In what ways do the story's closing lines (165-66) aptly conclude the darkness/death imagery which Ovid has developed throughout the narrative?
Throughout the tale, Ovid has piled on the negative imagery. There is darkness and death everywhere you go in Pyramus and Thisbe. In line 79, the lovers make their great escape sub noctem. They make a plan to meet in shadow, sub umbra arboris (88). To hide from the lioness, Thisbe runs into an obscurum antum (100). Pyramus captures the entire essence of the darkness and death imagery in one line: Una duos nox perdet amantes (108). The darkness has brought them together (escape from their overbearing parents) yet it also destroys them (they both kill themselves in the night).
Pyramus' suicide is a heartwrenching example of the overall conception of death in the story: 'Accipe nunc,' inquit, 'nostri quoque sanguinis haustus!' Quoque erat accinctus, demisit in ilia ferrum, nec mora, ferventi moriens e vulnere traxit, et iacuit resupinus homo (118-121). Death clearly seems to be a horrible to the two lovers, something that will keep them apart in life. Yet this is not so for Thisbe, who firmly declares that 'Dabit hic in vulnera vires. Persequar exstinctum (150-151).' Death will bring the two lovers together.
And that is exactly what happens in the story's last two lines. The mulberry tree, which has been splattered with the dark blood of Pyramus' death, will be a perpetual reminder of the lovers' tragic tale - keeping them together in people's hearts; when one thinks of Pyramus, they will automatically think of Thisbe, and vice versa. Finally, the lovers will forever be joined by the grace of their parents: rogis superest, una requiescit in urna (166).
Sunday, December 20, 2009
Sunday, December 13, 2009
Ovid: Pyramus and Thisbe - Discussion Question
Ancient epic often contained seemingly gratuitious descriptions of physical violence; how is Ovid's graphic depiction of Pyramus' suicide on the other hand, quite essential to the story-line?
Pyramus' suicide is grotesque, violent, and unpleasant. It is described in such lavish detail that the reader is thoroughly disgusted yet drawn in as well. The ugly depiction of the suicide serves to invoke a reader's emotional response to the story. The plot is already foreboding (with the lioness and Thisbe's escape into a dark cave) but Pyramus' tragic death serves to create sympathy for the two lovers even more.
Pyramus' grief-stricken plea of "Accipe nunc, nostri quoque sanguinis haustus!" has much more of an impact when it is followed by a detailed portrayal of an extragavant death. The audience feels much more pathos for the character, and is drawn into the story even more, anticipating yet another dismaying scene as Thisbe discovers the mutilated body of her lover.
Pyramus' suicide is grotesque, violent, and unpleasant. It is described in such lavish detail that the reader is thoroughly disgusted yet drawn in as well. The ugly depiction of the suicide serves to invoke a reader's emotional response to the story. The plot is already foreboding (with the lioness and Thisbe's escape into a dark cave) but Pyramus' tragic death serves to create sympathy for the two lovers even more.
Pyramus' grief-stricken plea of "Accipe nunc, nostri quoque sanguinis haustus!" has much more of an impact when it is followed by a detailed portrayal of an extragavant death. The audience feels much more pathos for the character, and is drawn into the story even more, anticipating yet another dismaying scene as Thisbe discovers the mutilated body of her lover.
Sunday, December 6, 2009
Limericks for Ovid
There once was a girl named Thisbe
With Pyramus she was forbidden to marry
But a lioness come from her prey
Made Thisbe run very far away
And forever grief she would carry.
With Pyramus she was forbidden to marry
But a lioness come from her prey
Made Thisbe run very far away
And forever grief she would carry.
Ovid: Pyramus and Thisbe - Some More Rhetorical Devices :)
After the first 90 or so lines, Ovid uses some personification - et lux, tarde discedere visa, praecipitatur aquis, et aquis nox exit ab isdem - "and the light, having seemed to depart slowly, plunged downard into the waters and the night rose out of the same waters." Day and night don't depart or rise; they're just there based off of the presence or absence of the sun.
