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Journal articles on the topic 'Roman elegy'

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Published: 4 June 2021

Last updated: 5 February 2022

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1

Wyke, Maria. "Taking the Woman's Part: Engendering Roman Love Elegy." Ramus 23, no. 1-2 (1994): 110–28. http://dx.doi.org/10.1017/s0048671x00002411.

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When a woman writes herself into the genre of Roman love elegy she appears to break the recognised conventions for its production, according to which woman is the passive object of erotic desire not its active subject, the written not the writer. In discussing the elegiac poetry composed by Sulpicia, one means by which critics have expressed her extraordinary achievement has been to engender Roman love elegy. For Nick Lowe, Sulpicia's unique intervention was to compose poetry on the subject of her own erotic experience in ‘an obstinately male genre’. For Amy Richlin, Sulpicia breached a double

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2

Wallis, Jonathan. "GHOSTWRITING ELEGY IN PROPERTIUS 4.7." Classical Quarterly 66, no. 2 (2016): 556–72. http://dx.doi.org/10.1017/s0009838816000410.

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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 (Oxford, 2002), 189

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3

Greene, Robin J. "Post-Classical Greek Elegy and Lyric Poetry." Brill Research Perspectives in Classical Poetry 2, no. 2 (2021): 1–130. http://dx.doi.org/10.1163/25892649-12340004.

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Abstract This volume traces the development of Greek elegy and lyric in the hands of Hellenistic and Roman-era poets, from literary superstars such as Callimachus and Theocritus to more obscure, often anonymous authors. Designed as a guide for advanced students and scholars working in adjacent fields, this volume introduces and explores the diverse body of surviving later Greek elegy and lyric, contextualizes it within Hellenistic and Roman culture and politics, and surveys contemporary critical interpretations, methodological approaches, and avenues for future study.

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4

Anderson, William S., and Jeri Blair DeBrohun. "Roman Propertius and the Reinvention of Elegy." Classical World 99, no. 1 (2005): 83. http://dx.doi.org/10.2307/4353013.

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Curtis, Lauren. "Becoming the Lyre: Arion and Roman Elegy." Arethusa 50, no. 3 (2017): 283–310. http://dx.doi.org/10.1353/are.2017.0010.

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6

Anderson, William Scovil. "Roman Propertius and the Reinvention of Elegy (review)." Classical World 99, no. 1 (2005): 83. http://dx.doi.org/10.1353/clw.2006.0002.

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7

Janan, Micaela Wakil. "Roman Propertius and the Reinvention of Elegy (review)." American Journal of Philology 125, no. 4 (2004): 622–26. http://dx.doi.org/10.1353/ajp.2005.0007.

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8

Drinkwater, Megan O. "THE WOMAN'S PART: THE SPEAKING BELOVED IN ROMAN ELEGY." Classical Quarterly 63, no. 1 (2013): 329–38. http://dx.doi.org/10.1017/s0009838812000626.

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Roman elegy is well known for its reversal of traditional Roman gender roles: women are presented in positions of power, chiefly but not exclusively erotic, that bear little or no relation to women's lived experience in the first centuryb.c.e. Yet the way elegy presents the beloved in a position of power over her lover, as Sharon James has observed, ‘retains standard Roman social and power structures, thus suggesting an inescapable inequity even within a private love affair: rather than sharing goals and desires, lover and beloved are placed in a gendered opposition … Hence resistant reading b

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9

James, S. L. "Re-reading Propertius’ Arethusa." Mnemosyne 65, no. 3 (2012): 425–44. http://dx.doi.org/10.1163/156852511x547839.

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Abstract This article argues that in poem 4.3, Propertius depicts Arethusa not as a citizen wife, but as a concubine or an elegiac courtesan under exclusive contract to Lycotas. The Roman lexicon of marriage was frequently used to describe relationships other than iustum coniugium, especially in love elegy. That is the situation presented in Propertius 4.3. Arethusa’s anxieties are primarily sexual, and thus identify her as something new in elegy: not a wife but a faithful puella. This poem gives us the poetic voice of a loving, loyal, contracted courtesan.

