Remedia amoris 9780707302461, 0707302463

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P. OVIDI NASONIS

REMEDIA

AMORIS

edited with Introduction and Commentary by

A.A. R. HENDERSON

1

979

SCOTTISH ACADEMIC PRESS EDINBURGH

Published by Scottish Academic Press Ltd 33 Montgomery Street, Edinburgh EH7 SJX

First published 1979 SBN 7073 0246 3

Introduction and Commentary © 1979 A. A. R. Henderson

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying recording or otherwise, without the prior permission of Scottish Academic Press Ltd

Printed in Great Britain by R. & R. Clark Ltd, Edinburgh

CONTENTS FOREWORD

lX

INTRODUCTION I

The Date of the Poem

2

Its Literary Character and Aims; The Sources

x1

3 Manuscripts and Text

xu xvu

4 Synopsis of Structure and Contents SELECT BIBLIOGRAPHY

xx XXlV

TEXT

I

27

COMMENTARY INDEXES

141

V

PARENTIBVS

OPTIMIS

FOREWORD Tms book is an abridgement of a doctoral thesis presented in the University of Glasgow (Thesis 4620). Among other things, the quotation of sources and parallels has been substantially reduced, and almost all discussion of textual matters eliminated. The bibliography has also been cut to a minimum. Lemor demptis poena legentiserit. It is hoped that at least the material relating to the constitution of the text can be published separately in due course. I am indebted to many people for help in the making of this commentary. Four deserve especial mention: the late Professor C. J. Fordyce, who had something of a soft spot for the Remedia and at whose instigation I began my researches; Professor P. G. Walsh, who patiently read most of the original version and effected a large number of improvements; Professor R. M. Ogilvie, to whose putatorial skill the present one in great measure owes its final shape; and the late Mrs Ruth Pepper, typist and friend, of whom this volume is in some sense the monument. To Professor E. J. Kenney, viro doctissimo,and to Professor Niall Rudd, viro humanissimo,I am grateful for a multitude of constructive (and usefully destructive) comments. I must also express my thanks to Mr Douglas Grant of Scottish Academic Press for his unflagging interest and encouragement. A.A.R.H.

UnifJersityof Glasgow 1978

INTRODUCTION 1

The Date of the Poem

The RemediaAmoris is the final work in Ovid's erotic cycle or trilogy. Of the others, the Amores (originally five books, published at intervals between c. 25 and 16 B.c. or even later) belongs in its extant, definitive shape to about the middle of the last decade B.c., the Ars Amatoria to the remaining years of the era, Books I and 2 being completed around the end of 2 B.c. and the supernumerary Book 3 probably within a year of them. 1 The Remediawas clearly written after Ovid had 'armed the Amazons' too, for besides being addressed to bothpuellae and iuvenes(49; cf. 69,553 f., 6o8, 814) it draws on Ars 3 in a number of places, as on the other two books.1 An approximate date emerges from verses 155-8: ecce, fugax Parthus, magni nova causa triumphi, iam videt in campis Caesaris arma suis. vince Cupidineas pariter Parthasque sagittas et refer ad patrios bina tropaea deos. These unquestionably allude to the campaign of Gaius Caesar' previously announced by Ovid in Book I of the Ars, and can only pertain to the period between spring, 1 B.c., when Gaius (now consul) attained operational readiness in Syria, and spring, A.D. 2, when he met the Parthian king, Phraates V (Phraataces), on the Euphrates to sign a concordat or non-aggression pact. As it is certain that Gaius at no time attacked Parthia, Ovid's claim here is customarily dismissed as a routine rhetorical gesture unrelated to any specific incident. But this assumption is not quite correct. Ovid uses this formula of ecce+ present indicative to introduce 1 On the chronology see A. D. E. Cameron, CQ n.s. 18 (1968), 320 ff., I. M. Le M. Du Quesnay, 'The Amores', in Ovid, ed. J. W. Binns (1973), p. 43, n. 16, and Hollis' edition of Ars 1 (1976), p. xiii and Appendix I. 2 See below, p. xvi. 3 But Caaaris (156) denotes Augustus, as normally. For the details of the campaign see CAI:I x, pp. 273 ff. and Hollis on AA I. 177-228.

xi

some arresting or unexpected piece of news. An exact parallel is afforded by AA 1. 177 'ecce, parat Caesar, domito quod defuit orbi, / addere', 4 of which this passage is indeed partial confirmation. Since 155-8 also do not form an integral part of the argument but interrupt (slightly yet perceptibly) the sequence of thought (see Commentary ad loc.), it may be inferred that they were inserted at a later stage of composition and that accordingly they are not a mere fiction. Although the occasion cannot be identified, it is much more likely to have been connected with Gaius' activities in A.D. 1 than A.D. 2. By the end of A.D. 1 it must have been public knowledge that Rome and Parthia were about to bury the hatchet. 5 If Gaius had wished, or been instructed by Augustus, to put pressure on Phraataces in order to accelerate a peace settlement, his simplest method would have been to feign hostilities by moving troops up suddenly to the frontier area.6 A feint of this kind could very easily have been mistaken at home for the beginning of the 'real thing' at last. 7 The Remedia may therefore have been published (i.e. out of Ovid's hands) as early as the third, or even the second, quarter of A.D. 1, supposing that he had more or less completed it when he heard of Gaius' advance.8 2

Its Literary Characterand Aims; The Sources

The title of the poem immediately indicates that we are dealing with a different notion of love from that in the Ars: love as a disease or hurt (vitium, morbus,vulnus), instead of a skill or social activity. In case the reader jumped to the conclusion (as some modern scholars have) that Ovid was intending a palinode of the Ars or advocating celibacy, he explains in the Preface that his 4 5 6

7 8

For this annunciative use of ecce cf. also AA 2. 745 and (with marginally different force) Fast. 1. 63, Tr. 3. 13. 1. Cf. CAH x, p. 276, n. 3. Mutual recognition of the Euphrates as the boundary between the Roman Empire and the Parthian appears to have formed part of the agreement of A.D. 2. Ovid's in campis suis is typical (but simulated) jingoistic exaggeration. For the persistent expectation of a punitive war against Parthia to avenge Carrhae (so AA 1. 179 f.), cf. Virg. Georg. 3. 30 f., Hor. Od. 1. 12. 53 f., 3. 5. 4, Prop. 3. 1. 16, 4. 3. 79 ff., etc. The late insertion of 155-8 is supported by the presence of the remark 'tutus adhuc Parthus ah hoste fuga est' (224): a cliche, but one which Ovid would surely have avoided had he just written of Gaius' 'attack' and prospective triumph. XU