In the next few lines, he uses the alliteration of a hard C to foreshadow the unpleasantness about to ensue: ecce, recenti caede, which itself means "look, the recent slaughter..."
During Pyramus's death, he uses a simile to describe the severity of the wound that Pyruams has inflicted upon himself. The blood from the wound spurts out non aliter quam cum vitiato fistula plumbo scinditur, et tenui stridente foramine longas eiaculatur aquas, atque ictibus aera rumpit - "no differently than when a faulty water pipe of lead is split, and shoots out long streams of water hissing thinly and breaking the pulsing air."
In the next few lines, he uses the alliteration of a hard C to foreshadow the unpleasantness about to ensue: ecce, recenti caede, which itself means "look, the recent slaughter..."
During Pyramus's death, he uses a simile to describe the severity of the wound that Pyruams has inflicted upon himself. The blood from the wound spurts out non aliter quam cum vitiato fistula plumbo scinditur, et tenui stridente foramine longas eiaculatur aquas, atque ictibus aera rumpit - "no differently than when a faulty water pipe of lead is split, and shoots out long streams of water hissing thinly and breaking the pulsing air."
Wednesday, November 25, 2009
Ovid: Pyramus and Thisbe - Walls
As a poet, Ovid uses a plethora of rhetorical devices but also symbolism. One of the large symbols in Pyramus and Thisbe are walls.
The one literal wall in lines 55-104 is the wall that separates Pyramus and Thisbe's home. This wall separates them yet brings them together as well. The wall is a physical barrier to them, yet even the lovers acknowledge that it is because of this wall and the split in it that their words and breaths can cross to each other. Irony. :)
A metaphorical wall is their parents' refusal to allow them to marry. It is a clear obstacle towards their love, and in order to cross over it, they decide to run away. However, it seems that running away has only created more obstructions between them, in the form of the lioness - it is safe to assume that things do not bode well for this couple when a lioness enters the picture. She is yet another wall between them.
The one literal wall in lines 55-104 is the wall that separates Pyramus and Thisbe's home. This wall separates them yet brings them together as well. The wall is a physical barrier to them, yet even the lovers acknowledge that it is because of this wall and the split in it that their words and breaths can cross to each other. Irony. :)
A metaphorical wall is their parents' refusal to allow them to marry. It is a clear obstacle towards their love, and in order to cross over it, they decide to run away. However, it seems that running away has only created more obstructions between them, in the form of the lioness - it is safe to assume that things do not bode well for this couple when a lioness enters the picture. She is yet another wall between them.
Saturday, November 21, 2009
Ovid: Pyramus and Thisbe - Rhetorical Devices
Poetry's never complete without rhetorical devices, and Ovid throws plenty at his reader in the first several lines in Pyramas and Thisbe.
One that shows itself immediately is a chiasmus. Ovid describes Pyramus and Thisbe as iuvenum pulcherrimus alter | altera...praelata puellis - "one the most handsome of all the young men, the other the most preferred of all the girls."
A second one is a rhetorical question inserted almost randomly in a long sentence. While talking about the crack in the wall that no one had noticed since the wall was built, Ovid asks quid non sentis amor? - "What does love not notice?" It is clearly a rhetorical question because nowhere does Ovid imply that he actually wants or needs an answer.
Yet another rhetorical device that follows the last one is personification. Ovid addresses the wall as he says primi vidistis amantes, et voics fecistis iter - "You saw these lovers first, and you created a pathway for speech." Walls neither see nor create "pathways for speech." Ovid is giving the wall anthropomorphic qualities.
One that shows itself immediately is a chiasmus. Ovid describes Pyramus and Thisbe as iuvenum pulcherrimus alter | altera...praelata puellis - "one the most handsome of all the young men, the other the most preferred of all the girls."
A second one is a rhetorical question inserted almost randomly in a long sentence. While talking about the crack in the wall that no one had noticed since the wall was built, Ovid asks quid non sentis amor? - "What does love not notice?" It is clearly a rhetorical question because nowhere does Ovid imply that he actually wants or needs an answer.
