Enjoy the promotional video for this fantastic new exhibition in the Ashmolean, running until January 12. There’s a wonderful collection of artefacts on display, from Pompeii and elsewhere, and you can find me raving about it here, all thanks to a freebie from Sophie Hay. This piece, for example, combines at least three of my favourite things, Latin, Hercules, and piglets.
I have just one bone to pick, and it’s with the encouragement to “seize the day” at the end of the video. Not that you shouldn’t be prepared to commandeer a train if that’s what it takes to get to this show — my problem is simply with “seize the day” as an English translation of Horace’s motto carpe diem, which in the Latin is a much richer turn of phrase. As Tom Holland (another beneficiary of Sophie’s generosity) pointed out to me, furthermore, once properly appreciated the full meaning of carpe diem would serve well an exhibition largely concerned with Roman foodstuffs and sensory pleasures.
Carpe diem originates in one of Horace’s lyric poems, Odes 1.11, and it expresses a characteristically lyric sentiment: live for the moment. “Seize the day” captures that well enough, but “seize” does a poor job, really, of conveying the Latin carpe. To get a better sense of it, Nisbet & Hubbard cite approvingly (it is not always so) the ancient commentator Porphyrio: “the metaphor”, Porphyrio writes, “is from fruit, which … we pick (carpimus) in order to enjoy.”
Now, you might use carpere of picking or plucking a flower, too, and whether the day is a fruit or a flower it works well enough for Horace’s poem, where the instruction, addressed to a woman named Leuconoe, also carries an erotic charge. But I think conceiving of the day as a metaphorical apple or plum (or quince, if you prefer) works best. What an apple on a tree represents is something needing to be exploited in a very narrow window of time, when the fruit is ripe but before it spoils. Life is to be enjoyed now, Horace insists, because who knows what will happen tomorrow.
Needless to say, the notion that life is an apple, and there’s no time to waste before you sink your teeth into it, applies especially well to the unfortunate inhabitants of Pompeii in AD 79.
In Poem 84 Catullus has a go at a man named Arrius.
Arrius’ fault is to aspirate, add an initial aitch to, unaspirated Latin words, turning insidiae into hinsidiae and commoda into chommoda, the ch not as in church but (W. Sidney Allen’s example, Vox Latina p. 26) quite like the initial sound of cot. Catullus’ target may be Q. Arrius, a lower-class, self-made orator snootily dismissed by Cicero in his history of oratory at Brutus 242-3. There are other open questions about the poem (what the point of calling Arrius’ uncle “free” is, for example, and whether the joke in the last line is just that Arrius and his aitches are on their way home), but Catullus’ objection to Arrius’ hypercorrection no doubt carries an edge of disdain from the upper-class (and self-consciously sophisticated) poet toward a social inferior, someone socially as well as phonetically aspirational. Romans were terrible snobs, needless to say.
I’m interested in something more specific, though. Line 8, audibant eadem haec leniter et leuiter, describes the halcyon aural conditions that obtain when Arrius and his aitches have left the country; literally, “they (either everyone, or everyone’s ears) heard these same words smoothly and softly” in Arrius’ absence, leuiter hinting at the spiritus leuis or “soft breathing”, the symbol that indicates a lack of aspiration over an initial vowel in Greek (Quinn, Catullus, the poems, ad loc.). But what there also is in line 8 is an example of the meeting of two words in a poetic line generally known as elision, but more accurately as synaloepha (“melding”): the four syllables eadem haec become three, because -em and hae- coalesce into one.
Synaloepha is a common feature of Latin poetry, and it happens when a vowel or diphthong at the end of one word meets a vowel or diphthong at the start of the next. In this poem, for example, we see it in line 2, dicere, et (pronounced diceret), and 3, se esse (sesse). In most cases it was not strictly a matter of “elision”, a syllable being entirely lost, but some kind of combination of the two vowels or diphthongs into one–hence the preference for “synaloepha” as the term to describe it. Eadem haec, one word ending with -m, the next starting with h-, doesn’t at first sight look like it should be subject to the same process. But a vowel followed by m in Catullus’ Latin was pronounced as a nasalized long vowel, while the aspiration of h was so weakly realised, in elite Latin at least, that it was as if the word simply opened with the diphthong ae.
That said, how exactly the blending of eadem and haec would have sounded is hard to reconstruct: a nasalized contraction of long e and ae, maybe (W. Sidney Allen, Vox Latina p. 81), or (J. Soubiran, L’élision dans la poésie latine p. 132, supported by Quintilian, Inst. 9.4.40) something like ewae, the -em expressed by “rounding the lips as if to end with a -w” (A. Gratwick, Plautus, Menaechmi p. 251).
If that seems awkward, there are indications in the poetic use of this kind of synaloepha of -m, as Soubiran remarks, that it could be heard as an unpleasant sound: the textbook example (for ancients and moderns) is Virgil’s description of Polyphemus at Aeneid 3.658, monstrum horrendum, informe, ingens (monstruworrenduwinformingens), a splurge of sound that destroys the elegant fabric of the heroic hexameter and is clearly designed to convey the ugliness of the Cyclops. That doesn’t exhaust the expressive power of synaloepha of -m, though: a line in many ways similar to the Cyclops line, Aen. 9.170, describing Latinus’ palace, tectum augustum, ingens, centum sublime columnis (tectuwaugustuwingens), seems to suggest a building soaring beyond one’s ability to discern its structure, dissolving the structure of the hexameter for different effect, or so I once proposed (Musa pedestris p. 331). More persuasive is E.J. Kenney’s remark, in a review of Soubiran (CR 17 (1967), 325-8), that synaloepha can be “used, especially by Virgil, to produce an almost unlimited range of effects.” Elsewhere Catullus himself, at 17.26, ferream ut soleam tenaci in voragine mula, “as a mule [leaves] her iron shoe in the clinging mire”, “smears together” two normally separate elements of a composite verse to evoke, in tenacin, a horseshoe left stuck in the mud.
Returning to Catullus 84, what cannot assert itself in this encounter between eadem and haec is any aspiration of the h. The synaloepha in line 8 is tackled in a very acute reading of this poem by E. Vandiver (“Sound patterns in Catullus 84”, The Classical Journal 85 (1990), 337-40). Her suggestion is that it would have been pronounced eadhaec (a true elision of -em, in effect), and thus might evoke the aspirated consonants like ch that Arrius was in the habit of inflecting on everyone. In fact, though, as I’ve explained, that kind of elision of vowel + m isn’t generally considered the most likely account. But even if it were, an h with sufficient force to persist in this way wouldn’t admit synaloepha (by compromising the preceding vowel sound) at all.
So my suspicion is that something like the opposite is true. My polymathic colleague Jonathan Katz points out to me that unless Catullus is making a point about haec, there’s really no need to include this word at all. What is his point in introducing an h only to suppress it, then? Surely, rather than echoing Arrius’ crimes against good Latin, the line that describes a life (temporarily) free of Arrius’ aspirations is serving up an aitch pronounced as it should be pronounced, i.e. not pronounced at all.
For as long as Arrius is away, in other words, even when there’s an h on the page, no one ‘as to ‘ear it.
A blog on something that caught my attention at a conference this week, an epitaph (AE 1928, no. 73) discovered in Rome in the 1920s:
Behold, traveller, the ashes of Sulpicia the reader,
to whom had been given the slave name Petale.
She had lived in number more than thirty-four years
and had given birth to a son, Aglaos, in this world.
She had seen all the good things of nature. She flourished in art.
She excelled in beauty. She had grown in talent.
Jealous Fate was unwilling for her to lead a lengthy time in life;
their very distaff failed the Fates.
The suggestion made during the conference was that what I’ve given as the translation of the first three words, “the ashes of Sulpicia the reader”, was only one option: they could also be read as “the ashes of the reader of Sulpicia”, i.e. Sulpicia was not the name of the dead woman, but of her employer or owner. In either case we’re dealing with a servant who apparently had the job of reading to her current or former owners. This person would be a rarely-attested example of a female reader, a lectrix rather than a male lector. If her name was Sulpicia she had certainly been freed, as I’ll explain, whereas if she was “of/belonging to Sulpicia” she might still be a slave; in the latter case, too, the identity of Sulpicia would offer scope for speculation.
I had not heard of this inscription before yesterday, but it struck me as obvious on reading it that the subject of the epitaph was Sulpicia Petale the lectrix, and that there was no other Sulpicia directly relevant to this inscription: it really wasn’t ambiguous. The key was the second line, quoi seruile datum nomen erat Petale, “to whom the slave name Petale had been given”. Why would the inscription specify the subject’s “slave name”, rather than simply recording her name as Petale, unless she was no longer a slave? And if, as it seems, she had been freed, why wouldn’t her freed name be given? Manumitted slaves assumed the name of their former masters: Tiro, freed by M. Tullius Cicero, became M. Tullius Tiro. If Petale had belonged to Cicero and then been freed, she would have become Tullia Petale. Our Petale belonged to a family of Sulpicii, hence when freed became Sulpicia Petale. What the first couplet of this epitaph is doing, then, is naming the dead person, albeit in a more elaborate fashion than usual. “These are the remains of Sulpicia, whose name when a slave was Petale.” Her respectable name leads; her older, slave name is consigned to the end of the couplet. It’s very elegant composition, and that can’t be said of everything in this poem.
