Latin Elegy

Preocupările folclorice ale lui B. P. Hasdeu încep de timpuriu. Primul imbold i-a venit din însăşi familia lui. Bunicul său, Tadeu Hasdeu, e arătat a se fi interesat de culegerea legendelor populare moldoveneşti, notînd în limba polonă cele despre Dragomir, Dragoş, Traian şi Dochia, Cheile Bîcului, Papură Vodă etc. 1 Interesul pentru folclor se va menţine prin Alexandru Hasdeu, tatăl lui Bogdan, care va căuta să-i dea un suport ştiinţific mai larg. El va publica material folcloric românesc în traducere rusă. Mai întîi, va da la iveală în Vestnic Evropî din 1830 două cîntece de nuntă cu note explicative, apoi în ziarul Telescop din 1833 alte şase cîntece, de data aceasta cu note mai ample 2 • El insistă asupra unor credinţe populare în legătură cu cucul, cu Armindenul, ba chiar încearcă nişte explicări mitologice ale apelativelor lelea şi badea în care regăseşte nişte zei protectori ai dragostei platonice. Peste doi ani, publică în altă revistă rusească alte două cîntece româneşti 3 . Alexandru Hasdeu rămîne şi el tributar curentului vremii, colahorind substanţial cu informatorii popu 1 ari, adesea chiar inventînd pe de-a-ntregul pasaje sau cîntece date drept populare. Însuşi B. P. Hasdeu remarcase la tatăl său această înclinare atît de caracteristică începuturilor folcloristicei europene 4 . B. P. Hasdeu începe şi el de timpuriu să se preocupe de folclor. Încă pe vremea cînd era elev la liceu urmărea cercetarea mitologiei dacilor. Literatul Ivan Tanskii relata în Severnaia Pcela din 20 octombrie 1852 că Al. Hasdeu "adună materiale pentru istoria Basarabiei ... fiul său Fadei Gîjdeu, tînăr moldovan, elev al jimnaziului local... se ocupă cu expunerea mitolojiei dacilor" 5 • La universitatea din Harcov, interesul pentru folclor va primi baze mai temeinice prin orientările cu care se va familiariza ca student, îndeosebi prin profesorul Ambrozie Metlinski 6 . Rămîne profund îndurerat -Aşa-i Stoiene, aşa! Am zis-o s-încă-o mai zic Că mi-e d~ag cine-i voinic De se luptă făr a cere Agiutor de la muiere 28 • torul, ministrul Gh. Chiţu, era craiovean. Celelalte judeţe dau cele mai multe numai cîte un răspuns, exceptînd Rîmnicu Sărat cu 5 localităţi. Cele mai numeroase răspunsuri la chestionarul lingvistic provin din judeţul Iaşi, grupate în 2 volume, VIII 1 şi VIII 2 din 60 de localităţi. Sînt apoi bine reprezentate, alcătuind cîte un volum, judeţele Covurlui cu 35 localităţi, Dîmboviţa cu 20 localităţi (inclusiv Comloşul din Banat), Dolj cu 58 localităţi, Ialomiţa cu 31 localităţi, Neamţ cu 45 localităţi, Tecuci cu 43 localităţi şi Tutova cu 43 localităţi. Numărul mai ridicat de răspunsuri nu trebuie interpretat ca denotînd şi o superioritate calitativă, cum vom arăta mai jos. Slab reprezentate sînt judeţele Argeş, Dorohoi, Gorj, Putna, Romanaţi şi Vîlcea cu cîte 2--6 localităţi. Spre deosebire de chestionarul juridic, difuzat se pare numai în România veche, cel lingvistic are răspunsuri şi din judeţele Transilvaniei, mai cu seamă din cele sudice, grupate în voi. XVII şi XVIII. Condiţiile vitrege de sub Habsburgi nu au permis o mobilizare mai largă a învăţătorilor şi preoţilor români din Transilvania pentru a participa la realizarea acestei opere culturale. Numărul mic este compensat aici de cele mai multe ori prin calitatea răspunsurilor, fiind redactate cu o scrupulozitate demnă de a servi de model. Culegătorii sînt cărturarii săteşti, în majoritate covîrşitoare învăţători, apoi preoţi. De multe ori, învăţătorul e şi preot, după cum se poate vedea din lista răspunsurilor. O seamă de răspunsuri nu au nici o indicaţie cu privire la culegător, la unele se d<:duce că e vorba de învăţător, fiind indicată şcoala satului, fără să se dea vreun nume. Cu totul sporadic apare cîte un judecător (J II 71), profesor (IX 2, XVII 2, XVIII 108), avocat (XVIII 64), sau chiar proprietar de moşie (J I 404). Printre culegători se află cîteva nume cunoscute sau de relevat în legătură cu unele figuri proeminente ale culturii noastre. Amintim pe E. Baican (I 1). înv. Ioan Ghibănescu (VI 19), probabil tatăl prof. Gh. I. Ghibănescu, Gh. Burucnescu din Smulţi Covurlui (III 485), învăţătorul folcloristului Petru Caraman, preotul Dimitrie S. Speranţă din Lungani-Iaşi (VIII 2 6), tatăl anecdotistului şi docentului de folclor lh. D. ~perantia, inv. Dobre Ştefănescu (VII 202), înv. ~L Lupescu din Broşteni-Suceava (XII 298), înv. C.N. ~fateescu din Cîrjclari-Tulcea (XIV 338) înv. D. Niţescu din acelaşi judeţ (XIV 471), prof. Alexiu Viciu din Blaj (XVII 2), înv. Romul Simu din Orlat-Sibiu (XVII 162). înv. Nicolau Trîmbiţoniu din Grădişte-Hunedoara (XVIII 102), Iuliu "pn:ifit.:ul "frrci pc care o tratează.

