The sea of love was one of the more important amatory figures. It featured in both Greek and Latin from earliest until latest times, was employed in several genres of verse , appearing in prose as well, and reached an advanced stage of development in the hands of the Alexandrians and particularly the Augustans. The purpose of this article is to provide the first comprehensive and detailed study of the sea of love from the archaic period until late antiquity.

Horace C. 2.4 is an ironical address to Xanthias , who, it appears, is rather ashamed of his love for Phyllis, a slave-girl. It has long been held that ‘Xanthias’ is a pseudonym, but so far there has been no convincing explanation of why Horace chose that appellation rather than any other. Of course, there is no way of telling if the situation of the ode is real or imaginary, but, whether ‘Xanthias’ is the pseudonym of an actual person or (...) a name given to an invented character, I believe that it does have particular point. (shrink)

Critics generally have not warmed to Heroides 8. Jacobson opined that the poem is ‘not very successful’ and claimed that the lengthy argumentation is ‘rather boring, not to say sometimes silly and annoying’, while Palmer described it as ‘the feeblest and least poetical of all the Heroides’. However, scholars have largely neglected some typically Ovidian cleverness and complexity in kaleidoscopic play with character. Ovid's Hermione is Hermione, but she also takes on the guise of other mythological heroines, and she represents (...) a complete inversion of an earlier depiction of Hermione. All of this gives the poem a distinct intellectual appeal to supplement the emotional impact, with witty touches to ensure that the epistle is not mawkish. (shrink)

Critics comment on the simplicity of the jest here, not without reason.1 But the levity also has some sophistication, of a literary kind. For a start,andare aptly long and are carefully left to the end of their clauses and lines for maximum effect. In addition, these striking words, which appear for the first time in Sappho, may well have been deliberate adaptations of two adjectives which had previously occurred only in Homer,2 and they would in any case have called to (...) mind the Homeric ones, because of their close similarity and because there are no other variants of these compounds in surviving literature down to the time of the j poetess.3 At Odyssey11.312 the poet had said of Otus and Ephialtes and at Iliad 7.220, 222, 245, 266 and 11.545 he had described the shield of Ajax asSo, given the epic flavour of Sappho′s epithets, it was amusing of her to include them at all in such a light and frivolous context. There is also pawkiness in the poetess′s application of these terms I with their Homeric tinge to quite different and very mundane objects; and the humour is increased when one takes into account the associations that these words had .This strikes me as an early instance of witty adaptation of epic diction such as is found in Anacreon 358 and 417 PMG.4. (shrink)

In the past most scholars held that at Odes 1.16. 5–21 Horace is making excuses for his own anger. More recently, however, Commager and Nisbet and Hubbard maintained that in this passage the poet is referring to the addressee's ira and trying to dissuade her from being angry with him. In my opinion both interpretations contain part of the truth, but both fail to grasp the essential point that the passage is in fact yet another instance of an Horatian tease.

There is a major problem in connection with the wrath of Poseidon in Homer's Odyssey. We are told by Homer and Zeus that Poseidon raged continually against the hero from the time that the Cyclops was blinded until Odysseus reached Ithaca; and, when back on Ithaca the man complains to Athena about her absence and lack of help during the whole period of his wanderings after the fall of Troy, she says at 13.341-3 that she was avoiding confrontation with her (...) angry uncle during all that time. But the only specified manifestation of that anger is the storm roused by the sea-god after Odysseus leaves Calypso in Book 5, in the tenth year after Polyphemus’ prayer to his father for revenge. It seems extraordinary that Poseidon should have waited so long before acting against him, and then have attacked him only once, merely causing him difficulty before he reached Scheria, and not ensuring his late return in a miserable plight on another's ship after losing all his companions, as his blinded son had requested. (shrink)

Heroides9 takes the form of a letter sent by Deianira to Hercules as a reinforcement to the tunic smeared with Nessus' blood which she has already dispatched in the mistaken belief that it will revive the hero's love for her. In this epistle she tries to persuade her husband to give up his latest girlfriend by showing him that she loves him, by arousing pity for herself, and by making him feel ashamed of his philandering and see that he thereby (...) disgraces himself. Obviously there is pathos here, particularly as the deaths of Hercules and Deianira loom in the background, but there is also wit, irony, and humour, creating a piquant tonal mixture which has been almost entirely neglected by critics. They have seen the sadness, and some of the irony, but they have not grasped the facetious aspects, whereby our irreverent poet ensures that the piece does not lapse into mawkishness and engages the head as well as the heart. (shrink)