concern lies with the unhappy lover alone. Those whose love is returned and who know contentment have no need of his advice (13 f.). From the Exordium it is clear that Ovid saw the Remedia as a sequel to the Ars, and perhaps also as a 'reversal' of it, although the term would be unfamiliar to him. The technique, however, was one that he seems to have pioneered in Latin with the diptych or twinned elegies of the Amores (e.g. 2. 7 and 8, 2. 9a and 9b, 3. 11a and 11b), in which a subject or situation is examined first from one side, then from the opposite; a simple sequential relationship is rare (1. 11 and 12; but here too it is the contrast in feeling that matters). 9 The Ars does not set out to teach men and women how to lose their hearts, but only how to find erotic satisfaction (which it calls love). Sincerity is not demanded; infidelities are countenanced. But use of the Ars, so Ovid complacently accepts (43 ff., 71 f.), may after all lead to genuine love. This, should it prove unbearable because unreciprocated or for other reasons (Ovid's blanket formula is si pi.get(80); cf. 311 ff.), he can with like expertise undo or reverse. It is the logical and symmetrical way to conclude his didactic jeu d' esprit, leaving no loose ends and bringing the lover/patient back to the starting-line (to adopt a prevalent metaphor) for another crack at the course, should he or she wish. But the poem was not created out of the Ars by some mechanical process of reversal by numbers, although many of its precepts are taken pellibus inversisfrom the Ars. Its inspiration came from the same sources as its companion's had, the native elegiac and the Hellenistic didactic traditions. Roman elegy from its beginnings evinces a preoccupation with the unhappiness caused by love, rather than its joys, though these are celebrated too. The metaphor of unrequited love as a dolor immedicabilis(found throughout Greek literature, notably in Euripidean tragedy and Hellenistic epigram, and given fresh life in Latin by Catullus 10 before Gallus, the accredited founder of love-elegy) is strikingly crystallised in two of Propertius' most prominent and impassioned elegies, 1. I and 2. 1. In these he appeals for help to rid him of his infatuation with Cynthia: '. . . et vos, qui sero lapsum revocatis, amici, / quaerite non sani pectoris auxilia' (1. 1. 25 f.) ... 'hoe si quis vitium poterit mihi demere, solus / Tantaleae poterit tradere poma manu' (2. 1. 65 f.), etc. Here, Ovid happily perceived (he was 9 These diptych poems have a precedent in Greek epigram, e.g. Anth. Pal. 5. 151 and 152, 172 and 173 (Meleager). 10 76. 20-6. Xl11

Propertius' friend in real life, as well as his literary disciple),11 here was a challenge ideally suited to his poetic talents. For among the various specialised types of didactic verse turned out by the metaphrasts of the Hellenistic era, the so-called cure-poem had a niche to itself. Nicander's Alexipharmaca, on poisons and their antidotes, and Theriaca,on snakes and remedies for snake-bite, have survived; many others, including a compendious work by Nicander on cures of all sorts, are known.111Nobody seems to have thought of writing on cures for love, however, despite the ubiquity of the disease/wound metaphor. The necessary blend of experience and detachment, erudition and frivolity, had never been embodied in one person. Ovid could thus claim another literary first to set beside the Ars, with which the new work was fashioned to dovetail as closely and naturally as possible. He could also make a second, even more substantial claim, namely to have completed the transplantation into Latin of another department of Alexandrian, or more specifically Callimachean, poetry. The didactic strain that crops up in love-elegy, and which Ovid had worked up systematically in the Ars, is an inheritance, so to speak, not from the Catullan side of the family, but from the Callimachean. It has nothing to do with the Callimachus of the Hymns or Aetia, whose Prologue legislated for most late Republican and Augustan poetry, but with the author of the Iambi, from the wreckage of which 'we can see that [he] too wrote in a much more personal and direct tone on themes with which readers of Roman elegy are thoroughly familiar-love affairs, poverty, personal quarrels, Paradise Lost, the problems of being a writer, the celebration of a birthday' .18 The Iambi illuminate considerably the origin of the variety of topic and mood that characterises loveelegy, and which cannot be explained by any theory of a wholly self-generated, Roman evolution from Catullus' poems. Of the 11

Cf. T,. 4.

10.

45 f.

12 On these see, e.g., A. Lesky, Geschichte dm-griechischffl Literatur• (1957-8), pp. 802 ff. Wilkinson (p. 136, note) describes the Remedia-one-sidedly-as a 'burlesque' of works like the Alexipharmaca. Hollis' suggestion (in Ovid, ed. Binns, p. no; repeated in his edition of Ars 1), that in adding the Remedia Ovid was following the precedent of Nicander's two pieces, ia unconvincing, as the Alex. is not a 'companion' (in the requisite sense) to the Theriaca. 13 A. W. Bulloch, 'Tibullus and the Alexandrians', PCPS n.s. 19 (1973), 83. This important article gives new perspectives on love-elegy's relationships.

xiv

Iambi the fifth offers advice to one Cleon or Apollonius on curbing his lust (for boys), and it is not unreasonable, in view of the extraordinary respect for the word of Callimachus shown by the Roman Alexandrians, to postulate this one text as the major, if not the sole, origin of love-elegy's explicitly erotodidactic element.1' Callimachus' metaphorical self-characterisation therein ('. . . for you I am Bacis, Sibyl, the laurel-tree and the oak [of Dodona]') almost certainly lies behind Propertius' assumption of infallibility in amatory matters (1. 9. 5 f. 'non me Chaoniae vincant in amore columbae / dicere, quos iuvenes quaeque puella domet'), an infallibility born of experience. Tibullus, who in 1. 8. 3 ff. similarly says that he has been taught the hard way by Venus (cf. 1. 2. 16 ff. and 97 ff.), elsewhere gives himself the title of magister amoris after receiving instruction from the lips of the god Priapus: a Roman transmutation of the Bacis and Sibyl role (magister,not vates; cf. 1. 8. 77 f. me . .. amantes/ consultent,a legal colouring). And in the proem of Ovid's Ars (1. 25 f.) we pick up another echo of Callimachus, presently confirmed and amplified by the Remedia, in which are certainly two, and probably three, references to lamb. 5, at 82 and 117 f., and perhaps also 75 ('adsit tua laurea nobis'). There can be little doubt that Ovid is here simultaneously acknowledging the influence of the Master, Callimachus, and setting the seal (discreetly) on his own achievement as the Master's Roman successor in this sphere.u The outline of the programme for the Remediaseems to have been suggested to Ovid by Prop. 1. 1 itself. Propertius ranges distractedly over a number of themes, several of which occupy an important place in the Remedia,though for their preceptive formulation Ovid usually looks to other sources. These are the dangers of otium,the futility of recourse to magic, oblivion through foreign travel, commutatio amorum and dissatisfaction (Cynthia taught Propertius castas odissepuellas).The message of the elegy-'hoc, moneo, vitate malum .. .'-should be compared with Ovid's first maxim, [oo]. Propertius' antithesis of consiliumand juror reappears 14 One must not forget the contribution of Comedy and Mime, though with regard to the ego-praeceptorthey are of minimal significance. Motifs that complement the explicit erotodidaxis are certainly derived from them, e.g. the Zenawith her mercenary advice. 1 s Ovid, far more than Propertius, deserves the title of Callimaelnu Romamu, as the Metamorphosesand Fasti above all demonstrate. The point has often been made in different terms.