The contribution aims to trace in Tibullus’ elegies possible reminiscences
of Naevius, showing how these echoes, coming mainly from the tragic and
comic production of the archaic poet, are variously exploited by Tibullus with
the main purpose of affirming his own choice of literary genre and reinforcing
the reasons for it.

Quae iam licet considant. The argumentative declination of an adynaton in the De Provinciis Consularibus of Cicero
The purpose of this contribution is to conduct the analysis of a passage from Cicero’s De provinciis consularibus (prov. 14, 34) in which the orator pronounces before the assembly of patres a brief formula by which he hyperbolically ‘grants’ the Alps to lower themselves: Quae (scil. Alpes) iam licet considant. To do so, the analysis will focus on the tradition and theoretical status of the adynaton in order to highlight both the adherence and the originality of the Ciceronian solution in relation to them. It is the path that will lead to the observation of how the plastic quality of argumentation can go so far as to casually manipulate, subordinating it to persuasion, the very symbolic system evoked by its geographical referents. The recourse to the adynaton shows how such a literary and traditional form can, in Ciceronian reuse, regain an unexpected argumentative vitality

The article aims to analyse an intertextual link in the ambiguous use of faveo between Tib. 2.1.1 and Prop. 4.6.1, both elegies classifiable as 'mimetic' hymns and both 'thresholds' of the respective two books of elegies. It is intended to show how Tibullus, inspiring Propertius in this, understood the implicit resources of a verb like faveo in the context of 'mimetic' fiction, with which the officiating poet can simultaneously address the imaginary participants of the religious ceremony and the actual readers of the poem. The aim is to show how this Tibullian use of faveo, suggested by the poeta-sacerdos mimesis, not only instilled in Propertius, also in the role of officiant, the need to enfranchise a sequence such as favete linguis from its formular rigidity, but illustrated the expressive potential of the verb in the incipit position of an elegy as a source of metapoetic reflection, being able to subtly express an ambivalence suitable for defining an angle of privileged sharing between poet and readers, carved out at crucial points in Tibullus' second book and Propertius' fourth in which precisely faveo can make itself the bearer of a message transcended from the literal plane.

One needs someone on a grand scale, of reputation, someone written with capital letters, indeed SOMEONE, style requires a PERSON, and this person must induce noise, exactly, you want a PERSON with NOISE, applauded by the people, whose name has been heard again and again, hundreds of thousands of times repeated and given further, please be prepared then, I will say the name, attention! attention!, I feel you have stopped breathing, it is quiet, general tension-OVID!" 1

I should like to take this opportunity to thank the librarian, M. Grozay, and the staff of the Bibliothèque Municipale, Carcassonne, for their kindness and for making readily available to me the Chenier family papers and the poet's library. My thanks are also due to the previous librarian, M. Descadeillas, for his*advice, I am grateful to the librarian, Mr. G. Paterson, and the staff of Bedford College Library for their assistance, I am greatly indebted to the staff of the French and Latin Departments of Bedford College and above all to Professor F.R.D. Goodyear for his continued interest and enthusiasm. My principal debt of gratitude is to my supervisor. Dr. E. Le Breton, for her constant help and patient criticism. Without her generous encouragement this thesis would not have been undertaken nor completed. During the course of this present study I have been in receipt of a Major State Studentship and the Amy Lady Tate Scholarship tenable at Bedford College.

Conventionally identifying the rite described in Tib. 2,1 in the private Ambarvalia, this article analyses the dual role of poeta and sacerdos played in this elegy by Tibullus who, following the Callimachean model of the “mimetic” hymn, simultaneously officiates and portrays the rite. By researching some of the linguistic and stylistic consequences brought about by this coincidence of roles, the contribution attempts to highlight how the poet, lyrically guiding the priest’s gestures and voice and actively interpreting his own double role, varies, expands and innovates certain formular locutions of the rite and certain literary expressions specialised in the religious sphere. The hypothesis put forward is centred on the assumption that the numerous efforts of linguistic and stylistic innovation concentrated in the “ritual” section of Tib. 2,1 were aroused and fostered by the performative character inherent in the compositional technique employed, by a mimetic identification of the poet with the sacerdos that constantly induced the one, in a delicate balance of roles, to watch over the elocution of the other. The purpose is to seek the linguistic reverberations of sacral mimesis in the portion of elegy examined (1-26), investigating the most significant examples from a critical perspective that does not separate the poet’s word from the officiant’s action and shows how one reciprocally influences the other.