Yet another rhetorical device that follows the last one is personification. Ovid addresses the wall as he says primi vidistis amantes, et voics fecistis iter - "You saw these lovers first, and you created a pathway for speech." Walls neither see nor create "pathways for speech." Ovid is giving the wall anthropomorphic qualities.
Saturday, October 31, 2009
Catullus 8
Poor Catullus. I really do feel bad for him in this one. =(
He starts off by yelling at himself to stop being an idiot and get out of the love affair. He has finally accepted that Lesbia is not interested in him, and perhaps never was. Using quondam, he describes his days with her as a fairy tale. Everything was good when she loved him. Everything was good when they both wanted the same things - quite the teenage love song, this poem - but now she doesn't want him anymore.
Indeed, in true teenager-who's-just-been-dumped fashion, Catullus tells himself to be strong and get over it all, but tells Lesbia that she'll be sorry. After all, there won't be anyone asking after her now. There won't be anyone calling her beautiful, no one approaching her anymore (even though, if I recall, the reason they're breaking up is because of Lesbia sleeping with other people).
Towards the end, he really starts to sound depressed. He can't stand the thought of her loving, or more directly, kissing other men. He starts to waver and seriously ponder the merits of being with her, but true to his word Catullus pulls back. He is persisting, and I wish him a hearty amount of good luck.
He starts off by yelling at himself to stop being an idiot and get out of the love affair. He has finally accepted that Lesbia is not interested in him, and perhaps never was. Using quondam, he describes his days with her as a fairy tale. Everything was good when she loved him. Everything was good when they both wanted the same things - quite the teenage love song, this poem - but now she doesn't want him anymore.
Indeed, in true teenager-who's-just-been-dumped fashion, Catullus tells himself to be strong and get over it all, but tells Lesbia that she'll be sorry. After all, there won't be anyone asking after her now. There won't be anyone calling her beautiful, no one approaching her anymore (even though, if I recall, the reason they're breaking up is because of Lesbia sleeping with other people).
Towards the end, he really starts to sound depressed. He can't stand the thought of her loving, or more directly, kissing other men. He starts to waver and seriously ponder the merits of being with her, but true to his word Catullus pulls back. He is persisting, and I wish him a hearty amount of good luck.
Catullus 75
The Catullus presented in this poem is one who gives off the image of pulling his hair out as he frantically paces about thinking about Lesbia. He is at his wits' end trying to understand what to do about her.
Lesbia seriously seems to be cheating on Catullus, because this is the second time he's written a poem on the subject. Catullus accuses her of being morally wrong as well as ensuring the ruin of his own mind. Although he also chides himself for loving her so deeply, he makes sure to say that he's being destroyed se officia suo - Catullus never misses a chance to tell the world how committed of a lover he is.
However, he seems to truly be hurt by Lesbia's actions. He says that now no matter what else she does, he cannot possibly ever respect her again. For Catullus, respect is clearly an important aspect of a relationship; for Lesbia, however, it is not. This seems to be a large distinction between them. For all of Catullus's lovey-dovey "She's the best woman in the history of ever" ramblings, Lesbia is not half as morally upright as Catullus is.
Catullus doesn't seem to really care about this, otherwise he would have broken the relationship long ago. He still states that even though he will never respect her again, he will never stop loving her either, even if she does everything wrong.
Lesbia seriously seems to be cheating on Catullus, because this is the second time he's written a poem on the subject. Catullus accuses her of being morally wrong as well as ensuring the ruin of his own mind. Although he also chides himself for loving her so deeply, he makes sure to say that he's being destroyed se officia suo - Catullus never misses a chance to tell the world how committed of a lover he is.