xv

in Ovid's Preface (10), while the distinction drawn by Propertius between his own case and those 'quibus facili deus annuit aure' underlies Ovid's two categories of the contented and the discontented amans (13 ff.). 16 For his 'cures' Ovid draws on three main springs of wisdom: his own Ars Amatoria, Book 4 of Lucretius and Book 4 of Cicero's Tusculan Disputations. Of these the Ars yields the most, viz. 17 out of a total of 40 (2 preliminary injunctions+ 38 remedial precepts). Normally Ovid reverses the advice he gave before, often very ingeniously, but three praecepta are taken over unchanged. These are marked NR (non-reversed) in the following table (numbering in accordance with the synopsis in § 4 below): (NR) [2] ,...,AA (NR) [7] (NR) [8]

[9] [10] [12] [14] [16] [20] [25] [26] [27] [34]

[35] [36] [37] [38]

459 ff. 2. 99 ff. 2. 121 ff. 2. 641 ff., 3· 261 ff., 349 ff. 2. 641 ff., 3· 209 ff. 2. 615 ff., 3· 807 ff. I. 611 ff. 2. 455 ff., 3· 579 ff., 593 ff. l. 67ff. I. 514 ff. 3·673ff. 3· 677 ff. I. 89 ff., 501 f. 3· 32 9 ff. 2. 539 ff., 3· 59 1 ff. 2. 415 ff. l. 525 f., 589 ff. 1.

Ovid's debt to Lucretius and Cicero is set out in detail in the headings to the several sections of the Tractatio. Prinz's contention, that the order of precepts in Lucretius affected Ovid's arrangement and that RA 399-440 are 'eine Nachwirkung der Lektiire des Lukrez' (4. 1163 ff.), is erroneous. Lucretius begins by noting the dangers of simulacraamatae (4. 1061 f.), which 16 Prinz's theory (I, 67 ff., 81), that this division is due to Luer. 4. 1141 f. (secundus v. adversus amor), inverts Ovid's poetic priorities. Prinz gives too seminal a rOle to Lucretius. Ovid plundered DRN 4 but did not (as Giussani asserted in his commentary (n. on 4. 1180)) get his inspiration for the Remedia from there. XVI

corresponds to Remedia [31]; the continuation of that passage, to [20], [32] and especially [13]. Of the two remedies purveyed in 339-440, one is based first and foremost on AA 2. 615 ff. and 3. 8c>7 ff. Lucretian colour and Lucretian matter have to be distinguished. The most Lucretian part of the poem is the opening of the Tractatio, where Ovid strikes a vein of wise philosophical generalisation reminiscent of DRN 4. 1068 ff. and 1144 ff. A trick of his of repeating a key word of the proposition with a slight shift of meaning in the accompanying 'proof', found elsewhere in the poem but most densely in 79-166, seems a deliberate imitation of a Lucretian technique, 17 like the cosmetic use of set Lucretian (which are often also Virgilian) didactic formulae. The first maxim, [oo], owes its germ to Prop. 1. 1, but in its elaborated form is derived rather from Cicero, TD 4. 4. 63; later sections of that book bear on precepts [2] to [6], [13] and [17]. As Prinz saw,18 there is no evidence to support Pohlenz's belief that Ovid consulted the Therapeuticusof Chrysippus. Cicero drew on this in Tusculans4, and Ovid was not the man to look further than the nearest available Latin philosophical authority .19 Other sources of 'cures', in Comedy, Elegy, etc., are given at the appropriate places. For his illustrations or 'proofs' Ovid ranges over a wide field. Prinz 20 stresses the role of stock examples learned apud rhetoremand circulating in declamation and amongst the educated public. But it is often difficult to decide what is a rhetorical commonplace and what is not. Ovid, in his didactic verse as in his purely erotic, owes much to his declamatory training, but at the same time indisputably 'gave to rhetoric as much [as] or more than he got, putting into it something of his own poetic and gaily individual temperament'. 21 Never indeed were poetry and persuasion better blended for the reader's entertainment. 3 Manuscriptsand Text

It is likely that the amatoria of Ovid were brought together in one book as soon as the codex superseded the old libel/uspoeticus, and that the order of the poems was early fixed as Ars, Remedia Cf., e.g., 89 celeri mente • •.. 112 celeri manu, 93 differ . •.• For dilatum, or the repetition of mora/morari in 83-101. Lucretius' habit, see David West, The Imagery and Poetry of Lucretius (1969), eh. 4. 18 I, 61. 20 I, 81. 19 Cf. on RA 10. 21 T. F. Higham, in Ovidiana, p. 48. 17

B

xvu

and Amores.Certainly one such codex,possibly once housed in the library of Isidore and brought to the Frankish kingdom by Theodulph of Orleans, 11 survived the Dark Ages to become, in the Carolingian Renaissance, the ancestor of our texts. 23 From one copy of it, made c. A.D. 800 and conventionally labelled a, flows the main tradition, viz. RY + p 6 for the Remedia, ROYS+ b for the Ars, and RPYS for the Amores.KRPOYS are characterised as a group by omissions, uncorrected in a, of single words (RA 207 studium, 375 tragicos)and entire verses (RA 9-10, 189-90, AA 1. 395-6 (spurious, but in the archetype), 1. 466-71, Am. 1. 13. 11-14, 2. 2. 18-27). S, which offers AA 1. 1-230 only, and the excerpts p 6 and b exhibit distinctive a readings. The remainder of our MSS. can be assigned to a separate tradition stemming from a theoretical 'collective' hyparchetype p,zr.not lacunose, which may have originated about the same time as a, though none of its surviving descendants is as old as the oldest of a's. The majority of fJMSS. are of the 13th to 15th centuries. E (11th) and K (12th) carry the greatest authority, though E is severely marred by certain 'hariolations', as Goold describes them, and is frequently closer to the later vulgate than K, which reproduces fJ quite faithfully and usually abandons it only to incorporate a reading from one or more a MSS. to which the copyist evidently had access. The reading thus preferred was not always superior: e.g. RA 438 mox RYK ( =a): mos Ew ( =/J). Conversely we note that randy (the latter more commonly) may offer fJreadings against RY, e.g. RA 646 ut RYK 2(v.l.)s: dum ry(sscr.)EK 1 s. yEw or yEKw tend to show a consensus. Both the Regius (R) and the Hamiltonensis (Y) give the title as Remedia(no Amoris).The recentioresstyle the poem De Remedio (sometimes -iis) Amoris. The singular remediois patently wrong (the word cannot mean 'remedying' or 'curing', which sense would anyway be inappropriate here), but amoris is a necessary part of the title. A book called simply 'Cures' could only be a medical See Goold, 3. Goold, 3, thinks that it contained the Ars, Remedia, Amores and Heroides. G. Luck, Untersuchungen zur Textgeschichte Ovids (Heidelberg, 1969), pp. 11 ff., argues for a separate archetype of the Heroi.des. 24 The sigla are adopted from Kenney's OCT (plus Y), as are the groups for the Ars and Amores. For modifications of these see Goold, 6 f. 25 'A convenient fiction' in Kenney's words (CQ n.s. 12 (1962], 25). Cf. his The Classical Text (1974), p. 134. 22 23