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10

Hindermann, Judith. "The Elegiac Ass: The Concept of Servitivm Amoris in Apuleius' Metamorphoses." Ramus 38, no. 1 (2009): 75–84. http://dx.doi.org/10.1017/s0048671x00000643.

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Seruitium amoris, the notion of love as slavery, is a frequent theme in Roman elegy. It inverts Roman reality in representing a free Roman citizen dominated by a woman, evidently from a lower social class. The elegiac amator (‘lover’) elevates his beloved puella (‘girl’) and treats her as a slave would treat his mistress (domina), obeying her orders and yielding to her wishes and moods. Although it has been widely observed that Lucius, the protagonist of Apuleius' Metamorphoses, acts like a slave towards his beloved, the slave girl Fotis, the idea of elegiac seruitium amoris has not been analy

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11

Watson, Patricia. "Juvenal's scripta matrona: Elegiac Resonances in Satire 6." Mnemosyne 60, no. 4 (2007): 628–40. http://dx.doi.org/10.1163/156852507x169582.

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AbstractScholarly work on Juvenal has focused on the poet's self-fashioning as an 'angry man'. This paper, on Satire 6, shifts the emphasis to the object of the invective, in this case the Roman matrona. In creating a character who allegedly represents the typical Roman married woman of his day, the poet constructs an anti-matrona who resembles to a large extent her polar opposite in Roman thinking—the meretrix. A major way in which this effect is achieved is via intertextual connections with Latin love elegy, and the paper offers a detailed discussion of several passages in which the wife is

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12

Debrohun, Jeri Blair. "Redressing Elegy's Puella: Propertius IV and the Rhetoric of Fashion." Journal of Roman Studies 84 (November 1994): 41–63. http://dx.doi.org/10.2307/300869.

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Much recent criticism of Roman love elegy, especially Propertian love elegy, has been concerned with the exposure of elegy's ego and puella as poetic constructions whose ‘partially realistic’ characteristics and actions serve as metaphorical representations of the poet's writing practice and poetic ideals. As Duncan Kennedy has pointed out, however, this discourse of representation has already threatened to create its own limitations of applicability, as it privileges the ‘partial realism’ of love elegy's first-person narratives, in which an authorial male narrator (ego) writes of his female s

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13

Giannaki, Maria. "Intertextual and Intercultural Dynamics between Roman Comedy and Latin Love Elegy." أوراق کلاسیکیة 11, no. 1 (2012): 1–28. http://dx.doi.org/10.21608/acl.2012.89444.

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14

Brunelle, Christopher. "Ruth Rothaus Caston: The Elegiac Passion. Jealousy in Roman Love Elegy." Gnomon 86, no. 6 (2014): 505–8. http://dx.doi.org/10.17104/0017-1417_2014_6_505.

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15

Connolly, Joy. "Asymptotes of Pleasure: Thoughts on the Nature of Roman Erotic Elegy." Arethusa 33, no. 1 (2000): 71–98. http://dx.doi.org/10.1353/are.2000.0003.

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16

MacDonald, Carolyn. "Dream, Fantasy, and Visual Art in Roman Elegy by Emma Scioli." American Journal of Philology 137, no. 2 (2016): 361–64. http://dx.doi.org/10.1353/ajp.2016.0017.

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17

Racette-Campbell, Melanie. "Erika Zimmermann Damer. In the Flesh: Embodied Identities in Roman Elegy." Mouseion 17, no. 3 (2021): 593–95. http://dx.doi.org/10.3138/mous.17.3.br04.

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18

Myers, K. Sara. "The Poet and the Procuress: TheLenain Latin Love Elegy." Journal of Roman Studies 86 (November 1996): 1–21. http://dx.doi.org/10.2307/300420.