However, he seems to truly be hurt by Lesbia's actions. He says that now no matter what else she does, he cannot possibly ever respect her again. For Catullus, respect is clearly an important aspect of a relationship; for Lesbia, however, it is not. This seems to be a large distinction between them. For all of Catullus's lovey-dovey "She's the best woman in the history of ever" ramblings, Lesbia is not half as morally upright as Catullus is.
Catullus doesn't seem to really care about this, otherwise he would have broken the relationship long ago. He still states that even though he will never respect her again, he will never stop loving her either, even if she does everything wrong.
Sunday, October 25, 2009
Catullus 72
Catullus's tone has changed one again. He starts this poem off in the past tense, with emphasis on dicebas and quondam - he talks about things that Lesbia used to do, things that once were. She used to value him so much that she would even choose him over Jupiter. But this is all in the past. Clearly, something big has gone down.
In the next couplet, Catullus discusses two different kinds of love - a kind of love that a common man would hold for his mistress, and the kind of love that a father would have for his sons and sons-in-law. The second kind is different in that it encompasses respect and admiration. Catullus asserts that he loved Lesbia in both kinds of ways, yet now that she has (most likely) cheated on him, the second kind of love is gone.
He also says something interesting - such an insult compels him as a lover to love her more. Perhaps it has made her more unreachable, and that is why he doesn't walk away from her. However, he still claims that respect and admiration are gone from their relationship.
In the next couplet, Catullus discusses two different kinds of love - a kind of love that a common man would hold for his mistress, and the kind of love that a father would have for his sons and sons-in-law. The second kind is different in that it encompasses respect and admiration. Catullus asserts that he loved Lesbia in both kinds of ways, yet now that she has (most likely) cheated on him, the second kind of love is gone.
He also says something interesting - such an insult compels him as a lover to love her more. Perhaps it has made her more unreachable, and that is why he doesn't walk away from her. However, he still claims that respect and admiration are gone from their relationship.
Sunday, October 18, 2009
Catullus 86
This poem is yet another attempt to make Lesbia the best woman in the world. As in poem 43, Catullus compares another woman to Lesbia. Quintia, unlike the girl in poem 43 however, is truly possessed of traits that are considered beautiful. She is candida, longa, and recta. Catullus even admits that yes, this woman does have these traits, and yes, these traits should be aspired for.
However, Catullus argues that merely having individual characteristics of beauty does not make one beautiful. He argues that along with being physically attractive, you need charm, wit, and presence. Quintia does not have any of these attributes. Lesbia, in contrast, has inner beauty as well as outward beauty. She is a true Venus. Catullus seems to be stating this not just for women in general; true beauty for everyone is achieving perfection inside and outside.
However, Catullus argues that merely having individual characteristics of beauty does not make one beautiful. He argues that along with being physically attractive, you need charm, wit, and presence. Quintia does not have any of these attributes. Lesbia, in contrast, has inner beauty as well as outward beauty. She is a true Venus. Catullus seems to be stating this not just for women in general; true beauty for everyone is achieving perfection inside and outside.
Monday, October 12, 2009
Catullus 84
Oh noes. Catullus is being a meanie again. D:
In poem 43, Catullus criticized a woman some percieved to be pretty because she was not actually so - at least, in Catullus's humble opinion. He openly made fun of her physical flaws, and even condemned the age he was living in for its incredibly poor taste. Catullus should really look up the meaning of karma.
He does the same thing in poem 84. Catullus blasts Arrius for thinking that he is doing something right when he is clearly not. Arrius pronounces his Hs in a way that is embarrassing, and instead of gently telling him that it just makes him sound more stupid, Catullus sharply mocks him for not understanding his own flaws. He cannot tolerate imperfection; according to Catullus, it is better to not do a thing at all then to do it wrong. Aiming for perfection is clearly not easy - however, Catullus himself should be reminded of his own wrongs. He is obviously not perfect either, for a person of true noble standing would not stoop so low as to sneer at others.
In poem 43, Catullus criticized a woman some percieved to be pretty because she was not actually so - at least, in Catullus's humble opinion. He openly made fun of her physical flaws, and even condemned the age he was living in for its incredibly poor taste. Catullus should really look up the meaning of karma.