I really can’t think of any other way of understanding the second line, and I find the popularity of the idea that there’s ambiguity here quite hard to fathom. For that matter, an epitaph beginning not with the name of the person honoured but their employer or owner seems awkward even in a Roman context, and taking Sulpiciae as governed by lectricis and unrelated to cineres feels like a very unnatural way of reading the Latin. Nevertheless this is a reading found in all the recent discussions of the inscription that I’ve seen, and it originated with no less an eminence than Jérôme Carcopino, who introduced the newly-found inscription to the Société Nationale des Antiquaires de France in 1928: “De Sulpicia la lectrice (ou: De la lectrice de Sulpicia?)” is the translation he offered of Sulpiciae … lectricis.
Carcopino’s interest in this inscription, as expressed in his presentation to the Société, explicitly consists in the possibility that it offers a connection to the most celebrated bearer of the name Sulpicia. This Sulpicia was a poet some of whose compositions (which poems in particular is fiercely debated) are included in the third book of Tibullus’ elegies: she is in fact the only female poet in Latin whose poetry survives from antiquity (Carcopino speculates that this epitaph is another one of her poems), and in the past this has drawn to her an interesting kind of attention. Mathilde Skoie’s book in the bibliography is a brilliant study of the reception of Sulpicia from the Renaissance onwards, responses she sees as united by a determination “to write scandal out of the text”, a refusal to acknowledge the truly scandalous force of a woman speaking of sexual desire in the context of a culture as male-dominated as Rome (cf. Stevenson 36). Carcopino doesn’t escape this style of patronising chivalry himself, speculating that Petale’s name, which suggests Greek petalon, a leaf, bears a resemblance to the name of Sulpicia’s lover in her elegies, Cerinthus, from kerinthon, honeywort, “as if, in the house of Sulpicia, all the names she gave had to breathe a perfume similarly mingled with flowers and Hellenism.” Hmm, though, to be fair, he does also study the language of the epitaph, concluding that it could be dated to late Republic/early Empire–Sulpicia the elegist’s time, in other words.
If seems clear enough that nobody would have paid much attention to this inscription if it hadn’t featured the name Sulpicia. But I think I’d go further and say that it’s this wish to find Sulpicia the poet in the epitaph that also explains the peculiar determination, in the face of fairly obvious objections, to find its opening ambiguous. Some kind of connection to the poet is not entirely precluded if we read “Sulpicia the lectrix” (she belonged to, and was freed by, people bearing the name Sulpicius), but it’s much more tenuous. If it were “the lectrix of Sulpicia”, on the other hand, there would be someone other than the dead woman identified as Sulpicia, and this Sulpicia would be someone who enjoyed having literature read to her.
Well, my concern in all this is really just a question of interpretation: I can’t make the Latin say what Carcopino and many others want it to be able to say. Not everything in this epitaph is crystal-clear, but the first couplet is: the dead woman was a Sulpicia with the slave name Petale, Sulpicia Petale. But there is another dimension to all this. Sulpicia the poet, while a truly remarkable individual, was the aristocratic daughter of Servius Sulpicius Rufus, renowned jurist and correspondent of Cicero, and niece of M. Valerius Messalla Corvinus, one of the most prominent figures in Augustan Rome, both in poetry and politics.
Sulpicia Petale had by sheer ability escaped slavery and earned the immortality represented by this versified inscription. Well, maybe that’s me being as sentimental as Carcopino, but I can’t help feeling that Sulpicia Petale, the real subject of this epitaph, is where we should be directing our attention.
M. J. Carcopino, “Épitaphe en vers de la lectrice Petale”, Bulletin de la Société Nationale des Antiquaires de France 1929, 84–6;
P. Hallett, “Absent Roman Fathers in the writings of their daughters: Cornelia and Sulpicia”, in S. Huebner and D. M. Ratzan (eds.), Growing Up Fatherless in Antiquity (Cambridge, 2009), 175-91, at 187-90;
P. Hallett, “Ovid’s Thisbe and a Roman Woman Love Poet”, in B.W. Boyd and C. Fox (eds.), Approaches to Teaching World Literature: Ovid and Ovidianism (New York, 2010), 414-433, at 367-370;
P. Hallett, “Scenarios of Sulpiciae: moral discourses and immoral verses”, EuGeStA 1 (2011);
E. Hauser, “Optima tu proprii nominis auctor: The semantics of female authorship in ancient Rome, from Sulpicia to Proba”, EuGeStA 6 (2016);
M. Skoie, Reading Sulpicia: Commentaries 1475-1990 (Oxford, 2002);
J. Stevenson, Women Latin Poets: Language, Gender, and Authority from Antiquity to the Eighteenth Century (Oxford, 2005), (on this inscription) 42-44.
Here is Nisbet & Hubbard on an unusual, arresting word used by Horace at Odes 2.7.8, malobathro. It’s a fascinating word in itself, as N&H explain, a borrowing from Sanskrit interestingly distorted in the process of transfer. It reminds me a bit of how we got “orange” from “naranj”.
The clever explanation of the Greek loss of ta-, as N&H say, comes from Eduard Schwyzer; meanwhile Bertold Laufer suggests that the source of μαλάβαθρον was what we call patchouli leaves, which Henry Yule in Hobson-Jobson records as being “sold in every bazar in Hindustan,” and “used as an ingredient in tobacco for smoking, as hair-scent by women, and especially for stuffing mattresses and laying among clothes as we use lavender.”
“In a fluid form,” Yule continues, “patchouli was introduced into England in 1844, and soon became very fashionable as a perfume,” especially popular on the hippie scene in the 1960s and ’70s. In Horace’s poem the malobathrum, not so differently, is a fragrant oil worn in the hair at symposia or drinking parties, and it features in Horace’s reminiscence of a scene from his younger, wilder days. In the tiny poetic forms of his lyric verse Horace selects his words very carefully indeed, and while thinking about this poem for a Natalie Haynes programme recorded last week I got to wondering what he saw in this peculiar word.
Let’s start with Odes 2.7.
The poem welcomes an old friend and comrade back to Rome after a long absence. Many years before, Horace and Pompeius had shared the experience of fighting for Marcus Brutus against the forces of Mark Antony and the future Augustus, the assassins of Julius Caesar against his heirs. After the crushing defeat of the “tyrannicides” at Philippi in 42 BC, Horace had made his peace with the victors and returned to Rome, before long finding a patron in Augustus’ right-hand man Maecenas, and enjoying the literary celebrity that followed. But Pompeius, so this poem tells us, had continued the fight against Augustus, perhaps with Sextus Pompey (to whom he may have been related) until his final defeat in 36 BC, and subsequently with Antony when he and Augustus came to conflict.
Now, finally, in middle age, Pompeius is back home, and Horace throws a party for him, or perhaps give him a party in poetic form in lieu thereof. The general scenario has parallels elsewhere in the Odes: in 3.14, for example, Horace contrasts his peaceable state of mind in a Rome ruled by Augustus with his youthful bravado at Philippi; while in 1.7, addressed to L. Munatius Plancus, founder of the city of Lyons, Horace again seems to contrast the violence of the Civil Wars with the peace and friendship represented by a drinking party. The lyric poetry that Horace is writing spends a lot of time in the symposium, but Horace lends the act of drinking with friends a greater significance: his poetic symposium, a place where Pompeius, Plancus and we the readers come together as friends, is a space where Romans can forget about their differences and rediscover what they have in common. The oblivion brought by consumption of alcohol becomes a metaphor for Rome’s rejection of past conflict. Friendship, restored after the moral chaos of civil conflict is important throughout Horace’s poetry. Here in 2.7 the last word is amico: a friendship has been restored out of the turmoil of Roman fighting Roman.
Malobathrum, patchouli, is what I’m really concerned with, though. Here’s the whole poem, with David West’s translation slightly adapted, the malobathrum at l. 8:
O saepe mecum tempus in ultimum
deducte Bruto militiae duce,
quis te redonauit Quiritem
dis patriis Italoque caelo,
Pompei, meorum prime sodalium, 5
cum quo morantem saepe diem mero
fregi, coronatus nitentis
malobathro Syrio capillos?
tecum Philippos et celerem fugam
sensi relicta non bene parmula, 10
cum fracta uirtus et minaces
turpe solum tetigere mento;
sed me per hostis Mercurius celer
denso pauentem sustulit aere,
te rursus in bellum resorbens 15
unda fretis tulit aestuosis.
ergo obligatam redde Ioui dapem
longaque fessum militia latus
depone sub lauru mea, nec
parce cadis tibi destinatis. 20
obliuioso leuia Massico
ciboria exple, funde capacibus
unguenta de conchis. quis udo
deproperare apio coronas
curatue myrto? quem Venus arbitrum 25
dicet bibendi? non ego sanius
bacchabor Edonis: recepto
dulce mihi furere est amico.
