The elegy flared into existence, commanded the cultural stage for several decades, then went extinct. This book accounts for the swift rise and sudden decline of a genre whose life span was incredibly brief relative to its impact. Examining every major poet from Catullus to Ovid, Subjecting Verses presents the first comprehensive history of Latin erotic elegy since Georg Luck's. Paul Allen Miller harmoniously weds close readings of the poetry with insights from theoreticians as diverse as Jameson, (...) Foucault, Lacan, and Zizek. In welcome contrast to previous, thematic studies of elegy--efforts that have become bogged down in determining whether particular themes and poets were pro- or anti-Augustan--Miller offers a new, "symptomatic" history. He asks two obvious but rarely posed questions: what historical conditions were necessary to produce elegy, and what provoked its decline? Ultimately, he argues that elegiac poetry arose from a fundamental split in the nature of subjectivity that occurred in the late first century--a split symptomatic of the historical changes taking place at the time. Subjecting Verses is a major interpretive feat whose influence will reach across classics and literary studies. Linking the rise of elegy with changes in how Romans imagined themselves within a rapidly changing society, it offers a new model of literary theory that neither reduces the poems to a reflection of their context nor examines them in a vacuum. (shrink)

Poetic translation of Tibullus Elegy I.3.

The Oxford Classical Texts, or Scriptorum Classicorum Bibliotheca Oxoniensis, are renowned for their reliability and presentation. The series consists of a text without commentary but with a brief apparatus criticus at the foot of each page. There are now over 100 volumes, representing the greater part of classical Greek and Latin literature. The Aim of the series remains that of including the works of all the principal classical authors. Although this has been largely accomplished, new volumes are still being (...) published to fill the remaining gaps, and old editions are being revised in the light of recent research or replaced. (shrink)

International array of contributors, bringing together both traditional and more recent approaches to provide valuable insights into the poets’ use of language.Covers authors from Lucilius to Juvenal.Of the peoples of ancient Italy, only the Romans committed newly composed poems to writing, and for 250 years Latin-speakers developed an impressive verse literature.The language had traditional resources of high style, e.g., alliteration, lexical and morphological archaism or grecism, and of course metaphor and word order; and there were also less obvious resources (...) in the technical vocabularies of law, philosophy and medicine.The essays in this volume show how the poets in the classical period combined these elements, and so created a poetic medium that could comprehend satire, invective, erotic elegy, drama, lyric, and the grandest heroic epos. (shrink)

The sixty years between 43 BC, when Cicero was assassinated, and AD 17, when Ovid died in exile and disgrace, saw an unexampled explosion of literary creativity in Rome. Fresh ground was broken in almost every existing genre, and a new kind of specifically Roman poetry, the personal love-elegy, was born, flourished, and succumbed to its own success. Latin literature now became, in the familiar modern sense of the word, classical: a balanced fusion of what was best and (...) most stimulating in earlier Greek and Roman writing, charged with new and original life by the individual genius of, most particularly, Virgil, Horace and Ovid. Augustan literature, conventionally viewed as the expression in writing of the age itself - political and social stability reflected in artistic equilibrium - turns out on a close and critical reading to have been subject to the same stresses and strains as the society in and for which it was produced. In appraising the monumental literary achievements of the age the underlying tensions and contradictions are not ignored. The critical discussions in this volume do full justice to the complexity and subtlety of the literature itself. (shrink)

Drawing on a range of sources such as Roman oratory, love elegy, Carmina Priapea and Petronius, the paper claims that the Priapic model of Roman Sexuality entails a particularly vulnerable form of male sexuality which can best be observed in descriptions of young men in the transitional period to manhood, such as, e.g., Achilles in Statius' Achilleis.

The hairdresser who carries Ovid's invitation to his puella in Amores 1.11 is almost immediately blamed for his rejection in 1.12, before that blame is transferred to the tablets carrying that invitation. Nape (the enslaved hairdresser of the puella) has been linked to the character Dipsas, appearing in 1.7, specifically through the descriptor sobria. By focussing on the use of the verb uerto, the reference to the mythical strix, and curses related to the old age of both Dipsas and the (...) tablets in 1.7 and 1.12, this note demonstrates that the supernatural word choice further connects Nape with Dipsas. (shrink)

This dissertation in classics might be of interest for gender studies as well since it is a sustained demonstration how one social and literary sterotype (the elegiac lover -- der elegisch Liebende) is systematically transformed into another (the artist of love -- der Liebeskünstler) as part of generic transformation (turning Latin love elegy into didactic poetry). The counterpart of these stereotypes is the "harsh lady" (dura domina), who is domesticated in the third book of the Ars amatoria. The (...) copyright for the book belongs to the author, who has uploaded it to the site. Please feel free to use it for non-profit purposes. (shrink)

The comparison between Prop. 2, 34, 91-92 and Virg. ecl. 10, 18 allows to argue that Gallus treated Adonis in his love elegy and that he used this character as an exemplum, in the same way of his future followers, in particular Propertius and Ovid. It is possible that he imitated Euphor. fr. 43 Pow., and for this reason we can try to reconstruct his relationship with the models and his freedom in in adapting them to the new elegiac (...) poetry. (shrink)

Conjectures are made on the text of three passages in Tibullus, Books 1–2: 1.4.26 hastam … suam for crines … suos, 2.1.56 membra for bache, 2.4.60 aliis rebus for alias herbas.

