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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 <E. IX,1>* Quo te, Moeri, pedes? An quo via ducit in urbem? et ea posita est in paenultimo. At prius fuit queri damnum, deinde testari beneficium. Ergo praeponi ilia ecloga debuerat et sic haec substitui, qua gratias agit. Sed Vergilii consilium hoc fuit* ne offenderet imperatorem, cuius saeculo librum legendum praebebat, maluit instare testimonio. Nam^ ipsa ecloga, quae de damno refert, nec in ultimo posita est, ne vel sic insigniter legeretur. Plerumque enim, auae in medio ponuntur, inter priroa (et ultima) delitescunt. 1 The study of book arrangement, however, is not an end in itself and serves as a prelude to the more intriguing study of Ovid's artistry. It is with this caveat in mind that this dissertation is devoted to the structural and thematic arrangement of Ovid's Amores II, In his article on the arrangement of poetry- books of the Augustan age,-^ Wilhelm Port established that there are three basic principles of book arrangement among the Augustans and that these principles are in turn applied variously to three basic elements of any book of poetry. It is upon these principles and elements that Port has based his examination of the Augustan poets, His first principle of book arrangement is variatio. By this is meant that the poet would separate similar poems whether they be similar in meter, addressee, theme or subject matter, in order to achieve variety. The second principle which he has found is that of arranging the poems at points of emphasis in the book. The most important places are the beginning, middle, and end. The poets often placed poems which they wanted • particularly noticed at these places. This procedure ^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.