He does the same thing in poem 84. Catullus blasts Arrius for thinking that he is doing something right when he is clearly not. Arrius pronounces his Hs in a way that is embarrassing, and instead of gently telling him that it just makes him sound more stupid, Catullus sharply mocks him for not understanding his own flaws. He cannot tolerate imperfection; according to Catullus, it is better to not do a thing at all then to do it wrong. Aiming for perfection is clearly not easy - however, Catullus himself should be reminded of his own wrongs. He is obviously not perfect either, for a person of true noble standing would not stoop so low as to sneer at others.
Catullus 92
A theme is continuing here from poem 83. More trash is being talked in Catullus's happy little love story.
Catullus seems to be happy as he asserts that Lesbia says bad things about him and he about her; in fact, he claims that this is proof that they love one another. Now that's an interesting way to view love.
Catullus says that this is what people in love do: they bicker and tease each other. They are not afraid to show their ugly sides to their partners, and that this is the way you can see true love. Clearly, Catullus and Lesbia recognize each other's faults, and instead of running away from them completely, they humor each other with them.
Once again, Catullus claims that Lesbia loves him because she does not shut up about him. He is always on her mind, and therefore she needs to vent out every little thought that she has about him. Maybe Catullus is right; I personally think that being in love is making him too optimistic for his own good.
Catullus seems to be happy as he asserts that Lesbia says bad things about him and he about her; in fact, he claims that this is proof that they love one another. Now that's an interesting way to view love.
Catullus says that this is what people in love do: they bicker and tease each other. They are not afraid to show their ugly sides to their partners, and that this is the way you can see true love. Clearly, Catullus and Lesbia recognize each other's faults, and instead of running away from them completely, they humor each other with them.
Once again, Catullus claims that Lesbia loves him because she does not shut up about him. He is always on her mind, and therefore she needs to vent out every little thought that she has about him. Maybe Catullus is right; I personally think that being in love is making him too optimistic for his own good.
Catullus 87
This poem is yet another tribute to Catullus's undying love for Lesbia. Someone seems to be a bit vain.
Catullus loudly proclaims that no woman can possibly be loved as much as Lesbia is by him, nor can any faith be found as great as his is in his love. Catullus uses hyperbole, making his statements sound exaggerated and grand; then again, he is talking about love, and if love poetry isn't lofty, I don't know what is. Catullus's use of negatives to prove his point is also interesting. He does not say "Lesbia is more loved than anyone else" or "My faith is greater than anyone else's"; no, he says "Nulla potest mulier tantum se dicere..." and "Nulla fides ullo fuit umquam..." There is nothing as powerful as Catullus's love, and this poem suggests that he is prepared to go to high extremes to prove it. It is almost as if he is daring someone to challenge him, and then stand up for his love and claim it through deed as well as word.
Catullus loudly proclaims that no woman can possibly be loved as much as Lesbia is by him, nor can any faith be found as great as his is in his love. Catullus uses hyperbole, making his statements sound exaggerated and grand; then again, he is talking about love, and if love poetry isn't lofty, I don't know what is. Catullus's use of negatives to prove his point is also interesting. He does not say "Lesbia is more loved than anyone else" or "My faith is greater than anyone else's"; no, he says "Nulla potest mulier tantum se dicere..." and "Nulla fides ullo fuit umquam..." There is nothing as powerful as Catullus's love, and this poem suggests that he is prepared to go to high extremes to prove it. It is almost as if he is daring someone to challenge him, and then stand up for his love and claim it through deed as well as word.
Saturday, October 3, 2009
Catullus 5
People have been noticing Catullus and Lesbia's closeness. And most of them have been old, stern men who can't keep their mouths shut.
Catullus, however, is undaunted. He assures Lesbia and himself to take the value of these rumors at only an assis - they are as worthless as a penny. Catullus also utilizes the theme of carpe diem in this poem. He tells Lesbia that life is short. Humans are not like suns; they are not reborn everyday. For humans, when "our brief light dies once, we must sleep in one everlasting night." Catullus urges Lesbia to live her life now, before she is erased from the world forever.