You and I have often been led to the edge
of doom with Brutus in command,
and now who has made you a Roman again
and restored to your ancestral gods and Italian sky,
O Pompeius, first of my friends, with whom
I so often broke into the lagging day with neat wine,
head garlanded and hair sleek
with Syrian malobathrum?
With you I knew Philippi and speedy flight,
leaving my little shield behind, shame to say,
when virtue snapped and the chins
of blusterers touched the base earth.
I panicked, but swift Mercury carried me off
in a dense mist through the enemy ranks,
while a wave sucked you back into war
and swept you along in a boiling sea.
So pay to Jupiter the feast that was vowed,
lay down your body weary with campaigning
here under my laurel tree, and have no mercy
on the casks of wine I have reserved for you.
Fill up the polished Egyptian cups with Massic
for forgetfulness and pour fragrant oils from full shells.
Whose business is it to run
for garlands of moist celery
and myrtle? Whom will Venus choose as master
of the wine? l shall run wild as any Edonian
at her Bacchic orgies. My friend is back.
What joy to go mad!
In the second stanza, with a few deft strokes, Horace sketches that youthful existence he led with Pompeius in Brutus’ camp, the informality of sodales, “mates”, the drinking initiated far too early in the day, garlands, Horace’s hair still full and sleek (at Epistles 1.20.23 a couple of years later, as West notes, Horace is praecanus, prematurely grey), and the indulgence of malobathrum. I think this exotic word, and the substance it denotes (“Syrian”, as Nisbet & Hubbard remark, could imply a source much further east), suggests in its own right not just a place apart, far from the “Italian sky”, but also a distant, irrecoverable time. Smells are notoriously evocative: for research purposes I have been sniffing patchouli oil, and it’s a scent that stays with you. I don’t know if the name of a scent can share any of that evocative power, but I do think that Horace, on the tiny canvases he allows himself in his lyric poetry, gets as close as any poet to making words do for us what a scent can.
Here one exotic vocabulary item, as exotic to read as to smell, vividly evokes… what? Long-distant youthful abandon, it seems to me, time out of mind.
One of the big surprises that Virgil springs on his readers as the Aeneid gets under way is to take them straight to Carthage.
This city is really the last place that a Roman epic should start, the most relentless and dangerous enemy that Rome in its long history felt it had faced: the threat of Hannibal coming to get them was a favoured Roman method for getting the kids to eat their greens, long after the city (and the threat) had been eliminated in 146BC, so deep ran the fear evoked by Rome’s greatest imperial rival.
But Virgil doesn’t just drag his Roman epic to enemy HQ, he then compounds the scandal by making a place that Romans very well knew represented all that was most despicable in human behaviour, all that was most uncivilized, most un-Roman, a really rather decent place, even — terrifyingly — a place quite reminiscent of Rome. I tell my students, though they probably don’t believe me, that what is most clearly evoked by the scene that meets Aeneas as he approaches Carthage for the first time, the busy building activity of the rising city, is Rome in the first years of Augustus’ principate, the time and place of Virgil’s writing, and Romans’ first reading, of the poem.
It is indeed a shocking way to open a Roman national epic, almost as if Virgil was out to offer his Augustan readers no kind of simple answers.
By the time Aeneas leaves Carthage, it has assumed an altogether less friendly, though also more familiar, appearance. One way of understanding the trajectory of Aeneas’ stay in Carthage is as the creation of a Carthage recognisable to Roman readers, answering to the deep prejudices they had developed about their mortal Mediterranean rival during the Punic Wars. By the end of Book 4 Dido has sworn undying enmity to Rome, conjured up Hannibal from her own ashes, and generally started to look a lot like an existential threat. What’s quite interesting here is that Aeneas shares responsibility for the creation of this monster: Carthage would not be Carthage if Aeneas hadn’t met, loved and abandoned Dido.
But another respect in which Carthage becomes recognisably Carthage by the time Aeneas leaves it is in its religious character. In a brilliant article James Davidson* argues that Dido’s suicide at the end of Book 4 is meant by Virgil to inaugurate something that the Romans associated very strongly with Carthage, something they found especially deplorable: human sacrifice.
Now, a lot of what the Romans believed about the Carthaginians, for example their sexual immorality and their Punica fides, an alleged incapacity to honour an agreement, we can dismiss as the prejudice of a warring nation for its enemy. But it is generally accepted these days that the sacrifice of humans, and especially children (apparently children of the elite), at the temple of Tanit (Virgil’s Juno) was indeed an important element of Carthaginian religious observance. The sacrifice was a means to secure the goodwill of the gods, and Diodorus Siculus (20.14.4-6) records the frenetic activity occasioned by an unexpected raid on Carthage by the Sicilian tyrant Agathocles in 310BC, a crisis (it was evident to the Carthaginians) caused by their neglect of the gods which could only, the logic went, be resolved by appeasing those gods — with the most valuable thing it was possible for them to offer, their own children or themselves. Diodorus’ account is without doubt exaggerated, but the event itself, less some of the more lurid details, is entirely plausible:
“They also alleged that Cronus [i.e. Baal] had turned against them, inasmuch as in former times they had been accustomed to sacrifice to this god the noblest of their sons (τῶν υἱῶν τοὺς κρατίστους), but more recently, secretly buying and raising children, they had sent these to be sacrificed; and when an investigation was made, some of those who had been sacrificed were discovered to have been supposititious. When they had considered these things and saw their enemy encamped before their walls, they were filled with superstitious dread, for they believed that they had neglected the honours of the gods that had been established by their fathers. In their zeal to make amends for their omission, they selected two hundred of the noblest children and sacrificed them publicly; and others who were under suspicion sacrificed themselves voluntarily, in number not less than three hundred. There was in their city a bronze image of Cronus, extending its hands, palms up and sloping toward the ground, so that each of the children when placed thereon rolled down and fell into a sort of gaping pit filled with fire.”
We have already contemplated two ways in which Virgil’s readers probably reacted to his depiction of Carthage: surprise at the friendly, principled face it presented to Aeneas on his arrival, and a familiar horror at the vengeful promise of eternal enmity voiced at his departure. But one of the most effective things Virgil does, in Book 1 especially, is to sow something else in his readers’ minds, periodically qualifying the positive impression made by Dido and her city with niggling hints of that more familiar, much more intimidating Carthage. Again Davidson picks up on these dissonant notes, and he almost says what I’m about to say, and I’m pretty sure thought it. It’s obvious enough when you think about it, but still a great example of Virgil’s ability to manipulate his readers’ responses to his story.
Someone who harbours serious concerns about the Carthaginians is Venus, Aeneas’ divine mother. At 1.643ff. Aeneas, who has by now met and been warmly welcomed by Dido, sends word to the Trojan ships for his son Ascanius to join him in Carthage, at which point Venus hatches a plan to substitute her divine son Cupid for Ascanius, and thus ensure that Dido, under Cupid’s influence, will fall in love with Aeneas and do him no harm. (Venus’ plan is not flawless.) The grounds for the goddess’s anxiety about Carthage are given at 661, quippe domum timet ambiguam Tyriosque bilinguis, “since indeed she fears the untrustworthy house and the two-tongued Tyrians.” Clearly here Venus’ concerns evoke those raw Roman prejudices about Punica fides, “Punic faith”, their congenital untrustworthiness, a jarring reminder of how Carthage really is amid the overwhelmingly positive representation of Dido and her city.
But I can’t help feeling that the swapping of Cupid for Ascanius is still a bit undermotivated, Dido perfectly capable of falling for Aeneas without Cupid’s intervention. And if we do need a bit more reason for Venus to keep the boy Ascanius well away from Carthage until she’s confident Carthage isn’t behaving like Carthage, well, perhaps the most deep-seated of all Roman misgivings about the place was what they did to children there.
As Diodorus suggests, the really valuable children were the high-born, the children of the elite; in fact only the highest-born would do. No child was more elite than Ascanius, ancestor of the Romans, and of the Julian family in particular: he is the character that represents in the Aeneid all the promise of Rome’s glorious future. Virgil intrudes, with exquisite subtlety, a reminder of what this place where Aeneas was busily making himself at home was in the habit of doing to boys of such extraordinary promise.
How terrifying a threat Carthage actually posed to Rome.
*J. Davidson, “Domesticating Dido,” in M. Burden (ed.), A woman scorn’d: responses to the Dido myth (London: Faber & Faber, 1998), 65-88.
