Women's travels in Latin elegy*

Author(s):  
Alison Keith
Keyword(s):  
2021 ◽  
Vol 23 ◽  
Author(s):  
Heva Olfman

Love and death is a common and shared human experience that many poets of the ancient world explored in their various poetic works. The elegists of Rome famously wrote love poems in which each pined for a specific mistress or lover, and in some of these poems, love and death were simultaneously prominent themes. In this article I examine the relationship between the concepts of love and death in Propertius 4.7, Tibullus 1.3 and Ovid’s Amores 3.9. From this study it is evident that each poet, through means of their own style, depicted the ideal that love had the ability to overcome death. To support my analysis of these texts and the issues surrounding them, I refer to Papanghelis, Hinds and Maltby. While these authors consider many aspects of Proptertius’, Tibullus’ and Ovid’s works, the relationship and connection present between love and death has not been significantly considered. In order to establish each poet’s personal style I begin with a brief overview of elegiac poetry; then, an examination of each poem’s tone, word usage and thematic distinctions. I will begin the discussion with Propertius’ poems; Tibullus’ and Ovid’s poems will then be considered, first separately, and then as a pair. The concepts of love, death and those affected by the death in the poem will be analyzed. In addition, I will consider how love and death interact with each other in the poems. To further supplement the discussion, I will analyze how these three poets’ write in the same genre and about the same topics, but in different contexts and styles. This analysis leads to an understanding that each poet expressed their unique style in their poems, while maintaining a similar theme and genre, that love has the ability to overcome the unavoidable and inevitable force of death.


Author(s):  
Molly Hoff

This chapter offers a synopsis and discussion of the events that take place in the seventh section of Mrs. Dalloway. Hoff explores the many layers within the section, paying close attention to the thematic links present throughout the novel, including birth imagery and references to the Underworld. The discussion also looks at the novel’s structure and literary devices used, whilst making reference to Greek and Latin elegy as well as renowned authors and philosophers.


Author(s):  
Daniel Jolowicz

Chapter 2 establishes Ovid’s Heroides, Tristia, and Epistulae ex Ponto as central to a number of specific features of Chariton’s novel (especially the embedded letters). Section 2.2 focuses on the Heroides and the following epistolary motifs: the processes of composition and reception; the presence of tears; the recognition of handwriting; the role of memory and possessive adjectives; and the eroticization of the letter’s materiality. These contribute to the characterization of Chaereas and Dionysius as lamenting and abandoned heroines. Section 2.3 argues that Chariton has digested a number of motifs that characterize the exilic persona in Ovid’s Tristia and Epistulae ex Ponto, such as the role of finger rings and various psychosocial neuroses. As in Chapter 1, thematic proximities between Chariton and the elegiac corpus are supported by strikingly close points of verbal contact.


Author(s):  
Jonathan Usher
Keyword(s):  

This chapter examines the concept of the solitary Petrarch and suggests that Petrarch's theory of secular fame and the various stages of death, fame, time, and eternity are already present in nuce in the early Latin elegy on his mother's death. It highlights the influence of Dante's Inferno in Petrarch's development of an iterative mortality/vitality related to memory early in his career and on his Metrica on the death of his mother.


2021 ◽  
pp. 142-200
Author(s):  
Ioannis Ziogas

This chapter studies the correspondence between Acontius and Cydippe (Heroides 20–1). The main argument is that Ovid highlights the fundamental confluence of the love letter with legal correspondence. The discussion ranges widely through comparative material from contemporary Latin elegy (Propertius in particular) to its intertextual matrix (Callimachus’ Aetia), in order to spell out the dependence of both poetry and law on precedent. Core aspects of Heroides 20–1, such as the materiality of the text, iterability, performativity, and intertextuality show that the invention of love is inextricably related to the invention of law. The chapter further investigates the triangulated relations between magic spells (carmina), love poetry (carmina), and legal statements. In its historical context, the crucial role of epistolography in the production and communication of laws in the Roman Empire is important for understanding the legal force of Ovid’s love letters.


Author(s):  
Sara H. Lindheim

This book argues that the subject in Latin elegy, beginning with Catullus, constitutes itself in relation to the dynamically expanding space of empire from the late Republic to the end of the Augustan age. The lack of fixity in the elegiac subject and space of empire go hand in hand. Questions of geographical space become questions about the de-centered, dislocated subject; in imagining geographical space our very nature as subjects comes to the fore. Catullus, Propertius, Tibullus, and Ovid each offers his own unique expression of the gendered subject, and their poetry runs the gamut of responses to the expanding geographical empire. First comes the dream of Roman imperium sine fine, an empire that capaciously stretches to the ends of the inhabited world. And yet, imperium sine fine requires the existence of some sort of fines, even if the fantasy demands that they be overrun. Formlessness, or worse, rapidly alternating forms, gives rise to anxieties and the desire to set down some fines, to establish where, exactly, the boundaries of empire are, what belongs “inside” and what can be relegated to “outside.” But fines, cartographically speaking, are never as stable as we want them to be, and, for a rapidly expanding empire, are always under pressure. The very constitution of the gendered elegiac subject mirrors, anticipates, runs parallel to the problems and anxieties that the map of expanding empire tries to solve, yet simultaneously reveals in its production of space.


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