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This paper investigates the figure of thelenain the elegies of Tibullus (I.5; II.6), Propertius (IV.5), and Ovid (AmoresI.8). While each poet treats the character of thelenain importantly different ways, each has in common a deep interest in contrasting his own position as both lover and poet with the activities of thelena, a bawd or procuress. All three poets curse thelena, denouncing primarily her malevolent magical powers, hercarmina, which are directed against them and theircarmina. Thelenanot only preaches an erotic code which in its emphasis on remuneration and the denigration of poetry

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19

Harrison, S. J. "Horace, Odes 3.7: An Erotic Odyssey?" Classical Quarterly 38, no. 1 (1988): 186–92. http://dx.doi.org/10.1017/s0009838800031396.

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Horace's Asterie ode (3.7) 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.

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20

Yardley, J. C. "Propertius 4.5, Ovid Amores 1.6 and Roman Comedy." Proceedings of the Cambridge Philological Society 33 (1987): 179–89. http://dx.doi.org/10.1017/s0068673500004983.

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‘The absence of Roman comedy … from the influences which the [Augustan] poets like to name proves only that they were not creditable, not in fashion, not that they had made no contribution.’ So Jasper Griffin in his recent book on the Roman poets. Griffin observes that scholars have been deterred from postulating Roman comic influence on the Augustan poets merely by the ‘magisterial pronouncements of the great scholars’, and he amasses considerable circumstantial evidence to support his theory that the Augustan poets, and especially the elegists, were indeed indebted to Roman comedy. He observ

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21

Gibson, R. K. "How to win girlfriends and influence them: amicitia in Roman love elegy." Proceedings of the Cambridge Philological Society 41 (1996): 62–82. http://dx.doi.org/10.1017/s0068673500001930.

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It is often said that amicitia, so prominent in the love poetry of Catullus, plays a negligible role in the elegies of Propertius, Tibullus and Ovid: the elegists avoid the vocabulary of amicitia and prefer to describe the relationships with their beloveds in terms of militia and seruitium amoris. In this paper, however, I shall show that this is mistaken. While the elegists do not use the vocabulary of amicitia systematically, they clearly do continue to appeal to its protocols and moral code – Ovid above all. It will be seen that Catullus and the elegists share the use of the ideology of ami

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22

Spencer, Diana. "Propertius, Hercules, and the Dynamics of Roman Mythic Space in Elegy 4.9." Arethusa 34, no. 3 (2001): 259–84. http://dx.doi.org/10.1353/are.2001.0020.

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23

Striar, Brian. "Milton's Elegia Septima: The Poetics of Roman Elegy and a Verse Translation." Milton Quarterly 27, no. 4 (1993): 131–38. http://dx.doi.org/10.1111/j.1094-348x.1993.tb00825.x.

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24

James, Sharon L. "Her Turn to Cry: The Politics of Weeping in Roman Love Elegy." Transactions of the American Philological Association 133, no. 1 (2003): 99–122. http://dx.doi.org/10.1353/apa.2003.0006.

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25

Sanders, Ed. "The Elegiac Passion: Jealousy in Roman Love Elegy by Ruth Rothaus Caston." Classical World 107, no. 3 (2014): 409–10. http://dx.doi.org/10.1353/clw.2014.0012.

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26

Öhrman, Magdalena. "Roman Elegy - (F.) Cairns Papers on Roman Elegy 1969–2003. (Eikasmos 16.) Pp. viii + 483, map. Bologna: Pàtron Editore, 2007. Paper, €35. ISBN: 978-88-555-2966-2." Classical Review 60, no. 1 (2010): 124–25. http://dx.doi.org/10.1017/s0009840x09990680.

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27

Lindheim, Sara H. "I Am Dressed, Therefore I Am?: Vertumnus in Propertius 4.2 and in Metamorphoses 14.622-771." Ramus 27, no. 1 (1998): 27–38. http://dx.doi.org/10.1017/s0048671x00001922.

