Pub Date : 2021-03-11DOI: 10.1093/OSO/9780198871446.003.0004
S. Lindheim
The space of empire also plays a starring role in Tibullus’ elegies; his obsession emerges around the word via, the road. It is not a great leap to assert that the road and the space of empire are inextricably intertwined. On the one hand, for Tibullus, the road and by extension the geographic expanse of empire are the root of all evils. Mobility belongs to the male world of commerce, exploration, and war—all activities he sets up in direct opposition to love. On the other hand, however, much as Tibullus struggles to divorce amor from the road, in particular, a dark and unholy alliance emerges between the two. Although he wishes to establish empire and amor as separate and opposing categories, bounded, fixed, and distinct, the fines do not hold. Characteristics of the man of politics, the warrior, and the merchant, players in the game of empire, turn up with increasing frequency as characteristics of the lover. And in the end, the viae appear on the very body of the puella, emblazoned on her most elegiac Coan clothing. Tibullus offers up a vision of the fallibility of fines, where things spill over the boundaries into places they are least welcome.
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Pub Date : 2021-03-11DOI: 10.1093/OSO/9780198871446.003.0002
S. Lindheim
Catullus’ poetry reveals an acute awareness of the constant and almost unfathomable widening of his world in the late Roman Republic. In his work people and goods circulate with ease through geographical space, impervious to boundaries. But the cultural notion that only the ends of the world impose limits on Roman territory takes its toll, especially at the level of the subject. The porous nature of geographical boundaries seems to rub off onto the signifiers by which Catullus constructs himself, Lesbia, his brother, his friends, enemies and acquaintances, as well as the places they move through, as coherent, unified, fixed entities.
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780198871446.003.0007
S. Lindheim
The conclusion takes a final, closer look at empire’s toll on the subject in elegy. The juxtaposition of the puella of erotic elegy with the exiled Ovid in Chapter 5 highlights the differences between the ways that the aggressive pressure on Roman fines affect our textual characters. For the puellae, from Catullus to Ovid, the encounter, without fail, has consequences at the level of the body, although the specific manifestation is different in each text (or set of texts). The effects are not the same for the masculine subject. His corporeal self escapes the pressures, but as a subject he comes, or threatens to come, unhinged, incoherent, unstable.
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780198871446.003.0005
Sara H. Lindheim
Propertius’ fourth and final book of elegies also dramatizes the anxieties that emerge when one draws a map. The false promise of order and control, of being able to determine what is “in” and differentiate it from what is “out,” what is “Roman” as opposed to what is “non-Roman” returns in the guise of an Augustan-era map that the young wife, Arethusa, consults in elegy 4.3 and of the walls around early Rome in Tarpeia’s story of transgression from elegy 4.4. Propertius intertwines cartographic fines with the fortified boundaries of the new city, until he retrospectively reconstructs the problem of porous limits as an originary one for Rome, one that does not solely spring up with the imperial expansion of the Augustan age but always already existed at the very beginnings of the city.
{"title":"Painted Worlds and Porous Walls","authors":"Sara H. Lindheim","doi":"10.1093/oso/9780198871446.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780198871446.003.0005","url":null,"abstract":"Propertius’ fourth and final book of elegies also dramatizes the anxieties that emerge when one draws a map. The false promise of order and control, of being able to determine what is “in” and differentiate it from what is “out,” what is “Roman” as opposed to what is “non-Roman” returns in the guise of an Augustan-era map that the young wife, Arethusa, consults in elegy 4.3 and of the walls around early Rome in Tarpeia’s story of transgression from elegy 4.4. Propertius intertwines cartographic fines with the fortified boundaries of the new city, until he retrospectively reconstructs the problem of porous limits as an originary one for Rome, one that does not solely spring up with the imperial expansion of the Augustan age but always already existed at the very beginnings of the city.","PeriodicalId":402380,"journal":{"name":"Latin Elegy and the Space of Empire","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132572460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oso/9780198871446.003.0003
S. Lindheim
Octavian/Augustus, following in the footsteps of both Pompey and Caesar, relentlessly pursues territorial expansion abroad, while at home he presents the Roman people with the image of himself as unstoppable expansionist. In one otherwise unprepossessing poem Propertius makes a strikingly romantic assertion: Cynthia prima fuit, Cynthia finis erit (1.12.20). The word choice—finis—gives pause, especially when this particular elegy (1.12) and the ones with which Propertius surrounds it (1.8a, 1.8b, and 1.11) emphasize geographical space. To be more precise, they focus on Cynthia’s propensity to move through geographical space, away from the Propertian amator. Anxieties emerge from Propertius’ elegies when he imagines the individual faced with an infinite and ever-changing world. The Propertian amator struggles to establish and cling to the possibility of known and definable boundaries. He seeks to render Cynthia his finis and to anchor his self-definition to her.
屋大维/奥古斯都追随庞培和凯撒的脚步，在国外无情地追求领土扩张，而在国内，他给罗马人民留下了不可阻挡的扩张主义者的形象。在一首平淡无奇的诗中，Propertius做出了一个惊人的浪漫断言:Cynthia prima fuit, Cynthia finis erit(1.12.20)。选择——结束——这个词让人停顿了一下，特别是当这首特别的挽歌(1.12)和围绕它的Propertius (1.8a, 1.8b和1.11)强调地理空间的时候。更准确地说，他们关注的是辛西娅在地理空间中移动的倾向，远离Propertian爱好者。当普罗提乌斯想象个人面对一个无限的、不断变化的世界时，焦虑从他的挽歌中浮现出来。财产主义爱好者努力建立和坚持已知和可定义边界的可能性。他试图让辛西娅完成他的使命，并将他的自我定义锚定在她身上。
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