I may, with a bit of luck, be in the process of arranging to write a Very Short Introduction to Ovid, and I’ve been thinking hard about the structure of a book that has to encapsulate a lot of texts, and the most scintillating of authors, in a “very short” format. In particular, how to capture Ovid’s afterlife, the huge impact he has had on more recent literature and art, is a poser. I’m pondering at this stage a chronological approach, the “aetas Ovidiana” of the 12th and 13th Century followed by the Renaissance followed by modernity, perhaps. But I still need to decide how to do all that in just a few thousand words.
Well, here’s an Ovidian motif with a medieval afterlife, in one case surprising and hard to explain; while in the other, I think, Ovid meets his medieval match. Amores 2.4 sees Ovid deploring his own mendosi mores, his reprehensible character and lifestyle: there is no woman in Rome he doesn’t fancy, as he explains at some length and in some detail: nam desunt vires ad me mihi iusque regendum;/auferor ut rapida concita puppis aqua./non est certa meos quae forma invitet amores—/centum sunt causae, cur ego semper amem (7-10), “I haven’t the strength or will to control myself;/ I am swept away like a ship driven by fast-moving water./ There is no particular beauty that provokes my love:/ I have a hundred reasons to be constantly in love!”
One such irresistible reason, at 31-2, is a woman who dances seductively: ut taceam de me, qui causa tangor ab omni,/illic Hippolytum pone, Priapus erit! “To say nothing of me, as I am affected by everything,/ put Hippolytus in my place and he’ll turn into Priapus!”
It is a very naughty, very brilliant example of the wit that Ovid is famous for; not perhaps easily defensible in the current day and age. Hippolytus is the archetype of sexual self-restraint, as seen in Euripides’ tragedy Hippolytus and various Phaedras; while Priapus looks like this:
Priapus was a kind of over-sexed scarecrow, associated with gardens and orchards: his physical appearance represented an implicit threat to anyone rash enough to try to steal the fruit he protected.
This makes what follows odd, to say the least. In around the thirteenth century someone in Constantinople translated Ovid’s erotic poems, the Amores, Ars Amatoria and Remedia Amoris, into Greek. The translator may well have been the most famous Byzantine translator of Latin poetry, Maximus Planudes, monk and humanist, best known for his anthology of Greek epigrams: Planudes’ translation activities tend to be associated with the movement to unite the eastern and western Churches, itself related to the hope that help might be forthcoming from the Christian West to defend the city against the Muslim Turks. We do not any longer have that original Greek translation, but we do have excerpts from it in a kind of commonplace book containing morally improving excerpts from a range of ancient authors. The notion of Ovid as morally improving would strike the emperor Augustus as odd, for starters, but the excerptor does generally, sometimes by quite extreme means, manage to keep it clean. Amor, “love”, is translated as τόδε τὸ πρᾶγμα, “this topic”, the puella, the target of sexual interest, becomes an inoffensive φίλος, “(male) friend,” and oscula ferre, “kiss,” turns into προσειπεῖν, “talk to.” E. J. Kenney, to whose article (“A Byzantine version of Ovid,” Hermes 91 (1963), 213-27) I owe these examples, comments: “always at the elbow of this medieval Podsnap [the excerptor] was the spectre of the Young Person. Just as his brethren of the West allegorised Ovid to make him respectable, so this Greek monk, as he must have been, proceeded to purge Ovid of his regrettable lasciviousness by drastic methods” (225).
Sometimes, though, it appears that the excerptor-monk lost concentration, and Amores 2.4.32 is a case in point: most unexpectedly, we find illic Hippolytum pone, Priapus erit literally translated into Greek for the edification of those Byzantine schoolboys: ἐκεῖσε θὲς τὸν Ἱππόλυτον, καὶ Πρίαπος ἔσται. A shocking dereliction on the part of the monk in question, as I hardly need to emphasise.
Over in Western Europe there were indeed comparable efforts to make Ovid respectable, often involving the allegorizing of the myths of the Metamorphoses. But another approach was taken by the Archpoet (Archipoeta in Latin), an anonymous poet whose pseudonym was apparently derived from his patron, Rainald of Dassel, both Archbishop of Cologne and Archchancellor of Italy. The Archpoet’s masterpiece, his “Confession”, is perhaps the most famous of medieval Latin lyrics, and it’s directly inspired by Ovid, Amores 2.4.
The poem can be dated to 1162 or more likely late 1163, when Rainald, a close adviser of the Emperor Frederick Barbarossa as well as a promoter of classical learning, spent time in the north Italian city of Pavia during an embassy to the Pope: Pavia, as we shall see, is where the Archpoet implies that he is delivering his confession. Picking up on Ovid’s word confiteor (3), “I confess,” a word that Christianity had vastly enriched in meaning, the Archpoet delivers a textbook Christian confession: “confession, contrition, purpose of amendment, imposition of penance, and absolution” (Walsh, Thirty poems from the Carmina Burana, 67; cf. H. Watenphul/H. Krefeld, Die Gedichte des Archipoeta, 139). Everything has changed in Latin poetry: the lines are short and rhymed, the rhythms simplified and accentual, the Old and New Testaments compete with Ovid as the target of allusion. Yet somehow, at least for as long as the Archpoet is confessing his sins, the essence of Ovid has been successfully transplanted to the Holy Roman Empire (2-3):
Cum sit enim proprium viro sapienti
supra petram ponere sedem fundamenti,
stultus ego comparor fluvio labenti
sub eodem aere nunquam permanenti.
Feror ego veluti sine nauta navis,
ut per vias aeris vaga fertur avis.
non me tenent vincula, non me tenet clavis,
quero mei similes et adiungor pravis.
For though it be proper for a wise man
To set his foundations upon a rock,
I in my idiocy am like a flowing river
Never staying still under the same sky.
I am borne along like a sailor without a ship
As a wandering bird is carried through the paths of the air.
Chains do not hold me, nor a key:
I seek like-minded people, and my friends are the depraved.
There are striking parallels between the classical and medieval poet: both are manipulating some well-established and highly artificial poetic conventions, the goliardic persona of the morally wayward vagabond in the Archpoet’s case, and the morally dubious elegiac lover in Ovid’s; important to both also is a claim to youth, and the irresponsibility stereotypically associated with it. In addition, each poet is deploying a verse form that embodies their assumed persona, the trochaic Vagantenstrophe or goliardic measure in the Confession, and the elegiac couplet in Ovid’s Amores.
But it’s Hippolytus we are concerned with, and the Archpoet’s answer to Ovid’s Hippolytus/Priapus witticism brilliantly exploits the city in which he finds himself. Pavia had a dubious reputation, according to a proverb quoted by Landulf of Milan in his Historia Mediolanensis (3.1): Mediolanum in clericis, Papia in deliciis, Roma in aedificiis, Ravenna in ecclesiis, “Milan for clerics, Pavia for pleasures, Rome for buildings, Ravenna for churches.” Or as the Archpoet puts it (8-9),
Quis in igne positus igne non uratur?
quis Papie demorans castus habeatur,
ubi Venus digito iuvenes venatur,
oculis illaqueat, facie predatur?
Si ponas Ypolitum hodie Papie,
non erit Ypolitus in sequenti die:
Veneris in thalamos ducunt omnes vie;
non est in tot turribus turris Alethie.
Who when placed in the fire is not burned?
Who spending time in Pavia may be considered chaste
where Venus hunts young men with her finger,
traps them with her eyes, ensnaring them with her face?
Place Hippolytus in Pavia today,
He won’t be Hippolytus tomorrow:
all roads lead to the bedchambers of Venus;
Amongs all those towers there is no tower of Truth.
(Pavia was famous, as S. Gimignano is today, for its towers.)
An unfortunate colleague of mine met me on the airport bus over the summer. I was off to Cartagena for a jolly, and he to Pavia to give a paper. When I did what I felt compelled to do and warned him of the threat to his immortal soul posed by that city, he told me I was the second Classicist in a week to quote the Archpoet’s couplet at him when he mentioned where he was going.
But how could I resist? In Si ponas Ypolitum hodie Papie/ non erit Ypolitus in sequenti die the Archpoet fulfilled his boast at 18.4: Nasonem post calicem carmine preibo, “After a glass I shall surpass Naso in song.” But he surpasses Ovid in a more profound sense too, perhaps. Some scholars doubt the genuineness of the contrition that the poet-persona claims to feel at the end of this confession, feeling that his vices have been recounted with too much gusto for us really to accept that (23) iam virtutes diligo, vitiis irascor,/ renovatus animo spritu renascor;/ quasi modo genitus novo lacte pascor,/ ne sit meum amplius vanitatis vas cor, “Now I love virtues and loathe vices,/ renewed in the mind I am reborn in the spirit;/ like a new-born I feed on fresh milk:/ may my heart no longer be a vessel of vanity.” “The main body of the Confession is more of a defense than a confession,” suggests S. Shurtleff. But I suppose it seems to me that one cannot adequately repent one’s sins without first fully acknowledging them; and anyway that’s to take the exercise a bit too literally. Certainly, as the poet promises to reform, classical allusion gives way to scriptural. The Latin model is displaced by the biblical.