Ovid's Poems from Exile The Creation of a Myth and the Triumph of Poetry* The question of the interpretation of Ovid's poetry of exile is complex. Ovidian research has been much affected by the «historicist approach» 1. Controversy has long raged about how much of what Ovid says in his ostensibly biographical poetry, both the erotic and the exilic, can be taken as literally true or «sincere». Critics, particularly those lacking in a sense of humour, have labelled him «shallow», or «insincere», usually in a deleterious comparison with a predecessor or contemporary. Criticism has of late, however, tended to modify this approach. Ulrich Müller in an aptly-entitled article («Lügende Dichter») 2 points out that poetic fiction stands somewhere between poetic reality and historical reality. To Müller, Ovid's approach to truth is Aristotelian, portraying potentiality, rather than actuality. In modern idiom, Ovid's «sincerity» is not necessarily based on «factual reality» 3. Ovid addressed himself to this same problem in Tristia 2.352-442 in an elaborate defense of his art as opposed to his life 4. A problem that has beset Ovidian criticism has been that even individual critics do not react in the same way to the poet's various works. Historicists tended to doubt the «sincerity» or «factual truth» of the Amoves, but turned around and accepted as literal fact all that the poet chose to represent in the exilic poetry 5. Critics with a more literary bent tended to judge the erotic and * Gratitude is expressed to the University of Stellenbosch for sabbatical leave during 1985, and to the Universities of Texas at Austin, U.S.A., and Cambridge, England, for hospitality to a visiting scholar, and the use of their extensive library facilities. An earlier draft of this paper was first read at the 17th Biennial Conference of the Classical Association of South Africa. Thanks to colleagues at that meeting, and to Miss E. Paterson of Pietermaritzburg and an anonymous reader, also to the editors of Antike und Abendland, for helpful comments. Thanks also to the HSRCfor financial support. All references to journals in the notes below are abbreviated according to the system followed by L'Annee Philologique. 1 W.B. Stanford, Enemies of poetry (London, 1980) decries critics who «have adopted the factualistic belief that poetry is essentially a subspecies of history-history in fancy dress or primitive history».

Within the framework defined by the components of contemporary elegy,
the communication focuses on the hermeneutical approach of the
embodied experiences of loss and the intermedial/interartistic nature of
words that articulate them. The combination of the plastic volume of the
words with the vital pulse that they are able to channel, define ‒as will be
argued‒ an important parameter in modern Greek elegiac poetry.

Come è stato rilevato da Dimundo 2016, 185, nella successione di exempla, più che di «intensificazione progressiva» (Gazich 1995, 83), si dovrebbe parlare di «dilatazione graduale del l'exemplum», in quanto viene sviluppato a coppie il motivo della constantia (Calipso/Ipsipile) e della fides (Evadne/Alfesibea), che Cinzia oltraggia con il suo comportamento disinvolto (vd. anche Fedeli 2004, 243). 4 Il testo è riportato nel l'edizione di Fedeli (1984, 30-31), che accoglie la trasposizione di Lachmann dei vv. 15-16 dopo il v. 22, soluzione più convincente

The journal Trends in Classics and the accompanying Supplementary Volumes publish innovative, interdisciplinary work which brings to the study of Greek and Latin texts the insights and methods of related disciplines, such as narratology, intertextuality, reader-response criticism, and oral poetics. Both publications seek to publish research across the full range of classical antiquity. Unfi nishedness and incompleteness represent a central feature of both ancient literature and its ongoing reception that has often been taken for granted without thorough examination. This edited volume explores its implications for interpretation by reconsidering the relation of author, text and readers. It offers a broad spectrum of analyses of poetic, rhetorical, and fi ctional texts by specialists in ancient and modern literatures.

