HEROIDES. I. Penelope Ulixi · II. Phyllis Demophoonti · III. Briseis Achilli · IV. Phaedra Hippolyto · V. Oenone Paridi · VI. Hypsipyle Iasoni · VII. Dido Aeneae · VIII. Ovid’s Heroides and Tristia: Voices from Exile – Volume 26 Issue 1 – P.A. ‘ Ovidio diventa un “personaggio” della propria poesia come le. Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only.
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This paper examines some echoes of Catullus’ poetry in Heroides 15, chiefly but not exclusively from Catullus’ poems in the elegiac meter.
But I do so out of conviction, not merely convenience. Several of the arguments favoring authenticity presented in herodies essay by Gianpiero Rosati affirm my conviction. Yet both sides in the argument over whether or not Ovid himself wrote Heroides 15 adduce its close relationship with Amores 2. Composed in the first-person, Amores 2. Ovid then speaks of one Sabinus as writing responses to these letters.
Davis also views Ovid as alluding to Horace, Odes 3. Their presence should hardly occasion surprise, as Catullus pays frequent homage to Sappho, and Ovid frequent homage to Catullus.
In poem 51 Catullus ogdio, albeit freely, Sappho, fragment 31 L-P, verses acclaimed by the ancient critic Longinus as an exemplar of emotional expression. But Herooides may also be speaking of the woman who inspires his own poetic efforts.
Ovid then adds the following: But he may be implicitly connecting her with Clodia Metelli through his references to other Roman writers. So, too, this Heroidex would appear to be Caecilia Metella, the daughter of Clodia Metelli and Quintus Caecilius Metellus Celer, a noblewoman pseudonymously celebrated in verses by her lover Ticidas as well as a poet in her own right.
What is more, he here refers to her as Lesbia Sappho, with the adjective that Hroides uses for his beloved: Lesbia quid docuit Sappho, ofdio amare puellas? Still Sappho was safe and [Anacreon] was heroiees.
More obliquely, at Amores 3. Such language recalls Catullus On at least seven different occasions Catullus represents his puella although ehroides does not always refer to her by the name of Lesbia as a speaker. Among these talking women are Cybele in 63, Ariadne in 64, and the coma Berenices in We also find a group of female figures — the puellae performing the marriage hymn — speaking in Their words pointedly allude as Catullus does in propria persona at To be sure, at line Sappho tells Phaon that he would have said Lesbi puellavale, if he had been serious about leaving her, referring to herself with the related, third declension, adjective Lesbis.
These words recall line 12 of Catullus 8, where Catullus bids farewell to an unnamed woman, presumably Lesbia, with vale puella. As we have seen, moreover, Ovid also refers to Sappho as Lesbis twice herides Amores 2. Peter Knox views them as directly indebted to Sappho herself, not Catullus. Numquam ego te, vita frater amabilior Aspiciam posthac?
At certe semper amabo, Semper maesta tua carmina morte canam, Qualia sub densis ramorum concinit umbris Daulias, absumpti fata gemens Ityli.
Cartas [de Ovidio] chamadas Heroides, traduzidas em rima vulgar, Volume 1
I will always sing songs sorrowful because of your death, the kinds of songs that Daulias, bemoaning the fates of Itylus taken away, sings under the thick shadows of the branches. Procne, Ovid tells us, took vengeance on her husband for raping and then cutting out the tongue of Philomela by killing her own son Itys whom Catullus calls Itylus and serving him to Tereus for dinner.
Quin etiam rami positis lugere videntur Frondibus, et nullae dulce queruntur aves; Sola virum non ulta pie maestissima mater Concinit Ismarium Daulias ales Ityn Ales Ityn, Sappho desertos cantat amores —.
We find some of the very same words employed to describe both the nightingale and its physical landscape that appear in Catullus For Catullus 65 provides the first extant use of this — relatively rare — epithet in Latin poetry Ovid furnishes more details about Daulias and her circumstances, refers to her dead child herlides Itys rather than as Itylus, and depicts ovio branches surrounding the nightingale as leafless rather than as thick and shade giving.
These lines, Rosati maintains, help to characterize Sappho as herself an elegiac poet self-consciously reflecting on an issue central to the writings of all Roman elegiac poets, the relationship between living and loving on the one hand, and poetry-writing and poetic meter on the other. For Catullus employs this adjective in the first line of his final elegiac poem,also in connection with herojdes endeavors to translate Callimachus: It is noteworthy, too, that the rare word maeror, sorrow, also makes an appearance in Heroides 15, at line maerore ; here, however, Sappho is speaking critically of her living, and estranged, brother, whereas Catullus talks of his recently deceased brother with unalloyed affection.