Are we focusing too much on the Ovidian sins the Archpoet admits to, then, and too little on his remorse? Is this in fact the most important respect in which the Archpoet has improved on Ovid, by capping the unresolved immorality of the pagan Roman with the Christian promise of redemption?
Some things I’ve been reading:
P. G. Walsh, Thirty poems from the Carmina Burana (1976);
H. Watenphul/H. Krefeld, Die Gedichte des Archipoeta (1958);
E. J. Kenney, “A Byzantine version of Ovid,” Hermes 91 (1963), 213-27;
P. Godman, The Archpoet and Medieval Culture (2014);
K. Langosch, Die Lieder des Archipoeta (1965);
F. Adcock, Hugh Primas and the Archpoet (1994), with an introduction by P. Dronke;
P. Dronke, “The Archpoet and the Classics,” in P. Dronke, Sources of Inspiration (1997), 83-99;
J. Hamacher, “Die ‘Vagantenbeichte’ und ihre Quellen,” Mittellateinisches Jahrbuch 18 (1983), 160-7;
S. B. Kugeas, “Maximos Planudes und Juvenal,” Philologus 73 (1914), 318-319;
J. Herrin, Byzantium: the surprising life of a medieval empire (2007);
S. Shurtleff, “The Archpoet as poet, persona and self: the problem of individuality in the Confession,” Philological Quarterly 73 (1994), 373-84.
Way back last October I was helping Mary Beard and Peter Stothard introduce Virgil’s 9th Eclogue at the Cheltenham Literary Festival, gamely claiming that it was the best poem ever written. I’d still insist it was one of the very best Latin poems ever written, at least, up there with Odes 3.29.
What makes Eclogue 9 so great, to my mind (and in a couple of sentences), is that it takes the conventions of pastoral poetry and essentially shreds them. Pastoral (also known as bucolic) is a peculiar but very resilient genre of poetry. It describes a world populated by idealized herdsmen, living a carefree life in a sympathetic landscape. The Eclogues start off in typical fashion (1.1-3): “You, Tityrus, lie beneath the canopy of a spreading beech,/ and practice your woodland music on slender pipe.” The shade from the midday sun, and especially the song that we are told that Tityrus is singing about his lover Amaryllis, are classic pastoral motifs. But if I give you the whole of the first five lines of Eclogue 1, the nature of Virgil’s project is clearer:
Tityre, tu patulae recubans sub tegmine fagi
siluestrem tenui Musam meditaris auena;
nos patriae fines et dulcia linquimus arua.
nos patriam fugimus; tu, Tityre, lentus in umbra
formosam resonare doces Amaryllida silvas.
You, Tityrus, lie beneath the canopy of a spreading beech,
and practice your woodland music on slender pipe;
I am leaving my country’s boundaries and sweet fields.
I am an outcast from my country; you, Tityrus, at ease in the shade
teach the woods to echo “beautiful Amaryllis.”
It is characteristic of Virgil’s pastoral poetry that the blissful scene around Tityrus is set against the dire circumstances affecting the herdsman addressing him, Meliboeus, who has been expelled from his land. This sharpens the appeal of the pastoral dream, but it also betrays its fundamental fragility.
In Eclogue 9 two herdsmen are experiencing the same as Meliboeus in Eclogue 1. Moeris and Lycidas, the latter a younger man, wander through a shattered landscape, dispossessed of their land and unable to do any of the things pastoral characters are supposed to do: they cannot stop, cannot recline under a shady tree, and above all cannot sing. Indeed they cannot any longer remember the songs that they used to sing. In Eclogue 1 and 9, furthermore, the destruction of the pastoral world is associated by Virgil with contemporary events in Italy, especially the land confiscations (to resettle the demobilized troops) that followed the Battle of Philippi in 42 BC. These pastoral poems are thus in some respects spectacularly artificial compositions (a lot of the impact of Eclogue 9 derives from its systematic reversal of one poem in particular, the 7th Idyll of the Greek poet Theocritus, his great predecessor in pastoral poetry, for example), but they also offer an urgent commentary on some of the darkest days in Rome’s history, the chaos that followed the assassination of Julius Caesar in 44, in middle of which Virgil was composing these exquisite pastoral poems.
My main job at Cheltenham is to do some close reading: literally reading chunks of the poem out loud in Latin, but also drawing out what I think is most important about the detailed composition of the poetry. Preparing for this–and that includes working out with Mary and Peter what to emphasise (the event is only an hour long)–is excellent discipline: I always end up seeing much more even in very familiar poems than I had before. Occasionally enough to dash off a blog about it…
This time I came away thinking about prosody. Prosody is closely related to metre, in which readers of this blog will know I have a passing interest (here, here, and here, for example). Specifically, prosody concerns how the words of poetry are set in their metrical scheme: what kinds of word are allowed where, what pauses there should be in a line, etc.
One example of a prosodical issue in Eclogue 9 is the “bucolic diaeresis”, a habit of introducing a pause between sense units after the fourth foot of the (six-foot) hexameter line. It doesn’t sound too significant, but it was common in Theocritus’ pastoral poetry and, while less regular in the Eclogues, Virgil seems to reserve it for moments when he wants to evoke a pastoral atmosphere especially strongly: the “bucolic diaeresis” retains its bucolic associations, in other words.
At Eclogue 9.51-4, for instance, Moeris complains that he can’t remember songs any more:
omnia fert aetas, animum quoque; saepe ego longos
cantando puerum memini me condere soles:
nunc oblita mihi tot carmina…
Time takes everything away, the memory too; often I remember
as a boy putting the long days to rest with singing:
now I have forgotten so many songs…
There’s a reminiscence here of a celebrated poem by another Greek poet, Callimachus (translated by Cory), but what interests me is how, as Moeris recalls the days when pastoral was pastoral, when all day could be spent in carefree song, he introduces a “bucolic diaeresis”, the strong sense break between quoque and saepe. The prosody is evoking that long-lost pastoral past in its own right.
Sticking with the “bucolic diaeresis” for a moment, toward the end of the poem Lycidas makes a final desperate effort to persuade Moeris to stop and sing, in other words to recover the pastoral fantasy (9.59-62):
hinc adeo media est nobis uia; namque sepulcrum
incipit apparere Bianoris. hic, ubi densas
agricolae stringunt frondis, hic, Moeri, canamus:
hic haedos depone, tamen ueniemus in urbem.
From here on there is half our journey to go; look, the tomb
of Bianor is coming into sight. Here, where the farmers
are stripping the thick foliage, here, Moeris, let us sing:
put the kids down here; we will reach the City all the same.
Again, Lycidas’ pleas gain extra force by an intensification of the pastoral ambience. The first two lines imitate Theocritus Idyll 7 very closely, but each also has a strong “bucolic diaeresis”, uia || namque and Bianoris || hic. Lycidas is refusing to give up hope, and his prosody reflects that.
Moeris, the disillusioned older man, will have none of it. The poem ends with an abrupt couplet expressing his adamant refusal to sing (66-7):
desine plura, puer, et quod nunc instat agamus.
carmina tum melius, cum uenerit ipse, canemus.
Say no more, boy, and let’s get on with the matter at hand.
We shall sing songs better when the master comes.
(“The master” refers to Menalcas, a poet-figure whose absence from the scene earlier in the poem is a symptom of the disruption in the countryside. His return is a faint hope, one presumes.)
I’m going to focus on another detail of prosody here. In desine plura, puer Virgil does something naughty, introducing a syllable quantity that is strictly illegal. The seven syllables of the phrase should follow the pattern long-short-short long-short-short long, but the -er of puer, “boy,” is a short syllable. Now the rule that Virgil is breaking here is not an absolutely hard-and-fast one, but this is still a very rare license, only occurring when it does in the first syllable of a metrical foot, and normally only (as here) before the main caesura (a conventional pause) of a verse. Virgil will have been aware of similar moments in Homer’s hexameters and in other Greek poets, and sometimes his practice reflects an older pronunciation of the Latin words (syllables short in his day which had once been long). More often, though, and this is the case here with puer, Virgil simply places a short syllable where readers would firmly expect a long syllable to go. The best discussion of Virgil’s practice is in R. G. Austin’s wonderful commentaries on books of the Aeneid, for example his note at Aeneid 4.64 (pectoribus inhians), but Austin’s most important observation is that Virgil was sometimes clearly just exploiting the license for artistic effect: “Whatever the technical explanation of the matter, Virgil’s pleasure in using the device is obvious, and his skill as plain.”
So the question that occurred to me in Cheltenham was why Virgil had introduced a short-weight syllable at the end of desine plura puer.
