https://www.peren-revues.fr/eugesta/451 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/486 Identifying an allusion to classical Greco-Roman poetry in a monologue (or prosopopoeia) of a cowherd by the fourth century Latin poet, Paulinus of Nola (c. 18.276-80), this article explains the emergence of the category of labor as a response to a process of Christian radicalization from the representation of erotic paroxysm in Sappho (fr. 31: “I see nothing in my eyes”), through the classical Latin poets Catullus (c. 51) and Horace (c. 1.13, 22). In view of Paulinus’ renunciation of wealth and repurposing of elite culture for the poor, his reception of Sappho suggests that ancient men of property could recognize the perspectives of their subordinates and resist their own political interests through poetic production, and specifically metapoetics, as a result of the ambiguity of embodiment and sensation posited in the modern philosophy of phenomenology and commonalities of gender and class explicated in post/modern social theory. Attributing the combination of these factors to a “deviation” in “focalization” (D. Fowler) and a “doubling” of “consciousness” (J. Winkler) in the producer of the poem (Paulinus), the article uses the Marxist-feminist concept of standpoint to develop a phenomenological approach to literary history, which promises to recover, not the experience of the poor and marginal (or “subaltern”) in ancient literature, but the form of their experience, as an “imputation of consciousness” (G. Lukács), which may well be a distinctive mark of literature. mar., 14 juin 2022 08:52:49 +0200 jeu., 07 déc. 2023 16:29:05 +0100 https://www.peren-revues.fr/eugesta/486 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