Μπορεί η βιογραφία ως λογοτεχνικό είδος να μην συγκινεί πλέον ιδιαίτερα το αναγνωστικό κοινό, ωστόσο η φιγούρα του Αννίβα, του ατρόμητου Καρχηδόνιου στρατηγού που με ελέφαντες διέσχισε τις Άλπεις για να φτάσει απειλητικός λίγο έξω από τα τείχη της Ρώμης, εξακολουθεί να κατέχει σημαντική θέση στην παγκόσμια ιστορική συνείδηση. Το βιβλίο αυτό προσφέρει ένα εύληπτο, άρτια δομημένο και πολυμεσικά τεκμηριωμένο ερμηνευτικό υπόμνημα του βίου και της πολιτείας του Αννίβα, όπως τη σκιαγράφησε ο Ρωμαίος βιογράφος Κορνήλιος Νέπωτας. Στις σελίδες του ο αναγνώστης θα βρει, πέρα από το λατινικό κείμενο, πλούσια εισαγωγή, η οποία με σαφή και εύληπτο τρόπο τον κατατοπίζει γύρω από το ιστορικό, πολιτικό, κοινωνικό και οικονομικό υπόβαθρο των Καρχηδονιακών πολέμων, τη δράση του Αννίβα, αλλά και τις πολιτικές και πνευματικές συνθήκες μέσα στις οποίες δημιούργησε ο Νέπωτας. Τα πλούσια σχόλια καλύπτουν ένα ευρύ φάσμα γλωσσικών, γραμματικών, συντακτικών, υφολογικών, αλλά και ιστορικών και πραγματολογικών ζητημάτων, ενώ ιδιαιτέρως χρήσιμα αποδεικνύονται τα ηχητικά αρχεία με την ανάγνωση των κεφαλαίων της βιογραφίας στα λατινικά. Η βιβλιογραφία που παρατίθεται είναι πλήρης, ενημερωμένη και καλύπτει μεγάλο εύρος θεμάτων τα οποία κυμαίνονται από την αρχαία βιογραφία και εξειδικευμένα ζητήματα στο έργο του Νέπωτα μέχρι την πρόσληψη της μορφής του Αννίβα στη σύγχρονη λογοτεχνία και στον κινηματογράφο. Το βιβλίο μπορεί να απευθύνεται πρωτίστως σε φοιτητές και μελετητές της λατινικής φιλολογίας, της βιογραφίας, της πολιτικής και στρατιωτικής ιστορίας της αρχαίας Μεσογείου, ωστόσο ο πλούσιος και πολυθεματικός ερμηνευτικός σχολιασμός τους το καθιστά προσιτό και ελκυστικό και στο ευρύτερο αναγνωστικό κοινό.

Biography as a literary genre may have lost its allure among modern readers. However, the figure of Hannibal, the fearless Carthaginian general who crossed the Alps with elephants to menacingly approach the walls of Rome, continues to hold a significant place in the collective memory of the world, even in present times. This book provides an accessible, well-structured, and multimedia-informed interpretation of the life and career of Hannibal, as portrayed by the Roman biographer Cornelius Nepos. Within the pages of this textbook, alongside the Latin text, readers will find a rich introduction that provides clear and comprehensible insights into the historical, political, social, and economic backdrop of the Punic Wars, Hannibal’s endeavours, and the political and intellectual conditions in which Nepos created his work. The extensive commentary delves into a wide range of linguistic, grammatical, syntactical, stylistic, as well as historical and factual issues. Additionally, the inclusion of audio files featuring the reading of the biography’s chapters in Latin proves highly useful. The bibliography provided is comprehensive, up-to-date, and covers diverse topics, including ancient biography, distinctive features of Nepos’ work, as well as the reception of Hannibal in contemporary literature and cinema. Although the book primarily targets students and scholars of Latin philology, biography, and the political and military history of the ancient Mediterranean, its rich and multifaceted commentary ensures accessibility and appeal to a broader audience.

L’articolo approfondisce il rapporto tra la letteratura latina e il principato augusteo con attenzione alle elegie romane di Properzio. Vengono prese in esame le trasformazioni del suo genere letterario nel IV libro, ricco di nuovi temi (religiosi, eziologici, morali), sia nel contesto storico-culturale che nel rapporto con gli altri membri del circolo di Mecenate (Virgilio, Orazio), evidenziando anche i possibili influssi dell’autore sul princeps.

Nel presente articolo si analizzano i primi sei componimenti del terzo libro del Corpus Tibullianum, noti, nel complesso, con la denominazione convenzionale di ‘ciclo di Ligdamo’, la cui attribuzione è tutt’ora incerta e oggetto di discussione. In una prima parte dell’elaborato, si discutono i risultati dell’analisi intratestuale, impiegata per le elegie di Ligdamo e per le prime tre elegie del primo libro del Corpus Tibullianum (selezionate come modello campione su cui basarsi per l’individuazione delle caratteristiche stilistiche proprie di tutta l’opera tibulliana, data la sostanziale omogeneità dello stile compositivo dell’autore), mediante la quale si è tentato di estrapolare i caratteri peculiari del modus scribendi di Ligdamo e di Tibullo, con la finalità ultima di operare un confronto puntuale fra i due.
La seconda sezione del lavoro è dedicata invece alla descrizione degli esperimenti di analisi stilometrica – effettuati mediante il programma JGAAP – condotti, in via preliminare, su un corpus di autori noti (composto dalle elegie attribuite con certezza a Tibullo e dai quattro libri di elegie di Properzio), al fine di selezionare i parametri più confacenti all’analisi stilometrica su testi poetici in latino classico, seguita da un’esposizione dei successivi esperimenti di analisi stilometrica rivolti alle elegie del ‘ciclo di Ligdamo’ con finalità attribuzionistiche. Queste ultime sono state confrontate con i primi due libri del Corpus Tibullianum, i quattro libri di elegie di Properzio, il primo e terzo libro degli Amores e il primo libro dei Tristia di Ovidio e, infine, con alcuni componimenti in distici elegiaci di Catullo. I risultati dell’analisi stilometrica hanno condotto a interessanti riflessioni in relazione alla possibilità di confermare le tesi attualmente prevalenti negli studi attribuzionistici su Ligdamo, che propendono per una collocazione della vita e dell’opera dell'autore nel I sec. d.C.