xviii

manual, whether versified or not. The ancients will of course have referred to the poem as (Ovidi) Remedia, as it was customary to abridge Ars Amatoria to Ars or Artes. But the presence of the curtailed title in the oldest MSS. is not due to this kind of informality, but to the traditional place of the Remedia after the Ars Amatoria in the collected works,26 when the word Amons would be considered self-evident and the writing of it a waste of good ink. The recentiores,which exhibit the amatory poems in a wide variety of combinations or in isolation, reintroduced the now needed genitive. It is easy but wholly unnecessary to demonstrate in the formal title from the the presence of the word Amons 27 evidence of the Preface. The majority of the younger MSS. divide the poem into two books, the second beginning with v. 397, a practice followed by the early printed editions. E (no title) and K (whose inscriptioand subscriptiomake no mention of more than one book) ignore this convention, though K 2 adopts it. RY have LIBER PRIMVS in both inscriptioand subscriptiobut show no break after 396. It looks as if the division into two books occurred at some very early stage and had become blurred by the time the archetype was written. Its indecision was transmitted through a and {3, whose descendants dealt with the problem in various ways-either faithfully perpetuating the inconsistency, or expunging all traces of plurality, or writing in LIBER II INCIPIT at the obvious place. A gap may originally have been left after 396 because Ovid there pauses to draw breath after denouncing his literary foes, and because the copyist carried in his mind the plural libellosfrom v. 67. The fact that the Ars was in more than one book no doubt assisted the process. The text printed in this edition is a new one. Since I am not an expert palaeographer, I have been content to rely on the reports of readings made by Lenz and Kenney in their exhaustive studies of the MSS., and on Munari's publication of the codex Hamiltonensis. 28 It will be seen that I have admitted a number of readings, either transmitted or conjectural, that have not previously found favour; also that a far larger number of couplets than usual have 26 Luclc, op. cit. pp. 4S f. (cf. his 'Modell', pp. 100 ff.), holds that the order of poems in the archetype was Remedia, Amores, Ars, hut the evidence to support this is of the flimsiest kind. 27 Cf. Lenz II, p. 3. 28 F. Munari, ll Cadice Hamilton 47r di Ovidio (Note e Discussioni Erudite, ed. A. Campana, 9), Rome, 1965. XlX

been bracketed as interpolations, viz. 25-6 (the only one widely accepted as spurious), 391-2, 405-6 (rejected without reasons by Bornecque), 565-6 (rejected by Goold), 669-70 (rejected by Heinsius and Goold) and 745-6 (rejected by L. Muller, Madvig and Goold)-six couplets in all. That the archetype of the amatoria was interpolated is universally agreed; that the text of the Remedia was tampered with to this extent may appear improbable. The ultimate touchstone in each case must be the editor's opinion of the Latinity, sense and aptness of the couplet. All six here seem to me to fail on all counts. I should add that I expelled these verses before I began to look at the 'arithmetic' of the poem, and not vice versa. The numerical scheme set out in § 4 may or may not win acceptance, but the validity of such an approach has been confirmed by some findings for the Ars Amatoria, which I append to the table. 4

Synopsis of Structure and Contents* Corrected OCT, text etc. 1-38 +2

Preface

I. Exordium (a) address to audience (b) prayer to Apollo II. Tractatio (a) preliminary advice [oo] nip love in the bud if possible 77-104 [o] if not, yield to passion 105-132 (b) remedial measures (post crisin) (i) general rule [1] occupy self at all times 133-148 (ii) specific precepts to break the attachment (A) 'strategic', Vrbeplerumquerelicta [2] practise law 149-150 151-166 [3] join the army [4] take up farming 167-196 * Here only are lines numbered according to the corrected text, to aid numerical analysis (see p. xxii). To obtain the conventional numbering, add the figures in the extreme right-hand column. Elsewhere the revised numbering is given in brackets. XX

Corrected text 197-210 211-246 247-288

[5] hunt, fish, catch birds [6] travel (A-B) [7] have no truck with magic (B) 'tactical', in Vrbepuellae domo [8] count the cost 289-308 [9] find and expose her limitations 309-338 [10] destroy your illusions: Part I: the boudoir 339-354 [Reply to attacks on Ars (355)359-394] [11] relieve desire before seeing her 395-400 [12] destroy your illusions: Part II: the bed (and worse) 401-434 [13] take a second mistress 435-482 [14] feign indifference 483-516 [15] enjoy her to excess 517-536 [16] suppress jealousy 537-542 [17] dwell on your other troubles 543-570 [18] avoid being alone 571-6oo (iii) specific precepts to prevent its renewal (A) proculpuella [19] keep away from other lovers 6o1-612 [20] shun her and her haunts 613-626 [21] sever relations with her family 627-634 [22] do not air your grievances 635-646 [23] part amicably 647-662 (B) palam puella [24] concentrate on past tribulations 663-668 [25] do not dress to please her 669-672 [26] be deaf to entreaty 673-678 [27] be blind to tears 679-682 [28] forgo recrimination 683-688 [Ovid on his role: second appeal to Apollo 689-696] (C) proculpuella [29] compare her with other women 697-704 [30] bum her love-letters 705-712 [31] get rid of her picture 713-714 [32] shun your old love-nests 715-730 [33] being poor is a help 731-738 [34] stay away from the theatre 739-744 xxi

OCT, etc.