This is exactly why Catullus encourages Lesbia to give him thousands, hundreds of kisses. When will she have a chance to do so again, if not now? It's a good argument, and it's safe to assume that Lesbia succumbs to Catullus's demands.
However, Catullus is not rash. He says "Conturbabimus illa!" so that none will know of his and Lesbia's sacred love. He does not want anything to ruin this love, least of all someone who might curse them with their rumors and evil intentions.
Catullus, however, is undaunted. He assures Lesbia and himself to take the value of these rumors at only an assis - they are as worthless as a penny. Catullus also utilizes the theme of carpe diem in this poem. He tells Lesbia that life is short. Humans are not like suns; they are not reborn everyday. For humans, when "our brief light dies once, we must sleep in one everlasting night." Catullus urges Lesbia to live her life now, before she is erased from the world forever.
This is exactly why Catullus encourages Lesbia to give him thousands, hundreds of kisses. When will she have a chance to do so again, if not now? It's a good argument, and it's safe to assume that Lesbia succumbs to Catullus's demands.
However, Catullus is not rash. He says "Conturbabimus illa!" so that none will know of his and Lesbia's sacred love. He does not want anything to ruin this love, least of all someone who might curse them with their rumors and evil intentions.
Saturday, September 26, 2009
Catullus 7
Catullus and Lesbia seem to be hitting it off.
Lesbia, clearly flirting with Catullus, asks him how many kisses she needs to give him.
Catullus, being the hopeless romantic he is, writes a freaking POEM as an answer. And a lofty, grand one at that.
He uses imagery in this poem like an AP English student uses Sparknotes. He compares the number of kisses to such epic things as the grains of the Libyan sand "that lies on the silphium-bearing Cyrene" or are the stars. The poem is exceedingly pretty, giving personification to the night sky and invoking references to the Roman gods.
Catullus outright tells her how crazy he is about her. By comparing kisses to grains of sand and stars, he tells her that he will never have "more than enough" of her, and will truly love her forever. Finally, he staunchly declares that no one will find out about their affair or curse it. Apparentely Catullus is aware of the risks that having such an affair entails. But this time, instead of asking the gods for help, he promises to protect their love himself. Looks like love has created a hero out of him.
Lesbia, clearly flirting with Catullus, asks him how many kisses she needs to give him.
Catullus, being the hopeless romantic he is, writes a freaking POEM as an answer. And a lofty, grand one at that.
He uses imagery in this poem like an AP English student uses Sparknotes. He compares the number of kisses to such epic things as the grains of the Libyan sand "that lies on the silphium-bearing Cyrene" or are the stars. The poem is exceedingly pretty, giving personification to the night sky and invoking references to the Roman gods.
Catullus outright tells her how crazy he is about her. By comparing kisses to grains of sand and stars, he tells her that he will never have "more than enough" of her, and will truly love her forever. Finally, he staunchly declares that no one will find out about their affair or curse it. Apparentely Catullus is aware of the risks that having such an affair entails. But this time, instead of asking the gods for help, he promises to protect their love himself. Looks like love has created a hero out of him.
Catullus 43
In this poem, Catullus describes a girl who many believe to be beautiful, even comparing her to Lesbia. It is a poem that delivers a bitter attack against what Catullus believes is a "tasteless and crude age." It is also a poem that defends his beloved Lesbia.
He saultes the girl and talks to her directly, showing that he probably knew her in person. Catullus employs the device of litotes heavily in this poem. He takes many of the girl's features, and denies their beauty by stating their opposite. She has a nose that is not small, a foot that is not beautiful, and eyes that are not black. By declaring her features to be the opposite of beauty, Catullus reinforces the fact that he finds the girl ugly.