Esta edición recupera una de las primeras obras de poesía hispano-latina, las odas a la Virgen impresas por el alemán Jacobo Cromberger en Sevilla en 1504 junto a otras composiciones religiosas de Antonio Carrión, y precedidas de un epigrama de Juan de Trespuentes, el catedrático de las escuelas de San Miguel al que sucedió por unos meses Antonio de Lebrija en 1514. Incluye una biografía de Santaella y de estos dos maestros. Las odas transmiten la emoción lírica de una comunión íntima con la Virgen en un estilo culto y elegante por su expresión y recursos retóricos, hermoso por sus imágenes y sus resonancias eróticas, épicas y neoplatónicas, y emotivo por el sentimiento de sincera comunión mística que trasluce, en una lengua renovada a partir del modelo formal de los clásicos, pero que no desprecia la tradición poética cristiana. Muchos de estos poemas marianos constituyen variaciones religiosas de sendas elegías amorosas de Propercio, de las que adoptan términos, motivos, temas, estructuras y esquemas métricos y rítmicos. En algunos casos se trata de una imitación verso a verso de la elegía en cuestión con la que cada oda rivaliza, tanto formalmente como en la pasión de los sentimientos del poeta. De ese modo ofrecen una alternativa piadosa a la poesía erótica y pagana antiguas, utilizando sus mismos medios y modos de expresión. Tras las odas figuran varios poemas de Antonio Carrión, seguidor de las ideas morales del humanista francés Robert Gaguin, discípulo de Antonio de Lebrija, y maestro en las escuelas de San Miguel desde al menos 1497. Entre sus poemas sobresale un hermoso poema sobre la Asunción, de expresión virgiliana y repleto de elementos mitológicos de carácter alegórico, así como el epigrama programático inicial, inspirado formalmente en Catulo para condenar la poesía amorosa y profana. La producción poética de Antonio Carrión constituye una buena muestra de la íntima relación entre la poesía castellana culta del siglo XV, representada por la obra de Juan de Mena, y el Renacimiento de la poesía latina bajo el reinado de los Reyes Católicos, así como la pervivencia en esta época del tratamiento alegórico en la poesía tanto castellana como latina compuestas de acuerdo con los moldes clásicos.

This remains a draft because it does not incorporate the conclusions in Ryan (2017).

This study uses a generative metrics framework to analyze rhythmic constraints on Latin elegiac couplets. The corpus examined includes 1,116 couplets written by five poets who lived between c. 84 BCE and c. 100 CE. While many studies have examined Latin poetry (and, indeed, Latin elegy) in great detail (Greenberg 1987; Platnauer 1951), none has taken advantage of the methodologies in more recent generative metrics surveys of other languages’ poetries. The analytical approach in the present study is inspired by Hayes & MacEachern (1998), a comprehensive generative metrics analysis of quatrains in English fold verse, and by Golston & Riad (2000), a constraint-based study of Greek meter. Both use frameworks based on Optimality Theory (Prince & Smolensky 2004) and propose that metrical structures can be described in terms of formal constraints whose rankings can vary across individual languages. I repurpose this idea here to describe Latin elegy in terms of stress rhythm. Long-held views about the ancient poets’ metrical preferences (Allen 1973; Bennett 1898; Halporn et al. 1963; Sturtevant 1923), already have us well-equipped to develop a formal analysis of the rhythmic characteristics of Latin elegy. Of even more help to my goals are recent studies of Latin stress (Apoussidou & Boersma 2003) and metrical structure, more generally (Hayes 1995). The goal of this study is to define elegiac couplets in these terms, to evaluate interplay between prosodic prominence (stress in Latin words) and underlying metrical beats (or intervals in the prescribed poetic template), and to ascertain whether rhythm can be used to explain form.

The use of first-person plural in this paper is meant to include myself and the reader. This is an undergraduate honors thesis, and I want to thank my wonderful supervisor, Dr. Megan Crowhurst, for her invaluable feedback throughout this process.

As Betty Rose Nagle has remarked, Ovid&#39;s exile poetry deploys proper names within a kind of economy: ‘Ovid immortalises his own name by publicising it and exhorting his friends and readers to keep it alive, and he rewards his friends for actively remembering him by immortalising them, i.e. by putting their names in his poetry.’ What interests me here is the shortcircuiting of this system of exchange within the Tristia. For one of the most striking features of Ovid&#39;s first run of exilic elegies is precisely the omission of the names of Ovid&#39;s addressees. As Ovid will claim in the poem that opens the Epistulae ex Ponto, it is this omission (along with a change of title) that differentiates the Tristia poems from their successors: inuenies, quamuis non est miserabilis index,non minus hoc illo triste, quod ante dedi.rebus idem, titulo differt; et epistula cui sitnon occultato nomine missa docet.(Ex Pont. 1.1.15-18)

Schwindt, Jürgen Paul. “Der Karneval des Properz. Zur Objektepistemologie der augusteischen Dichtung”. Objektepistemologien. Zur Vermessung eines transdisziplinären Forschungsraums. Eds. Markus Hilgert, Kerstin P. Hofmann, and Henrike Simon. Berlin Studies of the Ancient World. 59. Berlin: Edition Topoi, 2018. 291–303.
https://www.edition-topoi.org/download_pdf/bsa_059_12.pdf.