C. A. J. Littlewood approaches Seneca's tragedies as Neronian literature rather than as reworkings of Attic drama, and emphasizes their place in the Roman world and in the Latin literary corpus. The Greek tragic myths are for Seneca mediated by non-dramatic Augustan literature. In literary terms Phaedra's desire, Hippolytus' innocence, and Hercules' ambivalent heroism look back through allusion to Roman elegy, pastoral, and epic respectively. Ethically, the artificiality of Senecan tragedy, the consciousness that its own dramatic worlds, events, (...) and people are literary constructs, responds to the contemporary Stoical dismissal of the public world as mere theatre. (shrink)

Acontius argues that there was nothing wrong with the trick he played on Cydippe – the end justifies the means.Heinsius and Dilthey doubted the authenticity of this couplet, whilst Bornecque bracketed line 26 alone. Line 25, however, contains a familiar elegiac theme, and line 26, with one small emendation, is rhetorically sharp.All the MSS have uni in line 25, but many editors have found this unsatisfactory, preferring to read unum and punctuating the line in various ways: Burman prints ‘iungerer? unum’, (...) Showerman, Goold and Palmer ‘iungerer, unum?’ Of these, the latter is the more attractive, ‘iungerer uni’, however, is perfectly good, and should be retained: uni means not ‘you alone ’, but ‘you alone ’, cf. OLD s.v. unus 8 ‘one in particular, one above all others’. Acontius is paying Cydippe a compliment – she is the only girl for him, and nobody else will do. This is a common theme in Latin love elegy, cf. Prop. 2.7.19, [Tib.] 3.19.3–6, Ovid, Ars Am. 1.42: ‘elige cui dicas “tu mihi sola places”’. (shrink)

Acontius argues that there was nothing wrong with the trick he played on Cydippe – the end justifies the means.Heinsius and Dilthey doubted the authenticity of this couplet, whilst Bornecque bracketed line 26 alone. Line 25, however, contains a familiar elegiac theme, and line 26, with one small emendation, is rhetorically sharp.All the MSS have uni in line 25, but many editors have found this unsatisfactory, preferring to read unum and punctuating the line in various ways: Burman prints ‘iungerer? unum’, (...) Showerman, Goold and Palmer ‘iungerer, unum?’ Of these, the latter is the more attractive, ‘iungerer uni’, however, is perfectly good, and should be retained: uni means not ‘you alone ’, but ‘you alone ’, cf. OLD s.v. unus 8 ‘one in particular, one above all others’. Acontius is paying Cydippe a compliment – she is the only girl for him, and nobody else will do. This is a common theme in Latin love elegy, cf. Prop. 2.7.19, [Tib.] 3.19.3–6, Ovid, Ars Am. 1.42: ‘elige cui dicas “tu mihi sola places”’. (shrink)