+4 +6

+8

(35] read no erotic poetry [36] stop worrying about rivals (iv) dietary advice (37] keep off aphrodisiac foods (38] drink to get drunk or not at all

745-754 755-782 783-790 791-798

III. Epilogue

799-8o2

Numerical Scheme: Preface

I

Exordium Tractatio

x38

(a) 1½x38 (b) 17½x38 19 x38 20 x38

(b)(iv) }

+

(16

l

+

x38

Epilogue

4)

number of remedia:38 (but total praecepta=40) 'base-unit': 38 lines (Preface, Exordium) Tractatio=base-unit xhalf base-unit (38 x 19 lines) Note:'½ x38' =either 18 or 20 lines, the couplet always being treated as indivisible. Similarly 16 counts as half of 34. Cf.: Ars 1 (total 766 verses if 395-6 and 585-8 are excluded): I x 40 (34 + 6 (partitio)) Exordium Tractatio 18 x40 plus 6 OR Total=20 x40 less 34 Ars 2 (total 732 verses, none spurious; transpose 669-74 to follow 732): Total=766 (total for Ars 1) less 34 + Epilogue for both books 12 verses, or 2 x 6 Ars 3 (total 808 verses if 587-8 and 655-6 are excluded): Exordium I x 100 Tractatio 7 x 100 8 XIOO XX11

+Epilogue

8 ( 1 verse for each 100 lines)

OR Total=20 x40 plus 8 number of praeceptagiven in Ars I and 2: 40, according to one, unforced method of reckoning. 'base-unit': 40 lines. For a wider discussion of number-schemes in Ovid, see 'Ovidius Numerans', LiverpoolClassicalMonthly 3 (1978), 185-7.

xxili

SELECT

BIBLIOGRAPHY

BINNS,J. W. (ed.), Ovid, London, 1973. BoRNECQUE, H., Ooide, Les Remedes a l'Amour, Les Produits de beaute pour le visage de la femme, Paris (Bude), 2nd edn., 1961. DAREMBERG, C., & SAGLIO,E., Dictionnaire des Antiquites grecqua et romaines, Paris, 1877-1919. GEISLER,H.J., P. Ovidius Naso Remedia Amoris mit Kommentar zu Vers I-396, Berlin (Inaugural-Diss.), 1969. GOOLD,G. P., 'Amatoria Critica', HSCP 69 (1965), 1-107. Hmrnscu, N. I. (ed.), Ooidiana, Recherches sur Ooide, Paris, 1958. HOLLIS,A. S., Ovid, Ars Amatoria Book 1, Oxford, 1977. KENNEY,E. J., P. Ooidi Nasonis Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris, Oxford (OCT), 1961 (corr. rpt. 1965). -'The MS tradition of Ovid's Amores, Ars Amatoria and Remedia Amoris', CQ n.s. 12 (1962), 1-31. LENZ, F. W., P. Ovidi Nasonis Remedia Amoris, Medicamina Faciei,Turin (Paravia), 1965. [ =Lenz I] -Ovid, Heilmittel gegen die Liebe, Die Pftege des weiblichen Gesichtes, Berlin, 2nd edn., 1969 (Schriften und Quellen der alten Welt, Band 9). [ =Lenz II] MOZLEY,J. H., Ovid, The Art of Love and other Poems, London (Loeb Classical Library), 1929 (rpt. 1969). NEMETHY, G., P. Ovidii Nasonis Remedia Amoris, Budapest, 1921. Ono, A., Die Sprichwiirter und sprichwortlichen Redensarten der Romer, Leipzig, 1890. PLATNAUER, M., Latin Elegiac Verse, Hamden, Connecticut, 1971. PLATNER,S. B., & AsHBY, T., A Topographical Dictionary of Ancient Rome, London, 1929. PRINZ,K., 'Untersuchungen zu Ovids "Remedia Amoris" ', WS 36 (1914), 36-83 [ =Prinz I]; WS 39 (1917), 91-121 and 259290. RoBY, H.J., A Grammar of the Latin Language, Part 2, London, 2nd edn., 1875. RosE, H.J., A Handbook of Greek Mythology, London, 6th edn., 1958. xxiv

WILKINSON, L. P., Owl Recalled, Cambridge, 1955. WooococK, E. C., A New Latin Syntax, London, 1959. ZINN, E. (ed.), Ooids Ars Amatoria und Remedia Amoris: Untersuchungen zum Aufbau, Stuttgart, 1970 [includes bibliography of the cannina amatoria, 1936-68]. ABBREVIATIONS CAH The Cambridge Ancient History. H.-S. J. B. Hofmann, Lateinische Syntax und Stilistik, neubearbeitet von Anton Szantyr, Munich, 1965. K.-S. R. Kuhner, Ausfiihrliche Grammatik der lateinischen Sprache: Satzlehre, neubearbeitet von Carl Stegmann, Hanover, 1914. OBGV The Oxford Book of Greek Verse, 1930. OCD 2 The Oxford Classical Dictionary, 2nd edn., 1970. RE Pauly-Wissowa(-Kroll), Real-Encyclopadie. TLL

Thesaurus Linguae Latinae.

Titles of periodicals are abbreviated in accordance with the list in L'Annee Philologique. References such as 'Austin on Cic. Pro Gael. 3', 'Hollis on Met. 8. 788', 'Williams on Virg. Aen. 3. 296' denote the appropriate commentaries. [The edition of the Remedia by Geisler was not available to me at the time of writing. I have since made its acquaintance, but think it best not to attempt to alter the published commentary to take account of Geisler's views. A few additional references to parallel passages have, however, been borrowed from him.]

XXV

REMEDIA

AMORIS

SIGLA R=Parisinus Iatinus 7311, saec. ix, Regius Heinsii r = eiusdem manus secunda, saec. xi Y =Berolinensis Hamiltonensis (primitus Hamiltonianus) 471, saec. x-xi ['Bh' Lenz I] Y0 =manus secunda aequalis (vide quae de 'corr. Y' scripsit Munari, p. 19) y=manus tertia, saec. xi ex.-xii Y 1 = manus quarta, saec. xii de ya et Y' (Pontani manu), quarum lectiones adferre supervacaneum est, vide Munari, loc. cit. E=Coll. Etonensis 150 (BI. 6. s), saec. xi

K = Parisinus latinus 8460, saec. xii, optimus vel praestantissimus Puteaneus Heinsii ['Po' Lenz I, 'P' Lenz II] K 1 = manus secunda aequalis, fortasse eadem ac K w=codices quos adhibet Kenney praeter RrYEK omnes vel plures s = eorundem aliquot vel pauci vel etiam unus exc. Seal. = excerpta Scaligeri ab Heinsio citata [Plan.] =interpretatio pseudo-Planudea adservata, saec. xiv

in cod. Neapolitano II. C. 32

Supra laudati sunt: (a) in Remediis Pe =Parisinus latinus 8069 f. 3•, saec. x-xi; continet Rem. 13-14, 45-6, 53-4, 81-2, 89-90, 119-26, 139-44, 205-6, 293-4, 297-300, 303-8 ['T' Lenz] (b) in Arte O=Oxoniensis Bibi. Bodi. Auct. F. 4. 32, saec. ix Sa=Sangallensis 821, saec. xi b=excerpta in Bambergensi M. V. 18 (saec. x) adservata (c) in Amoribus P = Parisinus latinus 8242, saec. ix-x, Puteaneus S = Sangallensis 864, saec. xi

