SLENDER VERSE: ROMAN ELEGY AND ANCIENT RHETORICAL THEORY BY A.M. KEITH Horace’s famous criticism of Lucilius’ hexameters, that if you were to remove the fixed rhythms and rearrange the words you would not find the limbs even of a dismembered poet ( non … invenias etiam disiec- ti membra poetae
this same kind of casual attitude toward legitimate wedlock in playful Roman elegy, a genre that regularly marks its opposition to the institution of marriage. 10) Elegy hardly bothers to distinguish among contubernium, de facto marriage, concubinage, and the kinds of long-term contracted
Athenian elites of the late fifth century BC rebelled against aulos-playing as part of the school curriculum and launched a socio-cultural campaign against the instrument. Echoes of this ‘anti-aulos’ crusade reverberated in literature in the centuries to follow as motifs of hostility towards aulos music. Ovid (Fasti 6.657-710) and Propertius (2.30b) engage in this discourse, largely disregarding the motives of the Athenians for spurning the instrument; instead they embed the rejection myths in their poetical programmes in the context of their precarious relationship with Augustan authority. This paper argues that while both poets oppose the rejection of the doublepipes, they do so for entirely different reasons. Although the negative image of the aulos is present in Latin literary sources, it is largely disconnected from the substantial role of the instrument in Roman musical culture.
in showing convincingly "how complex and highly wrought Tibullan elegy is" (p. 209). In his conclusion Cairns once more brings the question of the origin of Roman elegy up for discussion. It is his point of view that there has been a subjective Hellenistic elegy, as a direct precursor of Roman elegy
From a narratological viewpoint it covers important features such as aperture, closure, characterization, internal narrators, description, space, time and cinematic technique. On the intertextual level it examines the narratives' complex relationship with Virgil, Livy and Ovid's own earlier works.
Recent criticism on the Fasti has addressed various elements (religious, historical, political, astronomical etc.), but detailed narrative study has been wanting. This book fills that gap, to provide a more informed and balanced appreciation of this multifaceted poem aimed at classicists and literary critics in general (for whom all the Latin is translated).
William R. Nethercut
. Highet, Poets in a Landscape (New York 1957), 74-105. 3) R. J. Baker, Propertius III I, i-6 again. Intimations of Immortality?, Mnem. IV 21 (1968), 35-39. 4) On the first five elegies of Book III as variations of the recusatio, see W. R. Nethercut, The Ironic Priest: Propertius' Roman Elegies, III. I-5
D. Thomas Benediktson
'). his statement that such catalogues are nonexistent in Greek is near- ly accurate; I have noted only Theocritus 8, 53-54, where the winds are combined with Croesus and Pelops. But, evidently revealing the influence of Catullus' example, such catalogues become com- mon in Roman elegy. Good examples in
Gregorio Rodríguez Herrera
associated and very com- mon in the erotic Roman elegy, the presents of love and the avaricious mistress (ll. 11-14), the text concludes with an exsecratio . The line under discussion is the pentameter et manibus dura frigus habere pila , and more speci cally, the phrase dura . . . pila . 6 ) The scholars
Eclogues and Georgics , Collection Latomus 63 (Brussels), 96-114 Courtney, E. 1990. Greek and Latin Acrostics , Philologus 134, 3-13 Gale, M.R. 1994. Myth and Poetry in Lucretius (Cambridge) Keith, A.M. 1999. Slender Verse: Roman Elegy and Ancient Rhetorical Theory , Mnemosyne 52, 41-62 Kollman, E.D. 1971