By Barbara K. Gold

A significant other to Roman Love Elegy is the 1st complete paintings committed completely to the research of affection elegy. The style is explored via 33 unique essays thatoffer new and cutting edge methods to precise elegists and the self-discipline as a whole.

  • Contributors symbolize more than a few demonstrated names and more youthful students, all of whom are revered specialists of their fields
  • Contains unique, by no means prior to released essays, that are either obtainable to a large viewers and provide a brand new method of the affection elegists and their work
  • Includes 33 essays at the Roman elegists Catullus, Tibullus, Propertius, Sulpicia, and Ovid, in addition to their Greek and Roman predecessors and later writers who have been prompted through their work
  • Recent years have noticeable an explosion of curiosity in Roman elegy from students who've used numerous serious methods to open up new avenues of understanding


Chapter 1 Calling out the Greeks: Dynamics of the Elegiac Canon (pages 9–24): Joseph Farrell
Chapter 2 Catullus the Roman Love Elegist? (pages 25–38): David Wray
Chapter three Propertius (pages 39–52): W. R. Johnson
Chapter four Tibullus (pages 53–69): Paul Allen Miller
Chapter five Ovid (pages 70–85): Alison R. Sharrock
Chapter 6 Corpus Tibullianum, ebook three (pages 86–100): Mathilde Skoie
Chapter 7 Elegy and the Monuments (pages 101–118): Tara S. Welch
Chapter eight Roman Love Elegy and the Eros of Empire (pages 119–133): P. Lowell Bowditch
Chapter nine Rome's Elegiac Cartography: The View from the through Sacra (pages 134–151): Eleanor Winsor Leach
Chapter 10 Callimachus and Roman Elegy (pages 153–171): Richard Hunter
Chapter eleven Gallus: the 1st Roman Love Elegist (pages 172–186): Roy okay. Gibson
Chapter 12 Love's Tropes and Figures (pages 187–203): Duncan F. Kennedy
Chapter thirteen Elegiac Meter: Opposites allure (pages 204–218): Llewelyn Morgan
Chapter 14 The Elegiac publication: styles and difficulties (pages 219–233): S. J. Heyworth
Chapter 15 Translating Roman Elegy (pages 234–250): Vincent Katz
Chapter sixteen Elegy and New Comedy (pages 251–268): Sharon L. James
Chapter 17 Authorial identification in Latin Love Elegy: Literary Fictions and Erotic Failings (pages 269–284): Judith P. Hallett
Chapter 18 The Domina in Roman Elegy (pages 285–302): Alison Keith
Chapter 19 “Patronage and the Elegists: Social fact or Literary Construction?” (pages 303–317): Barbara ok. Gold
Chapter 20 Elegy, artwork and the Viewer (pages 318–338): Herica Valladares
Chapter 21 appearing intercourse, Gender and tool in Roman Elegy (pages 339–356): Mary?Kay Gamel
Chapter 22 Gender and Elegy (pages 357–371): Ellen Greene
Chapter 23 Lacanian Psychoanalytic idea and Roman Love Elegy (pages 373–389): Micaela Janan
Chapter 24 Intertextuality in Roman Elegy (pages 390–409): Donncha O'Rourke
Chapter 25 Narratology in Roman Elegy (pages 410–425): Genevieve Liveley
Chapter 26 The Gaze and the Elegiac Imaginary (pages 426–439): David Fredrick
Chapter 27 Reception of Elegy in Augustan and Post?Augustan Poetry (pages 441–458): P. J. Davis
Chapter 28 Love Elegies of past due Antiquity (pages 459–475): James Uden
Chapter 29 Renaissance Latin Elegy (pages 476–490): Holt N. Parker
Chapter 30 Modernist Reception (pages 491–507): Dan Hooley
Chapter 31 educating Roman Love Elegy (pages 509–525): Ronnie Ancona
Chapter 32 instructing Ovid's Love Elegy (pages 526–540): Barbara Weiden Boyd
Chapter 33 educating Rape in Roman Elegy, half I (pages 541–548): Genevieve Liveley
Chapter 33a educating Rape in Roman Love Elegy, half II (pages 549–557): Sharon L. James

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The Metamorphoses and the Fasti are themselves masterpieces of narratological bricolage. In this respect, they are both formally closer to canonical Greek elegy than to the genre of the Amores. Nevertheless, both poems are deeply informed by Roman elegiac convention. The Metamorphoses of course is not formally an elegiac poem at all but Ovid’s one surviving poem in the epic meter. But connoisseurs of style understand that Ovid’s epic is in many respects (diction, sentence structure, even some aspects of prosody) composed as if it were an elegiac poem (Knox 1986).

The man Catullus’ poems make us think we are getting to know is one who voices his feelings with the heraldic intensity of an aristocratic spirit that brooks no constraint because it has never been broken, never been taught to curb or dissemble its passionate nature across the whole range of human emotion, from love to hate, from joy to grief, from anger to fear and shame. The seat and wellspring of the Catullan speaker’s emotional life seems in this regard to function a lot like the thumos of a Homeric hero (Casswell 1990, Koziak 1999), albeit in the unhomeric social setting of an urban metropolis.

The poem concludes by warning Ponticus not to look down on Propertius’ efforts (cave … contemnas 25): should Ponticus ever fall in love, his expertise in heroic verse will be no use to him as he tries to write love poetry, and he will envy Propertius his elegiac skill (15–26). Here it is relevant that Antimachus was the author of an epic Thebaid that won him, according to Quintilian, second place to Homer in the Greek canon, but that was deficient in all aspects of its artistry, “so that it is really quite obvious how different it is to be close to first than it is to be second” (Inst.

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