Propertius and Tibullus: early exchanges

Lyne, Raphael

doi:10.1093/cq/48.2.519

Cited by 63 publications

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“…764;. Furthermore, the emphasis on song as an accoutrement of love (59)(60) in Tibullus' Elysium-although, as we have seen, it can be related to earlier, non-erotic treatments of the afterlife-suggests the ideal fusion of love and song that is elegiac poetry. 22 The scene is thus set for the description of the pious lovers' posthumous activities, which bear a close resemblance to what we may assume to have been their customary pursuits during their earthly existence, 23 and are expressed in much the same terms as those in which the elegiac lover-poet chronicles the happier moments of his own amatory career.…”

Section: Tibullus' Elegiac Underworldmentioning

confidence: 97%

“…To the conventional paraphernalia of the blessed afterlife-flowers, myrtle, birds-Tibullus has given a distinctive amatory twist, bringing out the latent eroticism of this iconography not simply by its inclusion in his version of the underworld, but by the specific literary register he employs to describe both these and other constituents of his Elysium. The birds, for instance, are depicted as singing tenui gutture (60), the quality of tenuitas being a literary and aesthetic concept highly prized among practitioners of the elegiac genre (see commentators ad loc. ); the group of young men teneris immixta puellis (63) suggests the favourite pastime of the elegiac lover, and the characteristic attribute of the puellae with whom he pursues it; 16 and the verb used to describe this activity, ludit (64), is also reminiscent of the vocabulary of elegy, where it commonly denotes 'play' of a sexual nature.…”

Section: Tibullus' Elegiac Underworldmentioning

confidence: 99%

“…2.1.65-8, 2.17.5-10)-a far cry from the Elysian reception complacently anticipated by the lover of Delia. 60…”

Section: Tibullus' Elegiac Underworldmentioning

confidence: 99%

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Tibullus' Elegiac Underworld

Houghton

2007

The Class. Q.

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One of the earliest and most extensive accounts of the underworld in Roman elegiac poetry is to be found in the third poem of Tibullus' first book. 1 Sundered from Delia's embrace through the obligations of military service, and prevented by illness from following Messalla's campaign to the East, the poet lies sick on Phaeacia (the island of Corfu) and muses upon the contrast between the wretchedness of his-and mankind's-present condition, on the one hand, and the felicity of the Golden Age and the blessings he anticipates will await him after death, on the other. The descriptions of Elysium and Tartarus in the second half of the poem (1.3.57-82) are carefully integrated into the thematic structure of the whole: scholars have pointed to the appositeness of incorporating a Nekuia in a poem pervaded by echoes of the Odyssey, 2 and various correspondences have been detected between the two sections of the underworld and the lavish portrait of primeval simplicity representing Tibullus' conception of the aurea aetas. 3 Within the context of its elegy, then, our poetic tour of the world below can be seen to fit into a tightly controlled complex of unifying themes. But these twenty-six lines of infernal gazetteer are also of considerable interest in their own right, as a model of the means by which an author can manipulate traditional material to fulfil a particular generic purpose.Having envisaged his death and penned his epitaph, Tibullus turns to the sequel (1.3.57-64): sed me, quod facilis tenero sum semper Amori, ipsa Venus campos ducet in Elysios. hic choreae cantusque vigent, passimque vagantes 153

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Section: Tibullus' Elegiac Underworldmentioning

confidence: 97%

Section: Tibullus' Elegiac Underworldmentioning

confidence: 99%

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Tibullus' Elegiac Underworld

Houghton

2007

The Class. Q.

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“…Contrast Propertius' term for Virgil's composition of the momentous epic Aeneid: Aeneae Troiani suscitat arma ('he rouses the arms of Trojan Aeneas', 2.34.63). On the date of Propertius' second book, see Lyne (1998), 522-4. (MIS)READING THE GNAT context of a supposedly 'early' work of dubious authorship: in other words, an impersonation of an impersonatory stance.…”

Section: Authorial Games and Flyweight Criticsmentioning

confidence: 99%

“…Contrast Propertius’ term for Virgil's composition of the momentous epic Aeneid : Aeneae Troiani suscitat arma (‘he rouses the arms of Trojan Aeneas’, 2.34.63). On the date of Propertius’ second book, see Lyne (1998), 522–4.…”

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(MIS)READING THE GNAT: TRUTH AND DECEPTION IN THE PSEUDO-VIRGILIANCVLEX

Kearey¹

2018

Ramus

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TheCulex—the earliest and best attested of the purported minor works of Virgil, and the most outright in gesturing towards Virgilian authorship—poses a problem for modern classical scholarship. Since at least the seventeenth century scholars have been preoccupied with the poem's authenticity. Is it a piece of early Virgilianiuuenilia, as the ancient testimonies and mediaeval transmission of the text seem to assert, or a later production? If a later production, should we see it as a deliberate forgery, or as a poem severed in the course of transmission from its original author and helplessly swept up in Virgil's train? The authenticity problem has proven persistent: as recently as the 1970s, scholars tried to claim theCulexfor Virgil. Even among those who think it non-Virgilian, the apparent consensus of anonymous late-Tiberian authorship has been contested by Otto Zwierlein's suggestion of M. Julius Montanus and Jean-Yves Maleuvre's, even more unlikely, of Augustus.

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Intertextuality in Roman Elegy

O'Rourke¹

2012

A Companion to Roman Love Elegy

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Propertius and Tibullus: early exchanges

Cited by 63 publications

References 1 publication

Tibullus' Elegiac Underworld

Tibullus' Elegiac Underworld

(MIS)READING THE GNAT: TRUTH AND DECEPTION IN THE PSEUDO-VIRGILIANCVLEX

Intertextuality in Roman Elegy

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