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Recent interpretations of Propertius 4.2 see in Vertumnus' shifting costumes a programmatic statement about the new poetics of Propertius' fourth book of elegy. The statue's ability to assume and shed identities with a simple wardrobe change mirrors the poet's desire to challenge the traditional generic boundaries of love elegy, dressing it up now in Roman themes, now in amatory ones. No doubt this is so. And yet, more generally, recent criticism finds elegy as a genre hospitable to interpretations that focus on issues of gender and identity. Indeed, as Marilyn Skinner has succinctly summarise

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28

James, Sharon L. "The Economics of Roman Elegy: Voluntary Poverty, the Recusatio, and the Greedy Girl." American Journal of Philology 122, no. 2 (2001): 223–53. http://dx.doi.org/10.1353/ajp.2001.0018.

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29

ter Horst, Eleanor. "Fama and Flamma: Goethe’s Sixth Roman Elegy rewrites Werther and the Latin Poets." Publications of the English Goethe Society 87, no. 3 (2018): 131–46. http://dx.doi.org/10.1080/09593683.2018.1519928.

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30

Carolli, Fábio Paifer. "O fragmento de Galo." Nuntius Antiquus 5 (June 30, 2010): 1. http://dx.doi.org/10.17851/1983-3636.5.0.1-19.

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<span style="font-family: Times-Roman; font-size: small;"><span style="font-family: Times-Roman; font-size: small;"><p>ABSTRACT: The few remaining fragments from the works of the Latin poet Cornelius Gallus (c. 70-26 BC), discovered in Egypt in 1978, are presented, translated and analyzed in this paper. The role of these works among the books dated from the time of the poet, as well as some critical appreciation left by poets that lived during the Augustan reign and elected Cornelius Gallus as a model, are also brought into discussion. In addition, a poetic translation is als

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31

RICHARDSON-HAY, CHRISTINE. "Dinner at Seneca's Table: The Philosophy of Food." Greece and Rome 56, no. 1 (2009): 71–96. http://dx.doi.org/10.1017/s0017383508000703.

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There is an abundance ‘to eat’ in the pages of Roman literature, where lavish and exotic dishes crowd the tables at banquets that flatter and fortify indulgent and insatiable appetites in unrestrained festivals of eating and drinking. As Emily Gowers explains, ‘Imperium had turned Rome into the world's emporium: its alimentary choices are presented as almost infinite, from the turnips of Romulus to the larks' tongues of Elagabalus’. Nevertheless, in Roman society, where the food a person ate (its quality, quantity, and presentation) reflected their station in life and where large numbers of th

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MEGAN O. DRINKWATER. "“HIS TURN TO CRY:” TIBULLUS’ MARATHUS CYCLE (1.4, 1.8 AND 1.9) AND ROMAN ELEGY." Classical Journal 107, no. 4 (2012): 423. http://dx.doi.org/10.5184/classicalj.107.4.0423.

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33

Fulkerson, Laurel. "Book review: The Elegiac Passion: Jealousy in Roman Love Elegy, written by Caston, R.R." Mnemosyne 67, no. 2 (2014): 309–11. http://dx.doi.org/10.1163/1568525x-12341639.

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34

Trevizam, Matheus. "OS ENSINAMENTOS AMOROSOS DE OVÍDIO COTEJADOS COM OS DE LUCRÉCIO ('DE RERUM NATURA' IV) | OVID’S TEACHINGS ON LOVE COMPARED WITH LUCRETIUS’ ('DE RERUM NATURA' IV)." Estudos Linguísticos e Literários, no. 55 (December 1, 2016): 120. http://dx.doi.org/10.9771/2176-4794ell.v0i55.16591.

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<p>A preceptística galante de Ovídio, constituída pela <em>Ars amatoria </em>e pelos <em>Remedia amoris</em>, encontra paralelos no final do livro IV do <em>De rerum natura</em> de Lucrécio, no qual esse poeta desenvolve assuntos em nexo com os temas de <em>amor </em>e <em>Venus</em>. Em Lucrécio, as ideias expressas sobre o amor vinculam-se, sobretudo, ao Epicurismo, enquanto Ovídio transforma <em>tópoi</em> e situações da elegia erótica romana para a composição temática de seus poemas. Nosso objetivo, nesta exposiç

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35

Gale, Monica R. "Propertius 2.7: Militia Amoris and the Ironies of Elegy." Journal of Roman Studies 87 (November 1997): 77–91. http://dx.doi.org/10.2307/301370.