I think it’s a very subtle, rather beautiful effect rounding off this pretty marvellous poem. In a sense Eclogue 9 is all about silence. The characters struggle, and fail, to remember the songs that are the quintessence of the pastoral pipedream: the pastoral world has lost its all-important music. We should note also that Virgil is coming to the conclusion of his own poetic collection: there is one more poem and the Eclogues will end, and since Virgil has encouraged us to see the Eclogues as themselves pastoral songs, the songs of pastoral figures in their idyllic surroundings (he refers to himself as Menalcas or Tityrus, names of herdsmen, for example, and Virgil’s poetry has a deliberately singsong quality), the fact that Virgil’s poetry falls silent at the end of the collection itself works as a protest against the forces that make the pastoral dream impossible, the civil wars pitting Roman against Roman.
Here Moeris, in the face of their overwhelming misfortunes, demands silence from the ever-optimistic Lycidas: “Say no more, boy.” In the subtlest way possible Virgil underlines that enforced silence, lengthening the pause at the caesura after puer with a syllable that falls ever-so-slightly too short. It might be just that phrase that is enhanced by that extended lack of sound, but desine plura, puer, in the context of a collection of pastoral songs, songs that conjure into existence a bewitching alternative existence, is a devastating statement. Within the poetry we “hear” momentarily the suppression of all poetry.
It is very, very technical stuff, sometimes, Roman poetry. But that can also be when it’s at its most gorgeously expressive.
Just because, here’s a section from the versified survey of metres by Terentianus Maurus, perhaps around A.D. 300, where he describes the bucolic diaeresis, followed by my best effort at an English version, aided by Cignolo’s edition (2002). At 2129-30 Terentianus translates the very beginning of Idyll 1 of Theocritus (“the child of Sicily”) into Latin (the Greek is Ἁδύ τι τὸ ψιθύρισμα καὶ ἁ πίτυς, αἰπόλε, τήνα,/ ἁ ποτὶ ταῖς παγαῖσι, μελίσδεται, ἁδὺ δὲ καὶ τύ/ συρίσδες, and both Greek lines have bucolic diaereses); and at 2133-4 he quotes the first two verses of Eclogue 3 of Maro (Virgil), exhibiting a nice opening example in an Meliboei. The “tetrameter” is the first four feet of the six-foot hexameter verse:
pastorale uolet cum quis componere carmen,
tetrametrum absoluat, cui portio demitur ima
quae solido a verbo poterit conectere uersum, 2125
bucolicon siquidem talem uoluere uocari.
plurimus hoc pollet Siculae telluris alumnus:
ne graecum immittam uersum, mutabo latinum,
‘dulce tibi pinus summurmurat, en tibi, pastor,
proxima fonticulis; et tu quoque dulcia pangis.’ 2130
iugiter hanc legem toto prope carmine seruat:
noster rarus eo pastor Maro, sed tamen inquit
‘dic mihi, Damoeta, cuium pecus? an Meliboei?
non, verum Aegonis: nuper mihi tradidit Aegon’.
If anyone wants to write a pastoral poem,
let them round off the tetrameter, to which a final section is lacking
which can complete the verse starting from an unbroken word,
since they have decided that such a verse be called “bucolic”.
A son of Sicily is best known for this:
so as not to introduce a Greek verse, I shall translate into Latin:
“The pine whispers sweetly, look, shepherd,
The one right by the springs; and you too make sweet songs.”
Theocritus observes this rule almost continually throughout his poetry;
for that reason our shepherd Maro, though sparing with it, still says
“‘Tell me, Damoetas, whose is the flock? Meliboeus’s?’
‘No, Aegon’s: Aegon handed it over to me the other day.’”
(Terentianus Maurus, De litteris de syllabis de metris 2123-2134)
Early in the summer a retired colleague said something to me I’ve struggled to forget since. She was describing all the heavy responsibilities she found herself bearing, out of the goodness of her heart, for aged friends and loved ones, and she concluded: “Don’t get old, Llewelyn.” It caught me at a slightly low ebb, suffering from something it’s taken the summer to work out is nothing significant, well, nothing more than one of those skeleto-muscular reminders that time is remorseless. Hence the disproportionate impact of a passing remark, no doubt, anyhow.
I am now in my fiftieth year, and to a Latinist one thing that means is that I’m roughly the same age as Horace when he wrote his fourth book of lyric poems, the Odes. If our comparable ages matter at all, it’s because age matters to Horace. His poetry is not in any straightforward way autobiographical, but he did construct a kind of parallel biography out of his poetry, matching the sequence of poetic genres he undertook to the stage of life at which he was writing, aggressive iambic and satirical poetry in his younger days, detached epistolary musings in his dotage. It was in middle age that Horace wrote the Odes (Horace was born in 65BC; Odes Books 1-3 were apparently published as a collection in 23BC), and again lyric was an age-appropriate choice. The male lyric voice is quite precisely defined in this respect: he’s not as young as he was, he’s seen a bit of the world and is wise to it (though perfectly capable of losing his head, just quicker to regain it than his younger self), but above all he’s sensitive to his years, regretful of the passing of time and acutely aware of his mortality.
The persona Horace adopts in Odes 1-3 is all of those things. Already in these books Horace spends a lot of time contemplating his inevitable death and pursuing activities to mitigate that gloomy prognosis, mainly involving alcohol and serial monogamy. His most famous motto, carpe diem, means “pick the day”, as if the day is an apple that you must pluck and eat while you still can–and who knows how long that will be? In its original context in Odes 1.11 Horace has one particular activity in mind for himself and the young woman, Leuconoe, to whom this advice is directed, and it isn’t a game of monopoly.
Between Odes 1-3 and Odes 4 there was a gap of as many as ten years. The date of Book 4 is disputed, but Horace himself gives his age as circa lustra decem at 4.1.6, “around fifty,” and in-between times he’d written a book of meditative Epistles as well as a long hymn for Augustus’ Secular Games in 17BC. We’re presumably around 14BC. The same lyric themes of the rapid passage of time, the unpredictable future and imminent mortality are found in the later book, but if time was an issue already in 1-3 (as it must be in any lyric poetry), it’s an urgent one in 4, a book deeply conscious that its author is too old to be writing it. The book opens with Horace insisting he’s past it (3-4, non sum qualis eram bonae/ sub regno Cinarae, “I’m not the man I was when good Cinara ruled my life”): Venus should leave him alone and pick on young men like Paullus Maximus. At the end of 4.11 he calls a definitive end to love affairs (29-36), which implies, as in 4.1, a farewell to lyric poetry: age iam, meorum/ finis amorum/ (non enim posthac alia calebo/ femina), condisce modos, amanda/ voce quos reddas; minuentur atrae/ carmine curae, “Come now, last of my loves (for after this I shall feel no passion for any other woman), learn some tunes to sing with your lovely voice. Black anxieties will be lessened by song.” When the lyric song is over, an implication is, there will be nothing to distract him from those anxieties.
There is another poem in Book 4 that’s all about age, Odes 4.13, but in this case the subject is not (or maybe, not directly) Horace. It’s also the most troubling poem of the book to read, a brutal, vengeful celebration that a woman he once loved, Lyce, is getting old. That, at any rate, is where it starts (David West’s translation after the Latin):
audiuere, Lyce, di mea uota, di
audiuere, Lyce: fis anus, et tamen
uis formosa videri
ludisque et bibis impudens
et cantu tremulo pota Cupidinem
lentum sollicitas. ille uirentis et
doctae psallere Chiae
pulchris excubat in genis.
importunus enim transuolat aridas
quercus et refugit te quia luridi
dentes, te quia rugae
turpant et capitis niues.
nec Coae referunt iam tibi purpurae
nec cari lapides tempora, quae semel
notis condita fastis
inclusit uolucris dies.
quo fugit Venus, heu, quoue color, decens
quo motus? quid habes illius, illius,
quae spirabat amores,
quae me surpuerat mihi,
felix post Cinaram notaque et artium
gratarum facies? sed Cinarae brevis
annos fata dederunt,
seruatura diu parem
cornicis uetulae temporibus Lycen,
possent ut iuuenes uisere feruidi
multo non sine risu
dilapsam in cineres facem.
The gods have listened, Lyce, the gods have listened
to my prayers; you’re becoming an old woman
and you still want to be thought beautiful,
you still play about and you drink too much,
and sing in your cups in that wobbling voice of yours
to rouse the sluggish god of love, but he is out
for the night, on duty on the lovely cheeks
of a young Chian lyre-player.
That demanding god soars over dry oaks.
He flies away from you, your black teeth,
your wrinkles, and the snow
in your hair. You are ugly.
Neither Coan purples nor precious stones
bring back the time
buried in old calendars
by the swiftly flying days.
Where has your charm gone? Where is your complexion?
Where is that lovely way of moving? What remains
of the girl who breathed the breath of love,
who stole me from myself,
the girl I so loved after Cinara, and where is
that artful beauty of yours I knew so well? But the Fates,
who did not give Cinara many years,
were to keep you alive
as long as any ancient crow, to raise
a laugh among hot-blooded young men
as they see your torch
crumbling into ashes.