By analysing three paradigmatic passages, this paper explores how Prudentius uses classical love motifs and imagery not only to lambast paganism, but also as a powerful rhetorical tool to convey his Christian message. The ‘fire of love’ imagery is conspicuous in Psychomachia 53–57, which wittily blends Christian and erotic language. In an entirely different context, the flamma amoris is also fully exploited to depict lustful young Vestal Virgins, in combination with other classical metaphors of passion, such as the ‘wound of (...) love’ and the signa amoris. Additionally, the contrast between heat and cold is a central element in the description of the Vestals’ tardy nuptials, redolent of classical satirical portraits of vetulae libidinosae. Finally, in Hamartigenia 628–636 the relationship between the soul and God draws from a Christian tradition of bridal representation, but the lapse into sin is portrayed as the love triangle, typical of the Latin love elegy. These examples illustrate how Prudentius creatively and consciously frames love and sex imagery in new contexts, exploring their potential and infusing clichés with new meanings and forms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The English Polydaedali:How Gabriel Harvey Read Late Tudor LondonNicholas PopperHarvey and GauricoIn 1590 Gabriel Harvey read his copy of Luca Gaurico's 1552 Tractatus Astrologicus, a collection of genitures and commentaries for cities and individuals.1 Harvey had spent the previous twenty-five years at Oxford and Cambridge, mastering Greek and Latin, earning renown as a rhetorician, and promoting English letters. He was a well-known partisan of the French Calvinist Peter (...) Ramus, whose works on curriculum reform had sparked vicious [End Page 351] controversies in the English universities. But Harvey read Gaurico far removed from the schools where he had acquired fame and notoriety as an orator and poet. He had recently relocated to London, where he daily faced a dense, active city unlike his native Saffron Walden and the university towns. Nevertheless he read as he always had, carefully recording his reactions in the margins of the printed text, filling blank spaces with his own commentaries on the subjects presented by Gaurico. The notes disclose an experience of reading that intervened in contemporary debates regarding technology, astrology and utility.2 They also place Harvey among a group of scholars in London in the 1590s, such as Francis Bacon and Hugh Plat, who were examining the benefits local artisans might offer the commonwealth and reconsidering the intellectual status of craft knowledge.Harvey read and annotated Gaurico on several occasions, but the particular strain of notes that I will follow, united by a common ink and hand, engages the learning and erudition of Gaurico's subjects.3 Concentrated almost [End Page 352] exclusively in Book Four, which discussed learned men, these annotations evaluate the poets, philosophers, philologists, and others whom Gaurico had canonized as especially learned.There are only spare annotations prior to Book Four. On the title page of Book Two, devoted to churchmen, Harvey observes the quality of the individuals Gaurico presented and details his own method of evaluation:The most excellent Exemplars of this century [are] in Gaurico, and Cardano: Giovio, and Guiccardini. There are as many of the wisest men as of the greatest actors. Still others live, whether inferior, equal, or superior. And it is of interest to every skillful artificer, to know those most outstanding in their class, and the most celebrated professors of all. Certainly it is very profitable to observe exquisitely the most perfect artificers either of the world or of neighboring nations, or at least of your own people, and to consider with most cunning reason what it is, where it comes from, and what is most excellent. But seriously, and solidly, and always to the point, seeing that singular things are efficacious and are useful to polytechnoscopy. It is judicious to avoid all trivial detail, and to consider only the most pregnant theorists and practitioners of operating.4The notion of a sophisticated form of active knowledge labeled "polytechnoscopy" is the most striking element of this passage. This term seems to have been Harvey's own invention, with no direct precedents; nor was it adopted or used by others after him.Harvey repeatedly referred to polytechnoscopy in his notes. A carefully designed triptych annotation on the title page of Book Four clarifies it as a category uniting practice and knowledge. To the left Harvey wrote, "it is my task to observe the most excellent examples of this age which are useful for polytechnoscopy." On the right, "a polytechnic, polymechanic, polydaedalic, and almost panepistemic book; and likewise sufficiently polychristian. For philologists should be skimmed through; while polytechnics should be examined closely; as I did not only in the Lives of Giovio, but also in those of [End Page 353] Laertius, Eunapius, Philostratus, and others."5 The related Greek descriptors "polymechanic" and "polydaedalic" shed further light on polytechnoscopy. This constellation of terms refers to a method of garnering information by deploying technical knowledge. While not a systematic discipline, its practices—active applicability, craft expertise, observation of experience—constitute a significant realm of learning.In the central panel of the triptych, Harvey notes:[I] compared [this] to Giovio's Elegies of Learned Men. Give me the best man outdoors, and his image at home. For even true life is... (shrink)

Horace's Asterie ode has been somewhat neglected by critics. Fraenkel, uninterested in the erotic odes, fails to mention it, and others see it as merely counterbalancing the preceding six Roman Odes by its frivolity and light irony. However, it is one of Horace's most subtle and best-organized erotic odes, matching the more obvious conventions of Latin love-elegy with a romanticized Odyssey as an underlying framework.

This note on Propertius 4.7 argues that Cynthia, repeatedly cast in the role of the poet's Muse, rejects the burden of inspiration through a learned choice of words (non tamen insector, 4.7.49). The verb insector constitutes a clear reference to the invocation of the Camena in Livius Andronicus and of the Muse in Ennius. Cynthia recalibrates the parlance of poetic inspiration to end her relationship with Propertius, both as his puella and as his Muse.

Propertian elegy is not an obstinately male genre. It is engendered as masculine in its discursive mastery over the female object of its erotics and poetics, but engenders itself as effeminate in its association with softness, submissiveness, and impotence, and as feminine especially in its self-critique and its interrogation of Roman gender and sexuality.M. Wyke,The Roman Mistress, 189.

Rhetorically charged debates over theory have divided scholars of the humanities for decades. In Elegy for Theory, D. N. Rodowick steps back from well-rehearsed arguments pro and con to assess why theory has become such a deeply contested concept. Far from lobbying for a return to the "high theory" of the 1970s and 1980s, he calls for a vigorous dialogue on what should constitute a new, ethically inflected philosophy of the humanities. Rodowick develops an ambitiously cross-disciplinary critique of theory (...) as an academic discourse, tracing its historical displacements from ancient concepts of theoria through late modern concepts of the aesthetic and into the twentieth century. The genealogy of theory, he argues, is constituted by two main lines of descent—one that goes back to philosophy and the other rooted instead in the history of positivism and the rise of the empirical sciences. Giving literature, philosophy, and aesthetics their due, Rodowick asserts that the mid-twentieth-century rise of theory within the academy cannot be understood apart from the emergence of cinema and visual studies. To ask the question, "What is cinema?" is to also open up in new ways the broader question of what is art. At a moment when university curriculums are everywhere being driven by scientism and market forces, Elegy for Theory advances a rigorous argument for the importance of the arts and humanities as transformative, self-renewing cultural legacies. (shrink)