2

REMEDIA

AMORIS

LEG ERAT huius Amor titulum nomenque libelli: 'bella mihi, video, bella parantur' ait. 'parce tuum vatem sceleris damnare, Cupido, tradita qui toties te duce signa tuli. non ego Tydides, a quo tua saucia mater in liquidum rediit aethera Martis equis. saepe tepent alii iuvenes; ego semper amavi, et si, quid faciam, nunc quoque, quaeris, amo. quin etiam docui qua possis arte parari, et, quod nunc ratio est, impetus ante fuit. nee te, blande puer, nee nostras prodimus artes, nee nova praeteritum Musa retexit opus. si quis amat quod amare iuvat, feliciter ardens gaudeat et vento naviget ille suo. at si quis male fert indignae regna puellae, ne pereat, nostrae sentiat artis opem. cur aliquis laqueo collum nodatus amator a trabe sublimi triste pependit onus? cur aliquis rigido fodit sua pectora ferro? invidiam caedis pacis amator babes. qui, nisi desierit, misero periturus amore est, desinat, et nulli funeris auctor eris. et puer es, nee te quicquam nisi ludere oportet; lude: decent annos mollia regna tuos. [nam poteras uti nudis ad bella sagittis, sed tua mortifero sanguine tela carent.] vitricus et gladiis et acuta dimicet hasta, et victor multa caede cruentus eat.

5

1o

15

20

25

INCIPIT EIVSDEM REMEDIORVM LIBER I. R: EIVSDEM INCIPIT REMEDIORVM. LIBER. PRIMVS. Y: Incipit o.p.N. de remedio amoris K 8 ita interpunxi ut monet Goold (AJP lxxxviii, p. 121): nunc quoque cum quid faciam coniungi sokt 9-1 o om. R Y 9 possis s: posses EK"' 10 quod Es: quae Ks 13 ardens K 1 , prob. Heinsius: ardet RYK1Ew 19 fodit s, prob. Heinsius: fodiat RYEKw 25-6 primus damntwit Bentkius, uclus. edd. nonnulli

3

tu cole maternas, tuto quibus utimur, artes, et quarum vitio nulla fit orba parens. effice noctuma frangatur ianua rixa et tegat omatas multa corona fores; fac coeant furtim iuvenes timidaeque puellae verbaque dent cauto qualibet arte viro, et modo blanditias rigido modo iurgia posti dicat et exclusus 6.ebile cantet amans. his lacrimis contentus eris sine crimine mortis non tua fax avidos digna subire rogos.' haec ego; movit Amor gemmatas aureus alas et mihi 'propositum perfice' dixit 'opus.'

AD MEA, decepti iuvenes, praecepta venite, quos suus ex omni parte fefellit amor. discite sanari per quem didicistis amare; una manus vobis vulnus opemque feret. terra salutares herbas eademque nocentes nutrit, et urticae proxima saepe rosa est. vulnus in Herculeo quae quondam fecerat hoste, vulneris auxilium Pelias hasta tulit. sed quaecumque viris, vobis quoque dicta, puellae, credite; diversis partibus arma damus, e quibus ad vestros si quid non pertinet usus, at tamen exemplo multa docere potest. utile propositum est, saevas extinguere fl.ammas nee servum vitii pectus habere sui. vixisset Phyllis, si me foret usa magistro, et per quod novies, saepius isset iter. nee moriens Dido summa vidisset ab arce Dardanias vento vela dedisse rates, nee dolor armasset contra sua viscera matrem, quae socii damno sanguinis ulta virum est. arte mea Tereus, quamvis Philomela placeret, per facinus fieri non meruisset avis. da mihi Pasiphaen, iam tauri ponet amorem; da Phaedran, Phaedrae turpis abibit amor.

30 (28)

35 (33)

40 (38)

45 (43)

50 (48)

55 (53)

60 (58)

45-8 habet [Plan.] 64 Phaedran pro -am scripli; vide quae de orthographia praeci,pitGoold, 'Amatoria Critica', HSCP I=e, I, 95

redde Parin nobis, Helenen Menelaus habebit, nee manibus Danais Pergama victa cadent. impia si nostros legisset Scylla libellos, haesisset capiti purpura, Nise, tuo. me duce damnosas, homines, compescite curas, rectaque cum sociis me duce navis eat. Naso legendus erat tum, cum didicistis amare; idem nunc vobis Naso legendus erit. publicus adsertor dominis suppressa levabo pectora: vindictae quisque favete suae. Te precor incipiens: adsit tua laurea nobis, carminis et medicae Phoebe repertor opis. tu pariter vati, pariter succurre medenti; utraque tutelae subdita cura tuae est.

DVM LICET et modici tangunt praecordia motus, si piget, in primo limine siste pedem; opprime, dum nova sunt, subiti mala semina morbi, et tuus incipiens ire resistat equus. nam mora dat vires: teneras mora percoquit uvas, et validas segetes, quae fuit herba, facit. quae praebet latas arbor spatiantibus umbras, quo posita est primum tempore, virga fuit. tum poterat manibus summa tellure revelli; nunc stat in immensum viribus aucta suis. quale sit id quod amas, celeri circumspice mente, et tua laesuro subtrahe colla iugo. principiis obsta; sero medicina paratur, cum mala per longas convaluere moras. sed propera, nee te venturas differ in horas; qui non est hodie, eras minus aptus erit. verba dat omnis amor reperitque alimenta morando; optima vindictae proxima quaeque dies. flumina pauca vides de magnis fontibus orta; plurima collectis multiplicantur aquis.

65 (63)

70 (68)

75 (73)

80 (78)

85 (83)

90 (88)

95 (93)

65 redde] crede Heinsius, prob. Bmtkius, Goold 78 tuae est yE 1Kw: 8:i resistat y.K1w: resistet RYEX-stuae s-: tua est RY.E1s84 quae RYEs-: quod Kw 88 aucta yK 1 s-: 83-8 hahet [Plan.] acta RYK1s-: ipsa E 91-102 hahet [Plan.] 91 de magnis R YK [Plan.]: magnis de E

5

si cito sensisses quantum peccare parares, non tegeres vultus cortice, Myrrha, tuos. vidi ego, quod fuerat primo sanabile, vulnus dilatum longae damna tulisse morae. sed, quia delectat veneris decerpere fructum, dicimus adsidue 'eras quoque fiet idem.' interea tacitae serpunt in viscera flammae et mala radices altius arbor agit.