Perhaps the poem is a criticism of the decoctoris amica Formiani, who is clearly disliked by Catullus. And because she is the friend of said man from Formiae, he also must be a jerk face who needs to be put in his rightful place by Catullus.
Finally, the poem could just be a defense of Lesbia. Catullus is so in love with her that he can't have anyone believing that there might be someone beautiful than her. That's some strong devotion.
He saultes the girl and talks to her directly, showing that he probably knew her in person. Catullus employs the device of litotes heavily in this poem. He takes many of the girl's features, and denies their beauty by stating their opposite. She has a nose that is not small, a foot that is not beautiful, and eyes that are not black. By declaring her features to be the opposite of beauty, Catullus reinforces the fact that he finds the girl ugly.
Perhaps the poem is a criticism of the decoctoris amica Formiani, who is clearly disliked by Catullus. And because she is the friend of said man from Formiae, he also must be a jerk face who needs to be put in his rightful place by Catullus.
Finally, the poem could just be a defense of Lesbia. Catullus is so in love with her that he can't have anyone believing that there might be someone beautiful than her. That's some strong devotion.
Saturday, September 19, 2009
Catullus 109
At this point in their story, Catullus and Lesbia have met, spoken, and are together. Whatever that may mean.
In lines 1-2, Catullus says that Lesbia has made vows of everlasting love to him. However, he prays to the gods that she is able to keep this promise vere, sincere, and ex animo. He asks them to extend their promise of friendship for all of his life.
Catullus here tells us that Lesbia is fickle. Why would he need to pray to the gods if she was a truthful and sincere person who spoke her promises from her heart? What is more, he does not ask the gods to remove any obstacles from their love, even though Lesbia is married. If her husband was a problem, he would have asked the gods to take him out of the picture. However, he does not do that. Catullus seems to have great confidence that Lesbia will do whatever her heart desires - trivial things like obstacles are clearly not a problem for her. Lesbia has power and control. Catullus further prays that their contract of sacred friendship will last. Why does not he use the word love, as he did in the first couplet? Perhaps he hopes that even if his love does not, his friendship with Lesbia will. The last thing Catullus wants is for Lesbia to ignore or forget about him, because, as he knows, that is the true opposite to love.
In lines 1-2, Catullus says that Lesbia has made vows of everlasting love to him. However, he prays to the gods that she is able to keep this promise vere, sincere, and ex animo. He asks them to extend their promise of friendship for all of his life.
Catullus here tells us that Lesbia is fickle. Why would he need to pray to the gods if she was a truthful and sincere person who spoke her promises from her heart? What is more, he does not ask the gods to remove any obstacles from their love, even though Lesbia is married. If her husband was a problem, he would have asked the gods to take him out of the picture. However, he does not do that. Catullus seems to have great confidence that Lesbia will do whatever her heart desires - trivial things like obstacles are clearly not a problem for her. Lesbia has power and control. Catullus further prays that their contract of sacred friendship will last. Why does not he use the word love, as he did in the first couplet? Perhaps he hopes that even if his love does not, his friendship with Lesbia will. The last thing Catullus wants is for Lesbia to ignore or forget about him, because, as he knows, that is the true opposite to love.
Catullus 83
Finally we have proof that Lesbia knows of Catullu's existence! Hurray for Catullus!
Apparentely, all Lesbia does is bad-mouth Catullus in front of her husband. Catullus, once again seized by jealousy, acts superior while calling the husband "fatuo" and "mule", and then asking him if he really does not understand anything. Catullus claims that if Lesbia were to ignore him, then it would prove that she was normal and therefore did not have any feelings. However, Lesbia does not ignore or forget Catullus - in fact, she can't seem to get him our of her mind.
This is great news for Catullus, because, according to him, the more Lesbia talks about him, them more she will be drawn to him. He makes it a point to say that she burns, uriter. Catullus seems greatly hopeful that Lesbia will come to have even stronger feelings for him. Of course, love and hate aren't all that different in their intensity. He seems completely confident that this burning, passionate annoyance that Lesbia has for him can and will easily change into a burning, passionate love.