This is Roman literature at its most indigestible. A man assesses a mature woman on her looks, and judges her worthless by virtue of his own failure to find her attractive. What interests me about this poem, though, is the possibility that in as limited a way as a Roman male could manage, Horace evinces some awareness of this imbalance. There’s a hint of that, nothing more, in the shift of tone in the fourth stanza from the vindictive opening to something (slightly) closer to empathy, a general principle that the past is irrevocably the past followed by Horace’s expression of his own dismay at Lyce’s aging, a very different response, at least, from the triumphant taunts he started with. But the conclusion is again merciless: the young men laugh at her; she is a torch that has burnt itself out; she would have done better to die before she lost her looks, like Cinara.
But if I can try to recall my reaction on first reading this poem, it was to be appalled by Horace’s nastiness, but also left with a sense that there was an unavoidable further implication. I can’t personally read this repulsive poem without the rest of Odes 4 in my head, a book preoccupied with aging, as we’ve seen, and first and foremost with the aging of the author. If Lyce is getting old, Horace must be older; if she is too long in the tooth for this game, Horace has already told us he is too. “I am not the man I was when good Cinara ruled my life,” he says in the first poem of the book; here he reminds us of Cinara, and cannot help but remind us in the process that if anyone’s obsolescent, it’s Horace himself. On the matter of names, “Lyce” carries its own associations: we’ve met her just once before, in Odes 3.10, a poem in which the poet ultimately claims to be too old to take love affairs too seriously, or even to be physically equal to them. This at any rate, for what it’s worth, is how I feel compelled to read Odes 4.13: the brutality of it is shocking, but it’s also self-directed, self-eviscerating. There’s every chance I’m indulging the old misogynist, but if I’m not, the loathing he directs at Lyce entails self-loathing: every nasty jibe Horace makes about Lyce drives home, in turn, how old he is, how decrepit, how close to death.
Horace didn’t get old, or not by our standards: he died just a few years later in 8BC, at 56.
There’s a very nice article on this poem, and some similar ones in the Odes and Epodes, by Carol Esler in T. M. Falkner & J. de Luce, Old Age in Greek and Latin Literature (1989), 172-82. David West’s essays on the Odes in his translation/commentaries are always eye-opening (the one on 3.10, for example, I lean on here).
Sometime in the sixteenth century an exciting discovery was made in Tivoli: a bronze tablet bearing an inscription (CIL I².586), and with it a Roman portrait bust in marble (above). They were found in the vicinity of the Cathedral of S. Lorenzo, itself located on the site of the Roman-era forum of ancient Tibur. The inscription recorded a letter from a Roman magistrate, L. Cornelius Cn. f., a praetor, in which he communicated to the people of Tibur that the Roman Senate had accepted their explanation of something or other that had brought suspicion of wrongdoing upon the town.
Evidently the people of Tibur displayed this message in a public venue, and contemporaries of the find in the sixteenth century concluded that the bust and the inscription went together. In other words, the statue represented the Roman magistrate who had taken their submission to the Roman Senate, and reported back to them the positive outcome: it was an image of L. Cornelius the praetor.
But as I rapidly discovered, there is very little about this discovery that isn’t controversial. The identity of the Roman praetor in question, Lucius Cornelius son of Gnaeus Cornelius, is one bone of contention, but a strong contender (and I have some heavyweight German historians on my side here: details are in CIL) is L. Cornelius Lentulus Lupus, an interesting figure to say the least. Another contentious issue is whether the inscription and bust are really related to each other, and while the accounts of the discovery suggest they are, there’s no proof that the sculpture represents the praetor, and Paul Zanker, for example, is adamant that the hair and the facial rendering of the bust (as represented in the image at the top) prove that it is of a much later, imperial date.
What happened to these artefacts after their discovery is what I’ve spent the last few days investigating. But it might first be worth explaining what possible interest I could have in this praetor and his dealings with the people of Tibur.
If this L. Cornelius is indeed one and the same as L. Cornelius Lentulus Lupus (and you’ll have gathered that more or less everything in this blog is prefaced by “if”), we know a little more about him and his remarkably uneven political career. He was praetor, and thus (potentially) dealing with the Tiburtines, in around 159 BC, then consul in 156, censor in 147, and in the last years of his life princeps senatus. The latter was a position of great prestige, but Lupus held it (and the censorship, an even more prestigious role) despite the fact that he had been convicted of extortion for his behaviour as a provincial governor after his consulship. Not unrelatedly, Lupus also had the dubious honour of a starring role in a very celebrated poem, a satire by C. Lucilius which excoriated Rome for allowing such an unfit character to rise to such prominence.
Lucilius’ satire against Lupus is now a collection of fragments, but it described an assembly of the gods; it was apparently a parody of a divine council in Book 1 of Ennius’ Annals which decided noble things like Romulus’ deification and the foundation of Rome. Lucilius’ council also discussed the future of Rome, but in a much less positive way, apparently including the option of destroying it, and in place of Romulus had Lupus, a man who encapsulated everything that had gone wrong with Rome in Lucilius’ day, its corruption, injustice and (worst of all) its Greekness. After discussion of Rome’s decadence and Lupus’ vices, the gods decided that Lupus must die: Lucilius was obviously writing the satire after Lupus’ actual death in 126/5 BC. There is much we can’t know about Lucilius’ satire, but its aggressive tone emerges from the comments of later Roman satirists. “Lucilius sliced up the city,” wrote Persius, “you, Lupus, you, Mucius, and broke his jaw on them” (1.114-115). (Q. Mucius Scaevola was another victim of Lucilius’ satire.) Horace describes Lupus as “smothered by libellous verses” (Sat. 2.1.68), and “smothered” is cooperto, the Latin verb suggesting death by stoning: Lucilius’ verses against Lupus are like rocks being hurled at him.
Not just any old villain, then: C. Cornelius Lentulus Lupus was the very embodiment of Rome’s decline. He had another kind of legacy, too. Seneca’s remarkable satire on the death and punishment of the emperor Claudius, the Apocolocyntosis, owes a lot to Lucilius’ poem, essentially doing to Claudius what Lucilius had done to Lupus. It’s also no coincidence that early in Ovid’s Metamorphoses a divine assembly discusses the future of mankind and a particular malefactor called Lycaon, like Lupus a character with a name (Greek lukos as in lycanthrope) that associated him with wolves, subhuman, proverbially savage creatures.
Later Roman satirists, Horace, Persius and Juvenal, regarded Lucilius as the pioneer of their genre, and those Roman satirists, in turn, were the models for a long tradition of English verse satire. The satire against Lupus, in Book 1 of Lucilius’ satires, was thus a formative moment in the development of this strange but resilient poetic form.
Well, for all these reasons, when I read in the big German encyclopedia that a likeness of Lupus might have survived, it had my attention.
What it told me was that the bust was now in Norfolk. During his Grand Tour from 1712 to 1718, the young Thomas Coke, later 1st Earl of Leicester and builder of the splendid Holkham Hall, collected, along with a number of other items of ancient statuary, a male portrait claimed to be the one dug up in Tivoli. The image at the top of this post is the Tivoli image as drawn in the sixteenth century by Theodoor Galle, latinized as Gallaeus (p.50 here), while the Holkham marble looks like this. I am convinced they are not the same, and art historical scholarship on the Holkham bust is with me. Michaelis manages to persuade himself they are identical (“To say nothing of the likeness of the features…”), but in an additional note records others’ doubts, while E. Angelicoussis in a very beautiful volume, The Holkham Collection of Classical Sculptures (2001), says on p. 26 that “the Holkham marble bears a very close resemblance to the Gallaeus illustration” and on p.116 that “the [Gallaeus] portrait bears no real resemblance to the Holkham marble.” She is clear, nevertheless, that the statues are not the same, as is Paul Zanker: “Two quite different individuals are represented.” It seems pretty obvious that the Holkham statue represents the emperor Nerva, too. Now, there is no doubt that Coke was told, and believed, that this was L. Cornelius Cn. f. praetor, from Tivoli. But Thomas Coke was not so much sold a Lupus as a pup.
So what did happen to the bust, if it didn’t go to adorn Holkham Hall? Let me share with you the research of a week when I was supposed to be on holiday. Both the bust and the inscription came into the possession of Fulvio Orsini, a humanist and major collector of antiquities, and while in his collection it was drawn by Galle/Gallaeus. Here in a later edition of Gallaeus’ images, accompanied by the annotations of Johannes Faber, it is identified as an image of Lupus. Before it came into Orsini’s possession, apparently, it was recorded in a collection of images of busts in Rome compiled by Antonio Lafrery: at least I’m pretty certain this is the same statue (below). In Orsini’s will in 1600 the bust and the inscription were bequeathed “to the Senate and People of Rome”, with a request that they be held in the Capitoline Museum, “preferably in the place where the bronze head of Brutus is today preserved,” a sign of how valuable Orsini considered these artefacts to be.
Does anyone recognise this man?