Analysing texts of the Augustan literature from an object-epistemological perspective proves to be a productive approach when we want to learn more about the (self-)organisation of complex poetry. It is capable of putting the traditional method of linguistic and stylistic observation into the broader context of a theory of objects. This shift in perspective allows for a more precise definition of the ‘subject-matter’ or the ‘referentiality’ of poetry. In numerous texts written during the transition period between the Roman Republic and the Augustan principate, it is the things that give the most reliable evidence of the disruption of the conventional modes of perception and judgement. In this way, Propertius’ erotico-melancholic chamber play can become the indicator of an epochal change.

Die objektepistemologische Untersuchung erweist sich im Umgang mit Texten der augusteischen Literatur als produktive Methode, unser Wissen über die (Selbst)Organisation komplexer Dichtungen zu erweitern. Sie ist geeignet, die traditionelle Sprach- und Stilbeobachtung in den größeren Horizont einer Theorie der Gegenständlichkeit zu rücken. Das erlaubt präzisere Aussagen zur Bestimmung des ‘Themas‘ wie des ‘Weltbezuges‘ der Dichtung. In zahlreichen Texten der Übergangszeit zwischen der römischen Republik und dem augusteischen Prinzipat sind es die Dinge, die die Erschütterung konventioneller Wahrnehmungs- und Urteilsweisen am zuverlässigsten bezeugen. So kann das erotisch-melancholische Kammerspiel des Properz zum Indikator eines epochalen Wandels werden.

Contaminations between the ideal matrona and the elegiac puella Este trabajo se propone identificar y analizar diversos loci de la literatura latina en los que se trata la figura de la matrona ideal: el arquetipo griego es, sin duda alguna, la Penélope homérica, mientras que el latino está representado por la Lucrecia liviana. Estos dos modelos se reencuentran, reelaborados y pulidos, en la poesía elegíaca de Propercio, Tibulo y Ovidio, y precisamente el de Sulmona en la obra del exilio los renueva de manera inesperada: él, de hecho, confiere a su esposa Fabia, mujer de carne y hueso, las características propias de una respetable matrona, pero reviste también su figura en clave erótico-elegíaca. Tradición, ficción literaria y realidad histórico-antropológica se funden y se confunden admirablemente en la figura de Fabia, que debe mucho a la Aretusa properciana. Palabras clave: elegía latina; matrona ideal; amante elegíaca, soledad; miseratio; mujer abandonada. This paper aims at identifying and analyzing different loci of Latin Literature in which ideal matrona figure appears: certainly the Greek archetype is found into the homeric Penelope, while the Latin one into the livian Lucrecia. These two models are merged, reworked and polished up in the elegiac poetry of Propertius, Tibullus and Ovid and more precisely in the ovidian exile poetry they are unexpectedly renewed: Ovid gives his wife, Fabia, a flesh and bones woman, the characteristics of a respectable matrona, but her figure is revisited from an erotic-elegiac viewpoint. Tradition, literary fiction and historical and anthropological reality are merged and wonderfully blended into the figure of Fabia, who owes a great deal to Propertius Arethusa.

This article examines the interplay between legal language and poetic discourse within Ovid’s Heroides 4. As a knowledgeable reader of previous authors, as well as an expert in love poetry and Roman and divine law, the Ovidian Phaedra combines literary tradition, elegiac patterns, and legal discourse to portray her adulterous and incestuous relationship with Hippolytus as legitimate. Phaedra’s ironical reinterpretation and manipulation of Roman legal concepts, along with her skillful use of sources and elegiac motifs, articulates Ovid’s attempt to uncover the intrinsic arbitrariness and unreliability of contemporary (Augustan) juridical constructs.

Elegy is the term we now associate with poems of mourning, composed in response to a death or to be performed at a funeral. In the sixteenth century, however, the genre was a complex palimpsest, encompassing the lament, dirge, or complaint; poems of erotic desire, subjection, and violence; and a specific metre. In this period elegy was not considered a subgenre of lyric: In The Defence of Poesy (first published 1595), Philip Sidney identified it among the multiple varieties of poetry that included 'heroic, lyric, tragic, comic, satiric, iambic, elegiac, pastoral, and certain others: some of these being termed according to the matter they deal with, some by the sort of verse they liked best to write in' (Alexander, Sidney's 'Defence', 11). 1 Sidney describes 'the lamenting elegiac' (26) as a highly affective poetic genre, that 'weeps the want of his mistress' (35). Elegy 'in a kind heart would move rather pity than blame' (26) and bewails 'the weakness of mankind and the wretchedness of the world' (26). Sidney is here identifying the form practised by the Roman poets Propertius, Tibullus, and Ovid, but the accent on suffering provides a link to the tearful genre of funerary elegy. Elegy's capacity to elicit pity also supports what Sidney defends as the ethical function of poetry, against critics who claim that it 'abuses men's wit, training it to wanton sinfulness and lustful love' (35). This is a necessary defence of a genre which, as represented by Ovid's Amores, often included sexually explicit and even sadistic scenes of desire. To explore the interaction in the sixteenth century between love, death, loss, and violence which could be

In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis.