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Criticism of Propertius 2.7 has usually centred around the elegy's role as evidence for the poets's attitude towards Augustus. Treated as such, it has been used to support a surprising variety of conclusions. For Stahl and Lyne the poem represents a courageous defence of individualism under a repressive and intolerant regime. At the other end of the spectrum, Cairns has tried to show that the poet's deliberate presentation of himself as ‘a morally tainted individual’ undercuts his argument to such an extent that the poem is effectively an endorsement of the legislation which it purports to att

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36

Whitmarsh, Tim. "Domestic Poetics: Hippias' House in Achilles Tatius." Classical Antiquity 29, no. 2 (2010): 327–48. http://dx.doi.org/10.1525/ca.2010.29.2.327.

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Other Greek novels open in poleis, before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius' Leucippe and Clitophon open in a house (with no sign of any political apparatus), and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house principally embodies the authoritarian will of the father to order and

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37

Paraskeviotis, George C. "Women and Genre in Calpurnius Siculus’ Eclogues." Antichthon 54 (2020): 103–26. http://dx.doi.org/10.1017/ann.2020.3.

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AbstractThis article aims to examine the ways in which the Calpurnian text converses with the earlier pastoral tradition focusing on the women identified in the collection. Leaving aside the mythical female figures who are also traced in the collection (e.g. Pales and Venus), this study focuses on all the female characters mentioned by male figures, trying to show that women in the Eclogues, among other elements (such as subjects, motifs, intertexts, language and style), constitute a significant means by which Calpurnius shows originality and generic evolution.It is argued that the female char

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38

Dobbs, Christopher S. "Getting Lucky With Ovid and Propertius: Board Games, Games of Chance, and Amatory Strategies in Roman Elegy." Syllecta Classica 30, no. 1 (2020): 1–24. http://dx.doi.org/10.1353/syl.2020.0000.

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Franklinos, T. E. "ROMAN ELEGY AND THE VISUAL - E. Scioli Dream, Fantasy, and Visual Art in Roman Elegy. Pp. xii + 278, ills. Madison, WI and London: The University of Wisconsin Press, 2015. Paper, US$55. ISBN: 978-0-299-30384-6." Classical Review 67, no. 1 (2016): 97–99. http://dx.doi.org/10.1017/s0009840x16002559.

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40

Spencer, Diana. "Lucan’s Follies: Memory and Ruin in a Civil-War Landscape." Greece and Rome 52, no. 1 (2005): 46–69. http://dx.doi.org/10.1093/gromej/cxi008.

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‘uilia sunt nobis quaecumque prioribus annis uidimus, et sordet quidquid spectauimus olim.’‘all the things which we saw in former years are worthless to us, and squalid - everything that in times past we gazed upon (esteemed/respected).’Calpurnius Siculus, Eclogue 7.45–6When Calpurnius’ old Roman tells Corydon, the country-boy fresh in town, that nothing that one has seen before can prepare one adequately for Nero's Roman spectacle (probably the games of 57 CE), it is almost impossible not to recall the magnificent loathing that Suetonius (Nero 12.1-2) and Tacitus (Annals 13.31) express for th

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41

Lee-Stecum, Parshia. "Tot in Vno Corpore Formae: Hybridity, Ethnicity and Vertumnus in Propertius Book 4." Ramus 34, no. 1 (2005): 22–46. http://dx.doi.org/10.1017/s0048671x0000103x.