The inscription never made it to the Capitoline, passing into the hands of Cardinal Farnese, and later to the Barberini collection, and later still disappearing completely. The marble bust did make it that far, at least: it is recorded in the Palazzo dei Conservatori on the Capitoline in 1663 and periodically thereafter, for example by Platner in 1837. Michaelis provides more detail, but he is also right to point out that the bust Platner describes doesn’t sound much like ours. In fact it seems that by the nineteenth century the original statue had gone missing, stolen in effect, but not by Thomas Coke in Norfolk, as Michaelis believed. Where it did go and where it is now, if it survives at all, is anybody’s guess. False trails this last week have led me to the Uffizi in Florence, but the bust claimed to be the image in Lafrery is nothing like it; and to the Museo Nazionale in Naples, the tentative proposal of C. Gasparri in another lovely book, Le sculture farnese. Storia e documenti (2007), 172. But again, there’s really no resemblance.
Is the inscription from Tivoli a letter of L. Cornelius Lentulus Lupus? Far from certain. Does the bust represent the author of the letter? Debatable. Are we looking at the face that launched satire? I wouldn’t stake my house on it. But a week’s pursuit of an elusive Roman portrait bust has left me determined to find this man, whoever he bloody well is.
So if anyone happens to have him on your mantlepiece, I’d be grateful if you’d let me know.
One small victory I might be able to claim from this sorry tale, incidentally, is identifying the Holkham head in the Lafrery collection, here. Coincidentally, or maybe not, it is stated to be in the same location, in hortis Cardinalis de Medicis prope villam Julii III Pont. Max., as the Tivoli image.
Also, for those who might (reasonably) question whether any of these sixteenth-century images are likely to be accurate representations of the statues, here is Thucydides in Gallaeus; and here is the statue that Gallaeus is reproducing. I encourage anyone interested to flick through Gallaeus and compare his drawings with modern photographs of the artefacts.
Finally, a book I’ve been reading in connection with all this which has entirely changed how I view ancient sculpture: Erin L. Thompson, Possession: the curious history of private collectors from antiquity to the present (Yale, 2016). Fascinating on the psychology of collecting, and full of telling anecdotes, for example (p. 170) the column drum bought from the collection of Lord Arundel by James Theobald for use as a roller on his bowling green. Sic transit gloria mundi, comments Michaelis.
The latest in an occasional series of blogs about ancient coins reproduced on modern money, which is a way of saying there almost certainly won’t be another one, but I did once write this one about an Afghan banknote and a Greco-Bactrian coin, and it remains my most successful blog by a country mile. Furthermore, what I’m mainly interested in here is a medal rather than a coin as such, but before I get to that, one of my favourite recyclings of an ancient coin design:
This is a Greek €1, and represents, it seems to me, some impressive chutzpah on the part of the Greek designers. Each of the nations in the eurozone have their individual national designs on one side of the €1 coin (within a boundary of European stars) and on the other side a design (incorporating a map of Europe) that is common to every nation. This has always struck me as a terrifically cunning idea by someone or other in the higher strata of the EU, since it indulges the nationalistic instincts of member states but also, in the longer term, ensures that any European, delving into her pocket for a handful of euros, digs out coins of France, Germany, Greece, Italy, Finland, all good for buying you what you want. A powerful message of diversity in unity, of European interconnectedness. (Like the parody of an academic dad I am, I got my son to catalogue the European coinage he was given during a recent trip to Sicily: predominantly Italian, needless to say, but also German, Austrian, Spanish, French, Greek, Belgian, Irish, Portuguese and Slovenian, in rough order of frequency.)
The Greek design is the best of them, I think. What the Greeks chose was a reproduction of the reverse of an Athenian “owl”. These were silver tetradrachms (four-drachma coins), decorated with the owl of Athena, the city’s patron god, a sprig of olive, Athena’s gift to humanity (the key to civilization), and the letters AΘE, short for “Athens” (or Athena): on the euro this overt mark of local identity is strategically obscured by the “1 ΕΥΡΩ”. The Athenian owl, minted with bullion from the silver mines at Laurion in Attica, was an astonishingly successful currency, for two centuries after 500BC “the dominant currency of the eastern Mediterranean” (Chris Howgego, Ancient History from Coins , 97). Such confidence did this owl command that “in the fourth century BC imitations of Athenian owls were produced from Egypt to Babylonia” (Howgego 9), and even further afield: imitation “owls” struck in early Hellenistic Bactria were following on from authentic “owls” that had been “a mainstay of the Bactrian economy in the Achaemenid era” (F. L. Holt, Alexander the Great and Bactria , 97 n. 42). It was a truly international currency if it was widespread in Afghanistan under Persian rule, and that’s obviously why the Greeks chose it for their euro design: the Athenian owl was the world’s first single currency.
(The Greek €2 coin has an image of a woman atop a bull, incidentally. This is Europa, so the Greeks are claiming on their euro coinage to have invented Europe as well as single currencies. Chutzpah, as I say.)
From that to another clever recycling of an ancient design:
This is not a coin but a copper medal, issued in Israel in 1958. On one side it reproduces a Roman coin in its centre, a brass sestertius from AD 71-2 in the reign of the emperor Vespasian (there’s a good image of an original coin here), and in fact the image on the medal closely reflects the size, as well as the design, of the original coin. Depicted on the Roman coin are the emperor, on the left, leaning on a spear, cradling a short sword in his other hand, and with his foot on a defeated enemy’s helmet. On the right is a woman in mourning, her head in her hand, seated on something generally identified as a cuirass. The scene is dissected by a palm tree, and bracketed by the Latin words IUDAEA CAPTA, “Judaea having-been-captured.” Judaea, corresponding roughly to modern Israel, was in antiquity renowned for its palm trees (Pliny, Historia Naturalis 13.26), which could thus symbolize the country. (The SC in the exergue below stands for SENATUS CONSULTO, “by the decree of the Senate,” its import disputed, but perhaps indicating that the coin was “the official Roman coinage”, to be distinguished from local coinages in the provinces.)*
This Roman coin, along with a large number of similar designs, celebrated the defeat of the First Jewish Revolt against Roman control of Judaea, which ended with Vespasian’s capture of Jerusalem in AD 70 and his destruction of the Second Temple. The loss of the Temple is marked by Jews as a key moment in their dispersal from their homeland. From the point of view of Vespasian, this was evidence of the military prowess with which he had defeated the enemies of Rome: there is an authentically Roman callousness in that image of a mourning woman, embodiment of the defeated people. Fully 8% of the coins minted by the Flavian emperors, Vespasian and his sons Titus and Domitian, addressed this campaign in Judaea, and the Arch of Titus in Rome, completed under Domitian in AD 81-2, depicts in two reliefs on its inner walls scenes from the Triumph celebrated by Vespasian and his elder son Titus in AD 71. On the south side we see the spoils from the capture of the Temple on display in the triumphal procession. (For another coin related, in a different way, to the destruction of the Temple, a gold aureus of Vespasian in the Ashmolean Museum in Oxford, see here.)
The modern Israeli medal frames the Roman coin in such a way as to express the opposite perspective. Chains around its edge draw out the consequences for the Jewish population of Judaea, enslaved or dispersed, and the Hebrew at the bottom reads (my informants tell me), “Judea went into exile.”
The year 1958, when the medal was produced, was the tenth anniversary of the establishment of Israel. The other side of the medal is a powerful, subtle reversal of the symbolic language of the Roman coin appropriate to that anniversary.
The same palm tree bisects the scene, and again divides a man and a woman. But the woman is standing this time, and the man crouched, and the woman holds up her baby, while the crouching man, her husband, plants an olive tree, symbol of the modern state of Israel. The new tree and the old tree bear the same relation to each other as Israel to ancient Judaea: Judea or New Judea was an option considered for the name of the new nation. But the baby and the olive sapling especially speak of a future denied the mourning woman on the Roman sestertius.
Finally, the inscription, which uses Latin to answer the Latin of the Roman coin, ISRAEL LIBERATA, “Israel having-been-freed,” and in Hebrew (again, I am reliably informed) reads “Ten years for the freedom of Israel”, followed by a date in the Jewish calendar corresponding to 1958.
Ancient coins are fascinating little survivals in themselves, replete with significance if studied expertly and carefully enough. (I am no numismatist, and just get glimpses.) But a whole new dimension of meaning is introduced when they become part of modern expressions of national identity, in Greece, Afghanistan or Israel.
*A. Wallace-Hadrill, “Image and Authority in the Coinage of Augustus,” JRS 76 (1986), 66-87, at 80 ff.: quotation from the Cambridge Ancient History, second edition, Vol. X (1996), 318.
H. St. J. Hart, “Judaea and Rome: The Official Commentary,” Journal of Theological Studies 3 (1952), 172-98;
H. B. Brin, Catalog of Judaea Capta Coinage (1986);
S. Goldhill, The Temple of Jerusalem (2004).