105 (103)

Si tamen auxilii perierunt tempora primi et vetus in capto pectore sedit amor, maius opus superest; sed non, quia serior aegro advocor, ille mihi destituendus erit. uo (108) quam laesus fuerat, partem Poeantius heros debuerat celeri praesecuisse manu; post tamen hie multos sanatus creditur annos supremam bellis imposuisse manum. qui modo nascentis properabam pellere morbos, 115 (113) admoveo tardam nunc tibi lentus opem. aut nova, si possis, sedare incendia temptes, aut ubi per vires procubuere suas. dum furor in cursu est, currenti cede furori; difficiles aditus impetus omnis habet. 120 (118) stultus, ah obliquo qui cum descendere possit, pugnat in adversas ire natator aquas. impatiens animus nee adhuc tractabilis artem respuit atque odio verba monentis habet. adgrediar melius tum, cum sua vulnera tangi 125 (123) iam sinet et veris vocibus aptus erit. quis matrem, nisi mentis inops, in funere nati flere vetet? non hoe ilia monenda loco est; cum dederit lacrimas animumque impleverit aegrum, ille dolor verbis emoderandus erit. 130 (128) temporis ars medicina fere est; data tempore prosunt et data non apto tempore vina nocent. quin etiam accendas vitia irritesque vetando, temporibus si non adgrediare suis. quam RY.K1s: qua Y 0 EK 1 w 112 debuerat celeri yEw: certa d • .K1, edd.: celeri d. K 1 : caetera d. RY 119-24 habet [Plan.] 119 dum EKw [Plan.]: cum RYs 123 artem Francius, prob. Goold: arte codd., [Plan.], edd. 127-32 habet [Plan.] 111

6

Ergo ubi visus cris nostra medicabilisute., fac monitis fugias otia prima mcis. haec ut ames faciunt; haec, ut fecere, tuentur; haec sunt iucundi causa cibusque mali. otia si tollas, periere Cupidinis arcus, contemptaeque iacent et sine luce faces. quam platanus vino gaudet, quam popu1usunda et quam limosa caooa palustris humo, tam V CDUS otia amat; qui finem quaeris amori (cedit amor rebus), res age, tutus eris. languor et immodici sub oullo vindice sorooi aleaque et multo tempora quassa mcro eripiunt omnes animo sine vulnere nervos; adfluit incautis iosidiosus Amor. desidiam puer ille sequi solet, odit agentcs; da vacuac menti, quo teneatur, opus. Sunt fora, sunt leges, sunt, quos tuearis, amici: vade per urbanae spleodida castra togae; vel tu sanguioei iuvenalia munera Martis suscipe: deliciae iam tibi terga dabunt. ecce, fugax Parthus, magni nova causa triumphi, iam videt in campis Caesaris arma suis. vince Cupidioeas pariter Parthasque sagittas et refer ad patrios bioa tropaea deos. ut semel Aetola Venus est a cuspide laesa, mandat amatori bella gerenda suo. quaeritur, Aegisthus quare sit factus adulter? in promptu causa est: desidiosus erat. pugnabant alii tardis apud Ilioo armis; transtulerat vires Graecia tota suas. sive operam bellis vellet dare, nulla gerebat; sive foro, vacuum litibus Argos erat. quod potuit, ne nil illic ageretur, amavit. sic venit ille puer, sic puer ille manet.

135 ( 133)

140 (138)

145 (1,t.3)

150 (148)

155 (153)

16o·(158)

165 (163)

Rura quoque oblectant animum studiumque colendi; quaelibet huic curae cedere cura potest. 170 (168) 135 nostra ••• arte yEoa, prob. Goold: nostrae ••• arti RYKi:, tldd. 141-4 babel [Plan.] 143 amori i:,Heinsius in notis, a codd.: amoria RYEK111 [Plan.], tldd. 161-7 habet [Plan.] 161 quaeritur yEK• [Plan.], prob. Goold: quaeritis RY i:,tldd. C

7

colla iube domitos oneri supponere tauros, sauciet ut duram vomer aduncus humum. obrue versata Cerealia semina terra, quae tibi cum multo fenore reddat ager. aspice curvatos pomorum pondere ramos, ut sua, quod peperit, vix ferat arbor onus. aspice labentes iucundo murmure rivos, aspice tondentes fertile gramen oves. ecce, petunt ropes praeruptaque saxa capellae: iam referent haedis ubera plena suis. pastor inaequali modulatur harundine carmen, nee desunt comites, sedula turba, canes. parte sonant alia silvae mugitibus altae, et queritur vitulum mater abesse suum. quid, cum compositos fugiunt examina fumos, ut relevent dempti vimina curva favi? poma dat autumn us; formosa est messibus aestas; ver praebet flores; igne levatur hiems. temporibus certis maturam rusticus uvam deligit, et nudo sub pede musta fluunt. temporibus certis desectas adligat herbas et tonsam raro pectine verrit humum. ipse potes riguis plantam deponere in hortis, ipse potes rivos ducere lenis aquae. venerit insitio, fac ramum ramus adoptet, stetque peregrinis arbor operta comis. cum semel haec animum coepit mulcere voluptas, debilibus pinnis irritus exit Amor. vel tu venandi studium cole: saepe recessit turpiter a Phoebi victa sorore Venus. nunc leporem pronum catulo sectare sagaci, nunc tua frondosis retia tende iugis; aut pavidos terre varia formidine cervos, aut cadat adversa cuspide fossus aper. nocte fatigatum somnus, non cura puellae, excipit et pingui membra quiete levat. lenius est studium, studium tamen, alite capta aut lino aut calamis praemia parva sequi,

175 (173)

180 (178)

185 (183)

1 go

( 188)

195 ( 193)

200

(198)

205 (203)

180 referent RYs-: referunt EKs185 compositos RYEK 1 s; suppositos "' 189-90 om. RY 190 deligit K: colligit Ew 199-200 habet [Plan.] 2o6 pingui RYK 1(v.l.)s-, exc. Seal.; dulci

EK1w: Jeni s-

8

vel, quae piscis edax avido male devoret ore, abdere sub parvis aera recurva cibis. aut his aut aliis, donec dediscis amare, ipse tibi furtim decipiendus eris. Tu tantum, quamvis firmis retinebere vinclis, i procul, et longas carpere perge vias. flebis, et occurret desertae nomen amicae, stabit et in media pes tibi saepe via. sed quanto minus ire voles, magis ire memento; perfer et invitos currere coge pedes. nee pluvias opta, nee te peregrina morentur sabbata nee damnis Allia nota suis, nee quot transieris nee quot tibi, quaere, supersint milia, nee, maneas ut prope, finge moras, tempora nee numera, nee crebro respice Romam, sed fuge; tutus adhuc Parthus ah hoste fuga est. dura aliquis praecepta vocet mea; dura fatemur esse, sed ut valeas multa dolenda feres. saepe bibi sucos quamvis invitus amaros aeger, et oranti mensa negata mihi. ut corpus redimas, ferrum patieris et ignes, arida nee sitiens ora levabis aqua; ut valeas animo, quicquam tolerare negabis? at pretium pars haec corpore maius habet. sed tamen est artis tristissima ianua nostrae, et tabor est unus tempora prima pati. aspicis ut prensos urant iuga prima iuvencos, et nova velocem cingula laedat equum? forsitan a laribus patriis exire pigebit, sed tamen exibis; deinde redire voles. nee te lar patrius, sed amor revocabit amicae, praetendens culpae splendida verba tuae. cum semel exieris, centum solacia curae et rus et comites et via longa dabit. nee satis esse putes discedere ; lentus abesto, dum perdat vires sitque sine igne cinis. quod nisi firmata properaris mente reverti, inferet arma tibi saeva rebellis Amor,

