two. Personae in Amores 1.4 12 Chapter Three. -
Horace - Poems
Classic Poetry Series Horace - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Horace(8 December 65 BC – 27 November 8 BC) Quintus Horatius Flaccus, known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words." Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences. His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in < a href="http://www.poemhunter.com/john-henry-dryden/">John Dryden's</a> phrase, "a well-mannered court slave". -
Martial's and Juvenal's Attitudes Toward Women Lawrence Phillips Davis
University of Richmond UR Scholarship Repository Master's Theses Student Research 5-1973 Martial's and Juvenal's attitudes toward women Lawrence Phillips Davis Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Davis, Lawrence Phillips, "Martial's and Juvenal's attitudes toward women" (1973). Master's Theses. Paper 454. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. MARTIAL' S AND JUVENAL' S ATTITUDES TOWARD WOMEN BY LAWRENCE PHILLIPS DAVIS A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF·ARTS IN ANCIENT LANGUAGES MAY 1973 APPROVAL SHEET of Thesis PREFACE The thesis offers a comparison between the views of Martial and Juvenal toward women based on selected .Epigrams of the former and Satire VI of the latter. Such a comparison allows the reader to place in perspective the attitudes of both authors in regard to the fairer sex and reveals at least a portion of the psychological inclination of both writers. The classification of the selected Epigrams ·and the se lected lines of Satire VI into categories of vice is arbi- . trary and personal. Subjective interpretation of vocabulary and content has dictated the limits and direction of the clas sification. References to scholarship regarding the rhetori cal, literary, and philosophic influences on Martial and Ju venal can be found in footnote6 following the chapter concern-· ~ng promiscuity. -
The Sophistic Roman: Education and Status in Quintilian, Tacitus and Pliny Brandon F. Jones a Dissertation Submitted in Partial
The Sophistic Roman: Education and Status in Quintilian, Tacitus and Pliny Brandon F. Jones A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Alain Gowing, Chair Catherine Connors Alexander Hollmann Deborah Kamen Program Authorized to Offer Degree: Classics ©Copyright 2015 Brandon F. Jones University of Washington Abstract The Sophistic Roman: Education and Status in Quintilian, Tacitus and Pliny Brandon F. Jones Chair of Supervisory Commitee: Professor Alain Gowing Department of Classics This study is about the construction of identity and self-promotion of status by means of elite education during the first and second centuries CE, a cultural and historical period termed by many as the Second Sophistic. Though the Second Sophistic has traditionally been treated as a Greek cultural movement, individual Romans also viewed engagement with a past, Greek or otherwise, as a way of displaying education and authority, and, thereby, of promoting status. Readings of the work of Quintilian, Tacitus and Pliny, first- and second-century Latin prose authors, reveal a remarkable engagement with the methodologies and motivations employed by their Greek contemporaries—Dio of Prusa, Plutarch, Lucian and Philostratus, most particularly. The first two chapters of this study illustrate and explain the centrality of Greek in the Roman educational system. The final three chapters focus on Roman displays of that acquired Greek paideia in language, literature and oratory, respectively. As these chapters demonstrate, the social practices of paideia and their deployment were a multi-cultural phenomenon. Table of Contents Acknowledgements ........................................................................... 2 Introduction ....................................................................................... 4 Chapter One.