The text is an analysis of the story of Dido as shown in Virgil’s Aeneid. The author presents pre-Virgiliansources of the history of the Phoenician queen, recounts the three principal versions of Dido’s biography andsets the Virgil’s narration against the opinions of ancient commentators (Servius, Macrobius) and other Romanwriters reminiscing about Dido’s ill-fated past. All the testimonies bring out the uncontestable claim that it wasVirgil who first wrote about the tragic love entanglement between Aeneas and Dido, a story which rapidly gainedpopularity upon the publication of the Aeneid. The article discusses Virgil’s subversive understanding ofgender and the conventional traits of national character (Roman and barbaric, as typified in Roman literature)

Ovid's attempts to receive absolution from Augustus sublimated into literary letters, displaying some precise details that can be read in connection to ancient epistolography. The three defining human elements of a letterauthor, addressee and couriertogether with its essence, the message, are continuously rearranged in the poem Tristia 1.1. This poetic letter is written by Ovid (its "father"), is destined to reach Rome (not daring to go directly to the emperor, vide v. 69-70), and seems to travel by itself (though the presence of a possible messenger might be detected in v. 125-126), from a distant place, outside the world Ovid used to live in, bearing a message that is about itself and about the relationship with the author, with the addressee, with his other letters/works seen as belonging to a personal (or maybe public) library or archive. Some general notes on ancient epistolography are to be taken into account. The letter is defined inside the coordinates of certain elements (vide Poster 2007, 21-51), among which the most obvious are the greetings in the beginning and in the end. We might consider this as the primary frame of the letter, one that is absolutely necessary, setting the space and time borders, as much as the human relationship. The communication established by means of a letter may be a clear and open one, explicitly achieved, or, on the contrary, a secret communication, obscure to anyone but the individuals that are inside the relationship set by the primary frame. The private nature of communication throughout letters is materialised in the protecting systems of their content; this protection is necessary both

Abstract. The two couplets of Prop. 2, 34, 91-92 and Ov. amor. 3, 9, 63-64 can be read as important testimonies in the complex debate on the Virgilian laudes Galli. At the end of the Georgics. Both are related to the death of Gallus and allow to understand the reactions of the contemporaries to the suicide of the elegist and the emotional context of that moment. On this basis even the supposed elimination of the laudes Galli by Virgil can be explained in a new perspective.
Key words: Virgil’s laudes Galli; Prop. 2, 34, 91-92; Ov. amor. 3, 9, 63-64; Gallus’ trial and death.

Διατηρούμε όλα τα δικαιώματα, συγγραφικά και εκδοτικά, αυτού του βιβλίου. Απαγορεύεται η αναδημοσίευση ή αναπαραγωγή του παρόντος έργου στο σύνολό του ή τμημάτων του με οποιαδήποτε μορφή και με οποιοδήποτε μέσο, σύμφωνα με τις διατάξεις του ν.2121/1993 και της Διεθνούς Σύμβασης Βέρνης-Παρισιού, που κυρώθηκε με το ν.100/1975. Επίσης απαγορεύεται η αναπαραγωγή της στοιχειοθεσίας, σελιδοποίησης, του εξωφύλλου και γενικά της αισθητικής εμφάνισης του έργου με φωτοτυπικό, ηλεκτρονικό ή οποιοδήποτε άλλο μέσο, χωρίς την προη-Σ Γ De oraculo Apollinis (Phaed. Fab. App. 8): O Φαίδρος και η Πυθίααισώπειο και ρωμαϊκό λογοτεχνικό υπόβαθρο .

This article is a solitude-focused interpretation of the later works of Publius Ovidius Naso (43 BCE-AD 17/18): Tristia and Epistulae ex Ponto. A celebrated poet in his heyday, in AD 8 Ovid was exiled from Rome by Augustus, never to return to his homeland again. The circumstances and causes of such a harsh sentence have never been explicitly stated: neither by Ovid himself, nor by any of his contemporary authors. Some historians speculate that the causes are related to another of the poet's works -the infamous Ars Amatoria that had once shocked the citizens of Rome. Others would argue that moral outrage was but a convenient disguise of Augustus' actual motives, quite possibly related to scandalous affairs of a political or personal nature. Although an exploration of the aforementioned themes is made, as well as some considerations regarding the legal implications of exile in ancient Rome, the main subject of the article is the reading of Ovid's later works as introspections that provide insight into his exile, understood as a period of loneliness. While removed from his home and from those close to his heart, the poet remained a Roman citizen, keenly identifying as part of that community. Though his proximity

The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid&#39;s trademark combination of poetic instruction and trivial subject matter. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. Covering both didactic parody and pharmacological reality, this deceptively complex poem possesses wit and vivacity and provides an important insight into Roman social mores and day-to-day activities. The first full study in English devoted to this little-researched but multi-faceted poem, Ovid on Cosmetics includes an introduction that situates the poem within its literary heritage of didactic and elegiac poetry, its place in Ovid&#39;s oeuvre and its relevance to social values, personal aesthetics and attitudes to female beauty in Roman society. The Latin text is presented on parallel pages alongside a new translation, and all Latin words and phrases...

