Spectacle in the Eleven Elegies of Sulpicia: To Marcus Colyer, M.D., and Joseph Pasternak, M.D.

IF 0.5 3区 历史学 0 CLASSICS
HELIOS Pub Date : 2019-04-19 DOI:10.1353/HEL.2018.0009
J. Hallett
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引用次数: 0

Abstract

My paper closely examines the text of Tibullus Book 3, poems 8–13, the eleven elegies about, and to my mind by, the Augustan poet Sulpicia, through the lens of “the visual.”1 It concludes by reflecting on what I would regard as an Ovidian echo of one particularly memorable visual detail in these elegies. Like Tibullus—whose death in 19 BCE Ovid laments, and whose poetry he evokes both reverentially and playfully in Amores 3.9—Ovid testifies that he benefited from the literary patronage of Sulpicia’s maternal uncle, the influential general and statesman Marcus Valerius Messalla Corvinus.2 For that reason alone, Ovid was likely to have been acquainted with Sulpicia and her writing. And although Ovid never mentions Sulpicia by name as he does Tibullus in his poetry, he often appears to evoke her poetry as well, although never in a reverential or playful way.3 I will argue that in her eleven elegies Sulpicia depicts herself as a dynamic, self-actualizing visual spectacle. Then, more briefly, I will maintain that Sulpicia’s mode of self-representation contrasts with the tendency of Ovid and the other male elegists to portray their female inamoratae as immobile, passive art objects. In this context, I will contend that in the first book of the Ars amatoria Ovid evokes the opening two lines of the first Sulpicia elegy, 3.8, so as to recall, much as he does in both the Amores and Metamorphoses, Sulpicia’s elegies. I will claim as well that he does so to critique Sulpicia’s verses, unfavorably commenting upon the dynamic, self-actualizing, physically appealing, expensively adorned, and erotically successful female persona central to the visual spectacle these verses create. An attention-arresting elegiac couplet begins the first of the eleven Sulpicia elegies: Sulpicia est tibi culta tuis, Mars magne, kalendis / spectatum e caelo, si sapis, ipse veni (Great god Mars, Sulpicia is arrayed for you on your Kalends. If you have any discernment, come down from heaven to look at her yourself).4 Summoning the god Mars on the first day of ‘his’ own month, the poem commences with the poet’s own name in the 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40
《索尔比西亚十一哀歌》中的奇观:致马库斯·科利尔博士和约瑟夫·帕斯捷尔纳克博士
我的论文从“视觉”的角度仔细研究了《提布洛斯》第三卷,第8-13首诗,这十一首挽歌是关于奥古斯都诗人索尔皮西亚的,在我看来也是由他写的。我认为这是对这些挽歌中一个特别令人难忘的视觉细节的奥维德式呼应。就像提布洛斯一样,奥维德对提布洛斯于公元前19年去世表示哀悼,他在《爱摩斯》中既恭敬又戏言地引用了提布洛斯的诗歌。奥维德证明,他从索尔皮西娅的舅舅、有影响力的将军和政治家马库斯·瓦莱里乌斯·梅萨拉·科维努斯的文学赞助中受益。虽然奥维德从来没有像提布洛斯那样在他的诗中提到索尔皮西亚的名字,但他似乎也经常唤起她的诗,尽管从来没有以一种恭敬或戏谑的方式我认为在她的十一首挽歌中,索比西娅把自己描绘成一个动态的,自我实现的视觉奇观。然后,更简单地说,我将坚持索皮西娅的自我表现模式与奥维德和其他男性挽歌家将他们的女性情人描绘成固定的,被动的艺术对象的倾向形成对比。在这种背景下,我认为在《爱的文学》的第一本书中,奥维德引用了第一首索比西娅挽歌的开头两行,3.8,以便回忆起索比西娅的挽歌,就像他在《爱》和《变形记》中所做的那样。我也会说他这么做是为了批评索尔比西娅的诗句,不喜欢地评论那些动态的,自我实现的,身体上吸引人的,昂贵的装饰,以及在性爱上成功的女性角色,这些女性角色是这些诗句所创造的视觉景观的核心。一幅引人注目的挽歌对联开始了十一篇索尔皮西亚挽歌中的第一篇:索尔皮西亚est tibi culta tuis, Mars magne, kalendis / specum e caelo, si sapis, ipse veni(伟大的神火星,索尔皮西亚在你的日历上为你排列。你若有眼力,就从天上下来亲自看看她吧在“他”自己的月的第一天召唤神火星,这首诗以诗人自己的名字开始,在12 34 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 34 35 36 37 38 S39 R40
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来源期刊
HELIOS
HELIOS CLASSICS-
CiteScore
0.50
自引率
0.00%
发文量
4
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