According to Catullus then, it is completely okay if someone dislikes you - as long as they can't move their thoughts from you, you win.
Apparentely, all Lesbia does is bad-mouth Catullus in front of her husband. Catullus, once again seized by jealousy, acts superior while calling the husband "fatuo" and "mule", and then asking him if he really does not understand anything. Catullus claims that if Lesbia were to ignore him, then it would prove that she was normal and therefore did not have any feelings. However, Lesbia does not ignore or forget Catullus - in fact, she can't seem to get him our of her mind.
This is great news for Catullus, because, according to him, the more Lesbia talks about him, them more she will be drawn to him. He makes it a point to say that she burns, uriter. Catullus seems greatly hopeful that Lesbia will come to have even stronger feelings for him. Of course, love and hate aren't all that different in their intensity. He seems completely confident that this burning, passionate annoyance that Lesbia has for him can and will easily change into a burning, passionate love.
According to Catullus then, it is completely okay if someone dislikes you - as long as they can't move their thoughts from you, you win.
Saturday, September 12, 2009
Catullus 2
Catullus once again dwells on the small details of his lady to satisfy his infatuation with her. In Catullus 51, he was jealous of the man who sat beside her; now he is jealous of her sparrow. He dwells extensively on the relationship the lady (most likely Lesbia) has with her sparrow.
This is yet another way that Catullus describes the qualities of his lady. She is quaint and charming, a girl who men are attracted to because of her lovable demeanor. He also hints that she is only playing with her sparrow to take her mind off of her own past lover. Whatever has happened between them, Lesbia is now looking for "some small relief from her pain." Catullus claims that she makes the sparrow peck her so as to forget her deeper, more agonizing pain - that of love.
However, Catullus is once again a cowardly figure in this poem. He does not approach Lesbia; he just watches her from afar. For whatever reason, Catullus cannot approach Lesbia. Even though he asserts that he would give the world to play with her as she plays with the sparrow, he cannot find the courage to even speak to her. He wants her to "ligthen the gloomy cares of [his] heart," yet he is most likely observing this scene from behind a far-off wall.
Creeper.
This is yet another way that Catullus describes the qualities of his lady. She is quaint and charming, a girl who men are attracted to because of her lovable demeanor. He also hints that she is only playing with her sparrow to take her mind off of her own past lover. Whatever has happened between them, Lesbia is now looking for "some small relief from her pain." Catullus claims that she makes the sparrow peck her so as to forget her deeper, more agonizing pain - that of love.
However, Catullus is once again a cowardly figure in this poem. He does not approach Lesbia; he just watches her from afar. For whatever reason, Catullus cannot approach Lesbia. Even though he asserts that he would give the world to play with her as she plays with the sparrow, he cannot find the courage to even speak to her. He wants her to "ligthen the gloomy cares of [his] heart," yet he is most likely observing this scene from behind a far-off wall.
Creeper.
Friday, September 11, 2009
Catullus 51
Catullus 51 is a "translation" of a Greek poem written by Sappho. Sappho's original however, slightly differs from Catullu's adaptation.
Catullus seemed to admire Sappho, for he uses his poem as a sort of tribute or at least acknowledgement to her. Indeed, the opening line of his poem is a direct reference to Sappho's. Catullus also feels a deep, intense longing for Lesbia. He speaks of this longing as something that he cannot control, something that causes him so much pain that it "rips all his senses from him." Catullus and Sappho are both speaking of a feeling that everyone has felt at least once, a rush of love for someone who you might have just watched from afar.
However, Catullus differs from Sappho in his last stanza. While she fades away in the intensity of her love, Catullus stops abruptly and almost chides himself. He scolds himself for being in a state that has "previously destroyed kings and happy cities." Perhaps he has been rejected, and is angry at himself for spending so much time on a love that won't pay him much heed. Or even if his affair has gone well, he feels that he is just wasting his time - yet another feeling that people who have had experience with relationships can relate to.
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