This paper is a translation, and reworking, of an excerpt from my article entitled “Le quatrième livre de Properce, ou le Prince contre le Poète”, RBPh 79 (2001), pp. 69-118, where I propose to see in Prop. 4.7 and 4.8 the barely concealed confession of the murder of Propertius by the (imperial) forger of the fourth book.

This article comments upon the episode of the dialogue between the Mytileneans and Pompey in Lucan&#39;s De Bello Civili (8,109-158) and its multiple poetic purposes are investigated. I argue that the episode in question has a significant structural value, since Lucan&#39;s emphasis on the islanders&#39; loyalty and Pompey&#39;s reaction should be connected not only with the similar stance of the Lariseans in the previous book or the perfidy of the Egyptians later in the work, but also with many other passages and themes of the epic (as e.g. Caesar&#39;s greed, his presence at Amyclas&#39; hut, the virtues of vetus Roma, the absence of an important tomb for Pompey). In this way the particular episode allows the poet to highlight tragic elements in Pompey&#39;s portrayal and more generally traits of his image that are in contrast with those of Caesar&#39;s, while at the same time facilitates Lucan&#39;s attempt to hint at his poetic immortality.

The Tristia and Epistulae ex Ponto are crucial for understanding Ovid’s use of myth, as he repeatedly uses mythological exempla to illustrate his own condition in exile and to characterise the authorial mask which he adopts in the exilic epistles. My doctorate approaches the author-persona relationship by investigating how Ovid utilises mythological references to construct his persona in literary terms, a methodology that rejects any attempt to reveal the “man behind the mask” and instead focuses on appreciating the complexity of the authorial exilic persona in its own right. By focusing on the mask of the author, this thesis looks in-depth at how the authorial persona is constructed by references to myth and literature, and how this often relates back to other Ovidian personae. My work focuses on the most common myths found in the exile works featuring the gods, epic protagonists, other heroes, the Underworld, and famous wives. The mythical exempla found in the Tristia and Epistula...

The objective of this paper is to analyze the occurrences of the name Phyllis in the Latin literature. In the Augustan age, a very important cultural period, Phyllis is mentioned by several authors. She is the author of one of the letters from Ovid’s Heroides, but is also mentioned by the poet in other works as exemplum. In addition, she is a courtesan for Propertius. She is also in the center of various dibates among pastors in the Virgilian Eclouges. Moreover, she appears in Oratius’s Odes in symposial contexts. In imperial age, Martial and Ausonius mention her as courtesan. Is this Phyllis the same or is it only a case this continuous mentioning in different, but not totally extraneous, works? There exists Phyllis in the myth, but may there exist also Phyllis as courtesan, intentionally used by authors in erotic contexts? In this paper, we are going to analyze the different cases in which Phyllis was cited, from Phyllis as suicidal heroin for love, to Phyllis as the drunk courtesan and then to Phyllis as a slave that paradoxically becomes daughter of a king.

Although various aspects of Ovid’s emotional reactions to exile have been researched, there has so far been no extended practical study that places the emotional content of his works into a new political context. In this respect Ovid’s voicing of his experiences can serve to illuminate the experiences of latter-day exiles. This article attempts to establish, by literary means, a picture of the alienation attendant upon exile and its sublimation. For this purpose the poetry of Ovid, as well as that of certain modern authors, is used as illustration. There are many parallels between the Rome of the turn of our era and the South Africa of previous decades: exile was a political weapon in both. Themes reflecting alienation in Ovid’s poems are universal, and still valid in situations of exile today. Ovid’s portrayal of his own exiled persona is used to draw a psychological profile of the experiences of alienation during such exile. This profile may be termed the “universals of alienation...

After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within t...

The author gathers and scrutinizes the cases in which Jan Kochanowski, the most prominent poet of the Polish Renaissance, mentions Naples or Campania, one of his destinations while travelling through Italy in 1555. One of the designations in question appears to be "Parthenopea lues" from his Latin elegy III 17, a periphrastic term for syphilis, a disastrous veneral disease which truly decimated the population of then Europeans. It's mentioned as part of a long tirade against a woman who, according to the poet's wishes, is going to pay high price for her wrongdoings, especially those against love. The ultimate punishment she will suffer, right before immersing herself in the abyss of Tartarus, will be, devastating for her health, "morbus gallicus". The paper ponders on the right identification of the female protagonist of the elegy, taking into consideration the existing theories about it as well as comments on a peculiar name syphilis was given by the poet and the medical knowledge he shares with a reader.

Κριτική στο: Ναπολέων Λαπαθιώτης, Ξεδιάλεγμα. Ποιήματα, στοχασμοί, αφηγήματα, συνεντεύξεις, ανθολόγηση: Τάκης Σπετσιώτης, Τύρφη, Θεσσαλονίκη 2021

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