There Attis contrasts his new identity as a castrato, and to his way of thinking therefore a woman, with the multiple aspects of his former male self. Catullus relates that Attis, goaded by frenzied madness stimulatus ibi furienti rabiereached tetigit the woodland of the goddess Cybele and entered adiit her dark places encircled with forests opaca silvis redimita loca. Is Ovid suggesting that Sappho desires to be like Phaon as well as loved by Phaon? Such an interpretation, when considered alongside the evidence marshalled by Gordon for the mannish qualities ascribed to this Sappho, is difficult to dismiss.
Similarly, atas noted earlier, she compares her sorrow over her loss of Phaon to that of a mourning mother over a dead son: Ovid himself elaborates upon it at Amores 3.
Indeed, the first two lines of 68 present themselves as hwroides to another, tear-soaked letter 2 conscriptum hoc lacrimis mittis epistolium. Rather than transgender his Sappho, as Catullus transgenders both the character of his Lesbia and his own authorial presence, Ovid employs Catullan echoes to intensify her masculine qualities, her sex-role cross-over.
Hallett and Marilyn B. Skinner, Roman Sexualities Princeton New York and London].
P. OVIDIVS NASO
New York and London] Almost all tribades women who desire other women who appear in ancient Latin texts are explicitly masculinized, sometimes so radically that their very bodies become male. Select Epistles Cambridge ; and L.
Reynolds, Texts and Transmissions: Intertextual links between Tibullus Book 3 and Heroides 15 may be especially worth exploring. McManus, Classics and Feminism: Gendering the Classics New York This is an infinitely complex exercise and the fun or frustration of reading this poem. Wiseman, Catullus and his World Cambridge,source of the quote on poem 11, heroires See also Plutarch, Amatorius Eadem igitur opera accusent C.
Catullum quod Lesbiam pro Clodia nominarit. Lentulus Spinther, and also wife or lover of M. Desire and Narrative in Catullus Carbondale, Illinois The poems that portray Lesbia as speaking include two of the polymetrics — 7 1 quaeris and 36 4 vovit — as well as five of the elegiacs 70 1 dicit … 3 dicit ; 72 1 dicebas ; It is also possible that Lesbia is addressed and acknowledged as a speaker at line 7 of 72, with inquis, since she is referred to in the second person singular elsewhere in the poem, with dicebas, te three times and oovdio.
Heroides by Ovid
Hence, as Bessone has contended, Heroides 15 may be interpreted as recapitulating, in reverse, the entire history of Roman elegy. Furthermore, in the preceding poem — 3. Hence scholars often assume that Lygdamus must be quoting Ovid, even though Lygdamus and Sulpicia, the other poet represented by hedoides series of elegies in Tibullus 3, would seem, like Ovid as well as Tibullus himself, to have written under the patronage of C.
An alternative explanation is that in Tristia 4. Ovid does not use this adjective in his narrative about Procne and Heroiees in the non-elegiac Metamorphosesmaking the Catullan homage here all the more striking.
He also examines the similarities between both Catullus The reference in the Consolatio passage, of course, stresses the similarities between two mothers mourning their dead sons, one ovduo, the other mythic. Catullus 65 and Heroides 15, however, link the mythic mourning mother with, respectively, individuals in very different situations: Bessone, not only discusses the Catullan pedigree of maerorbut also discerns an echo of Catullus In conformity with the type, the freshly transfigured female elegist of heroiddes epistle must therefore be represented as ruled by a passion for a puerthe love-object that symmetrically corresponds, in the case of the male elegist, with the ehroides puella.
This couplet is at odds with the reasoning of the preceding verses. Sappho has just declared that she is neglecting her appearance because Phaon is away. This statement of fidelity is jarred by the present portrayal of fickleness.
The couplet may best be explained [by Tarrant] as a conflation of two Ovidian passages: Plan Catullus and Sappho ; Catullus and Ovid. Catullan echoes in Heroides Heroides 15 heroiees maestus Catullus in Some Observations on the Authe Gendering the Classics New York Lentulus Spinther, and also wife or l Ovid does not u This couplet is at odds with the reasoning of the preceding verse