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The opening poem of Propertius Book 4 famously contains a programmatic statement which presents notamor(love or desire)—the staple of Roman elegy through the 20s and into the 10s BCE—as the ruling theme of the collection, but Roman aetiology:Roma, faue, tibi surgit opus, date candida ciuesomina, et inceptis dextera cantet auis!sacra diesque canam et cognomina prisca locorum.(4.1.67-69)Rome, lend your support. This work arises for you. Citizens, grant brightomens—and may the bird of augury sing favourably!Of rites and days I will sing, and of the ancient names of places.The focus on Roman origi

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42

Booth, J. "Notice. Roman erotic elegy: selections from Tibullus, Propertius, Ovid and Sulpicia, translated, with an introduction, notes and glossary. J Corelis." Classical Review 47, no. 1 (1997): 206. http://dx.doi.org/10.1093/cr/47.1.206.

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43

Barchiesi, Alessandro. "Discordant Muses." Proceedings of the Cambridge Philological Society 37 (1992): 1–21. http://dx.doi.org/10.1017/s0068673500001516.

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Quaeritis unde is a good opening for a book of the Fasti (5.1). The question and answer form here exemplified is basic to the poem, even if in the classic Callimachean form from which Ovid draws his inspiration it is the poet who asks the questions – and this in fact happens with the exhortation dicite in line 7. But this quaeritis unde has also, I believe, an allusive value: it opens another book of elegiac poetry, Propertius' second book, where it is the more remarkable as an opening in that as far as we know it is the earliest example of a direct address to the reader in Roman poetry.The pu

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44

Krasne, Darcy. "LATIN LOVE ELEGY - E. SPENTZOU The Roman Poetry of Love. Elegy and Politics in a Time of Revolution. Pp. xiv + 107. London and New York: Bloomsbury Academic, 2013. Paper, £12.99. ISBN: 978-1-78093-204-0." Classical Review 65, no. 1 (2014): 136–38. http://dx.doi.org/10.1017/s0009840x14002509.

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45

Murgatroyd, Paul. "R. R. Caston, THE ELEGIAC PASSION: JEALOUSY IN ROMAN LOVE ELEGY. New York/Oxford: Oxford University Press, 2012. Pp. x + 176. isbn9780199925902. £45.00." Journal of Roman Studies 103 (October 14, 2013): 324–25. http://dx.doi.org/10.1017/s0075435813000580.

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46

Gardner, Hunter H. "The Elegiac Passion: Jealousy in Roman Love Elegy. By Ruth Rothaus Caston. Oxford and New York: Oxford University Press, 2012. Pp. [vii] + 176." Classical Philology 108, no. 4 (2013): 361–65. http://dx.doi.org/10.1086/671791.

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47

Hanses. "He Licks the Dish but Does Not Taste the Ham: A Grouping of Pompeian Wall Writings and Its Engagement with Elegy and Roman Comedy." Illinois Classical Studies 44, no. 1 (2019): 42. http://dx.doi.org/10.5406/illiclasstud.44.1.0042.

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48

Hutchinson, G. O. "R. Whitaker, Myth and Personal Experience in Roman Love-Elegy: a Study in Poetic Technique (Hypomnemata LXXVI). Göttingen: Vandenhoeck and Ruprecht, 1983. Pp. 174." Journal of Roman Studies 75 (November 1985): 309–10. http://dx.doi.org/10.2307/300711.

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49

Gold, Barbara K. "Roman Propertius and the Reinvention of Elegy. By Jeri Blair DeBrohun. Ann Arbor: The University of Michigan Press, 2003. Pp. [xi] + 263. $54.50 (cloth)." Classical Philology 100, no. 2 (2005): 202–7. http://dx.doi.org/10.1086/432847.

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50

Harrison, S. J. "Drink, suspicion and comedy in Propertius 1.3." Proceedings of the Cambridge Philological Society 40 (1994): 18–26. http://dx.doi.org/10.1017/s0068673500001802.

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Propertius 1.3 famously begins with the drunken poet returning from a night out to find his puella Cynthia asleep. The sleeping Cynthia is then apparently idealised by the poet through a series of comparisons with mythological heroines, until she wakes up and shows her true and less elevated character, shrewishly nagging the poet for staying out late with another woman, and thereby destroying his illusions. Some of the wit and irony of the situation has been pointed out in previous accounts of the poem; this treatment takes a closer look at the text, especially at the mythical analogues for Cy

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