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)

This volume contains comprehensive and scholarly editions of three Anglo-Saxon saints' lives: Birinus of Dorchester-on-Thames, Kenelm of Winchcombe, and Rumwold of Buckingham. Rosalind Love provides the Latin texts, based on all known manuscript versions, with a facing-page English translation, together with full annotation and a historical introduction which sets these works in the context of the development of hagiographical literature. Dr Love traces the growth and changes in hagiographical writing, one of the most important genres of medieval (...) literature and essential to the understanding of the religious mentality of the Middle Ages, and shows how the eleventh century saw significant new directions emerge in the cult of the saints and the writing of saints' lives. (shrink)

_Schelling’s masterpiece investigating evil and freedom._.

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)

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 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 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)

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)

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.

This paper analyses the use of legal terminology in Roman love elegy of the 1st century BCE. Catullus, Tibullus, and Ovid all employ this seemingly strange vocabulary in their love poetry for different ends, while also sharing some specific similarities. This legal vocabulary does not make these love poems stilted, dry, nor unemotional, but is used deftly and rather indicates an interesting layer of Roman concern and preoccupation.

Confessions of Love: The Ambiguities of Greek Eros and Latin Caritas, edited by Craig J. N. de Paulo, Senior Editor, et al. American University Studies Series, vol. 7: Theology and Religion. New York: Peter Lang Publishers, 2011. Details: Collection of scholarly essays on love. Distinguished contributors include Roland Teske, S.J., Phillip Cary, Leonid Rudntyzky, Bernhardt Blumenthal, et al.

The paper consists of brief literature review of fundamentals and ways of the Russian approach to the studying of the doctrine of love in Latin Patristic IV-V centuries. This topic is peripheral theme for the Russian science; however, it has some development. The literature review describes the most popular ideas and the reasons for their choice.

This paper concerns the source and content of the earliest known piece of Isaac Newton's writing, a Latin phrase book, as well as of the first letter in his hand which has yet been found, addressed to a 'Loving ffreind'. I reveal that both these early pieces also appear in a work on Latin pedagogy by William Walker, a schoolmaster and rector whose acquaintance with Newton is documented from 1665. Walker's textbook was printed in 1669, but the list (...) of Latin phrases in Newton's notebook must be dated at least a decade earlier, while the letter, in another notebook, probably also pre-dates the published work. Section I of the Note demonstrates that Newton can only have copied the phrase book from a private, unpublished version of Walker's own compilation of the phrases, most likely while the mathematician and natural philosopher was still a schoolboy. I turn to the letter in section II, showing the very different uses to which it was put by the two men and suggesting a date for Newton's rendition of it in his notebook. (shrink)

Poetic translation of Tibullus Elegy I.3.

It has long been noticed that Virgil's Eclogue 10, in which Gal I us plays so prominent a rôle, contains a combination of pastoral and elegiac elements. But this prompts the question: who was responsible for this combination? Was the fusion of pastoral and erotic-elegiac detail Virgil's own, or did Gallus himself write love-elegies with a strong pastoral colouring, a type of poetry which Virgil then echoed in Eclogue 10?

The central focus of this article is to provide a new “Love Argument” for the necessary truth of the Latin “model” of the doctrine of the Trinity—termed “Latin Trinitarianism”—from an a priori standpoint. This new argument, called the Agápēic Argument, will be formulated in light of the metaphysical notions of a “trope,” introduced by D. C. Williams, and “multiple location,” posited by Antony Eagle, and the ethical concept of agápē, proposed by Alexander Pruss. Doing this will provide (...) a specific argument that provides strong grounds for affirming the necessary truth of the Trinity, without, however, being subject to the primary objections that have been often raised against the existing versions of the argument. (shrink)

Auguste Comte's doctrine of positivism was both a philosophy of science and a political philosophy designed to organize a new, secular, stable society based on positive or scientific, ideas, rather than the theological dogmas and metaphysical speculations associated with the ancien regime. This volume offers the most comprehensive English-language overview of Auguste Comte's philosophy, the relation of his work to the sciences of his day, and the extensive, continuing impact of his thinking on philosophy and especially secular political movements in (...) Europe, Latin America, and Asia. Contributors consider Comte’s reasons for establishing a Religion of Humanity as well as his views on domestic life and the arts in his positivist utopia. The volume further details Comte's attempt to apply his "positive method," first to social science and then to politics and morality, thereby defending the continuity of his career while also critically examining the limits of his approach. (shrink)

_Divine Love and Wisdom_ has been called the most profound work of the Enlightenment scientist and seer Emanuel Swedenborg. It demonstrates how God’s love, wisdom, and humanity are reflected in creation and in ourselves, and suggests that the act of Creation is not a mystery of the past, but a miracle ongoing in every instant of the present. Like a blueprint of things unseen, _Divine Love and Wisdom_ makes visible the hidden design of the universe, as well (...) as the qualities of its Architect. Its vivid depiction of the spiritual mechanism of the world has impressed thinkers such as William Blake, Samuel Taylor Coleridge, Ralph Waldo Emerson, and Henry James Sr. The New Century Edition of the Works of Emanuel Swedenborg is a modern-language, scholarly translation of Swedenborg’s theological works. The series’ easy-to-read style retains the dignity, variety, clarity, and gender-inclusive language of Swedenborg’s original Latin, bringing his thought to life. This portable edition contains the text of the New Century Edition translation, but not the introduction, annotations, or other supplementary materials found in the deluxe edition. (shrink)