https://www.peren-revues.fr/eugesta/449 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1631 The elegiac love affair and mistress portrayed by the first century BCE Roman poet Propertius was a more important influence on the sixteenth century poet-courtesan Veronica Franco than has previously been credited. Scholarship has tended to focus on Franco’s reception of Ovid’s works, particularly the Heroides, but Propertius provides an important forerunner for Franco’s speaking subject in his main female character, Cynthia. Although she is an elegiac beloved, Cynthia’s speeches consistently undermine the elegiac worldview, especially the characterization of the lover as suffering and faithful and the beloved as fickle and cruel. Closer attention to Franco’s use of Propertius, through the example of two of her poems, Capitoli 17 and 20, provides a richer understanding of the intertextual relationship between them. At the same time, Franco’s work can add to our understanding of Propertius, as she is one of the earliest readers of Propertius to take his disruption of gender politics and fidelity seriously. ven., 31 oct. 2025 12:13:19 +0100 jeu., 27 nov. 2025 15:42:01 +0100 https://www.peren-revues.fr/eugesta/1631 https://www.peren-revues.fr/eugesta/1536 In this article, I provide a close examination of Ovid’s Amores 2.8 that focuses on how the poet-lover’s use of persuasory rhetoric enables him to bully and silence the subaltern Cypassis. My discussion challenges Patricia Watson’s claim (in “Ovid Amores 2.7 and 8: The Disingenuous Defence”) that this poem has comparably less forensic qualities and rhetorical elements than its counterpart (2.7). I argue that forensic and rhetorical elements permeate the text and become increasingly blatant as the poem proceeds. By employing declamatory and oratorical techniques, the poet-lover weaponises his rhetorical education, a privilege afforded to him by his status as an elite Roman male, in order to intimidate, manipulate, and ultimately blackmail Cypassis, the uneducated, defenceless, and mute subaltern. I suggest that it is a mischaracterisation to refer to this approach as a ‘seduction’; it is a calculated exertion of power that enacts gendered violence. lun., 27 mai 2024 11:58:46 +0200 jeu., 19 déc. 2024 18:14:00 +0100 https://www.peren-revues.fr/eugesta/1536 https://www.peren-revues.fr/eugesta/881 This paper offers a reassessment of the character of Livia in Ovid’s poetry, in particular with regard to her repeated appearances over the course of the exile epistles. Whereas a majority of previous scholars have identified Ovid’s Livia as being excessively prominent and treated with an unwarranted level of panegyric, this paper uses other primary sources of information from the period to demonstrate that Ovid’s Livia is grounded in the discourse of the period and Ovid’s Livia is an appropriate reflection of her evolving status in the late Augustan and early Tiberian periods. mar., 14 juin 2022 11:49:57 +0200 ven., 08 déc. 2023 11:51:09 +0100 https://www.peren-revues.fr/eugesta/881 https://www.peren-revues.fr/eugesta/1264 This paper explores Horace’s engagement with Latin love elegy through the motif of magic in Epodes 5 and 17. I argue that Horace’s Canidia and the elegiac puellae are constructed in tandem as part of an ongoing dialogue between Horace’s Epodes and early love elegy. Horace literalises the elegiac lovers’ metaphorical characterisation of their mistress’ beauty as magically enchanting to construct Canidia as a witch who controls her lovers with erotic magic. Through Canidia and the theme of magic in the Epodes, Horace uses elegy to define his iambic poetics and to demonstrate that love elegy is central to his development of the Roman iambic tradition. jeu., 08 déc. 2022 15:24:33 +0100 lun., 03 avril 2023 09:57:45 +0200 https://www.peren-revues.fr/eugesta/1264 https://www.peren-revues.fr/eugesta/448 Recent innovative readings have shown that Horace’s Epodes is an experimental contribution to the iambic tradition using impotence as a structuring trope. In the light of those analyses, one corollary problem demanding re-examination is the Augustan poet’s relationship to his “suppressed precursor” Catullus, who in the Epodes as in the Odes goes unacknowledged although his presence is constantly felt. When composing iambics Horace apparently employs Catullus’ unorthodox generic practices as foils. Contextually distorted echoes may therefore call attention to neoteric conventions from which Horace dissociates himself. This paper tests that premise by attempting to clarify one hitherto unexplained detail of Epode 12: its mention of a go-between named “Lesbia”, who in the reported words of the speaker’s mistress is blamed for making the match. It argues that the epode mocks Cornelius Gallus’ and perhaps Propertius’ elegiac constructs of masculinity by tracing them back, through a network of allusions, to their Catullan origins and so exposing the absurdity at their core. mar., 14 juin 2022 08:50:59 +0200 jeu., 16 mars 2023 10:23:08 +0100 https://www.peren-revues.fr/eugesta/448 https://www.peren-revues.fr/eugesta/983 My paper examines the use of the Latin diminutive noun puella, literally meaning “sexually immature” young girl, in Roman comedy, lyric and elegy. It considers how and why Catullus, Horace and the Augustan love elegists employed this noun for mature women they depict as sexually active and emotionally valued. Its analysis builds upon and critiques two earlier linguistic studies: one on the nouns puella and virgo, the other on puella as a term for “prostitute”. By so doing, it argues for the importance of analyzing Latin texts concerned with gender issues through traditional philological as well as innovative theoretical lenses. mar., 14 juin 2022 15:42:56 +0200 jeu., 09 mars 2023 16:13:29 +0100 https://www.peren-revues.fr/eugesta/983