210 (208)

215 (213)

220 (218)

225 (223)

230 (228)

235 (233)

240 (238)

245 (243)

210 sub parvis Bentleius, coll. Met. viii. 855: supremis RYEK w: suspensis Palmer 221 nee (iterum) Damste, prob. Goold: sed codd., edd. 229-36 habet [Plan.] 230 levabis s [Plan.]: lavabis RYEKw

9

quidquid et afueris, avidus sitiensque redibis, et spatium damno cesserit omne tuo. Viderit, Haemoniae si quis mala pabula terrae et magicas artes posse iuvare putat. 250 (248) ista veneficii vetus est via; noster Apollo innocuam sacro carmine monstrat opem. me duce non tumulo prodire iubebitur umbra, non anus infami carmine rumpet humum, non seges ex aliis alios transibit in agros, 255 (253) nee subito Phoebi pallidus orbis erit. ut solet, aequoreas ibit Tiberinus in undas; ut solet, in niveis Luna vehetur equis. nulla recantatas deponent pectora curas, nee fugiet vivo sulphure victus Amor. 26o (258) quid te Phasiacae iuverunt gramina terrae, cum cuperes patria, Colchi, manere domo? quid tibi profuerunt, Circe, Perseides herbae, cum sua Neritias abstulit aura rates? omnia fecisti, ne callidus hospes abiret: 265 (263) ille dedit certae lintea plena fugae. omnia fecisti, ne te ferus ureret ignis : longus in invito pectore sedit amor. vertere tu poteras homines in mille figuras: non poteras animi vertere iura tui. 270 (268) diceris his etiam, cum iam discedere vellet, Dulichium verbis detinuisse ducem: 'non ego, quod primo, memini, sperare solebam, iam precor, ut coniunx tu meus esse velis. et tamen, ut coniunx essem tua, digna videbar, 275 (273) quod dea, quod magni filia Solis eram. ne properes, oro; spatium pro munere posco; quid minus optari per mea vota potest ? et freta mota vides et debes illa timere; utilior velis postmodo ventus erit. 28o (278) quae tibi causa fugae? non hie nova Troia resurgit, non aliquis socios rursus ad arma vocat. hie amor et pax est, in qua male vulneror una, tutaque sub regno terra futura tuo est.' 251 vetus] vetita Nemethy, prob. Bornecque 253-64, 267-70 habet [Plan.] 268inEr, prob. Goold: et RYKw: at [Plan.], Heinsius ex codd. amor, non Amor, edendum, cj. 108, 346, 358 282 rursus RYE 1 w: resus E 1K, edd. nonnulli (Rh-) 284 tutaque Bentleius, prob. Goold: totaque codd., edd. 10

ilia loquebatur, navem solvebat Vlixes; irrita cum velis verba tulere Noti. ardet et adsuetas Circe decurrit ad artes ; nee tamen est illis adtenuatus amor. ergo, quisquis opem nostra tibi poscis ab arte, deme veneficiis carminibusque fidem.

290 (288)

Si te causa potens domina retinebit in Vrbe, accipe consilium quod sit in Vrbe meum. optimus ille sui vindex, laedentia pectus vincula qui rupit dedoluitque semel; sed cui tantum animi est, illum mirabor et ipse 295 (293) et dicam 'monitis non eget iste meis.' tu mihi, qui, quod amas, aegre dediscis amare, nee potes et velles posse, docendus eris. saepe refer tecum sceleratae facta puellae 300 (298) et pone ante oculos omnia damna tuos. 'illud et illud habet, nee ea contenta rapina est: sub titulum nostros misit avara lares. sic mihi iuravit, sic me iurata fefellit, ante suas quotiens passa iacere fores I 305 (303) diligit ipsa alios, a me fastidit amari; institor (heu) noctes, quas mihi non dat, habet.' haec tibi per totos inacescant omnia sensus; haec refer, hinc odii semina quaere tui. atque utinam possis etiam facundus in illis 310 (308) esse; dole tantum, sponte disertus eris. haeserat in quadam nuper mea cura puella; conveniens animo non erat ilia meo. curabar propriis aeger Podalirius herbis (et, fateor, medicus turpiter aeger eram). 315 (313) profuit adsidue vitiis insistere amicae (idque mihi factum saepe salubre fuit). 'quam mala' dicebam 'nostrae sunt crura puellae' (nee tamen, ut vere confiteamur, erant); 'bracchia quam non sunt nostrae formosa puellae' 320 (318) (et tamen, ut vere confiteamur, erant); 'quam brevis est' (nee erat), 'quam multum poscit amantem'; haec odio venit maxima causa meo. 293-4habet [Plan.] 293 suiHeinsius: fuit codd., [Plan.] 295 sedRYEKw: si s, P,ob. Heinsius 309 possis :yKs: posses RYEw 317-21 habet [Plan.] II

et mala sunt vicina bonis: errore sub illo pro vitio virtus crimina saepe tulit. qua potes, in peius dotes deflecte puellae 325 (323) iudiciumque brevi limite falle tuum. 'turgida', si plena est, si fusca est, 'nigra' vocetur; in gracili 'macies' crimen habere potest. et poterit dici 'petulans', quae rustica non est, et poterit dici 'rustica', si qua proba est. 330 (328) quin etiam, quacumque caret tua femina dote, bane moveat, blandis usque precare sonis. exige uti cantet, si qua est sine voce puella; fac saltet, nescit si qua movere manum. barbara sermone est, fac tecum multa loquatur; 335 (333) non didicit chordas tangere, posce lyram ; durius incedit, fac inambulet; omne papillae pectus habent, vitium fascia nulla tegat. si male dentata est, narra, quod rideat, illi; mollibus est oculis, quod ff.eatilia, refer. 340 (338) proderit et subito, cum se non finxerit ulli, ad dominam celeres mane tulisse gradus. auferimur cultu; gemmis auroque teguntur omnia; pars minima est ipsa puella sui. saepe, ubi sit quod ames inter tarn multa, requiras; 345 (343) decipit hac oculos aegide dives amor. improvisus ades: deprendes tutus inermem; infelix vitiis excidet illa suis. non tamen huic nimium praecepto credere tutum est; fallit enim multos forma sine arte decens. 350 (348) tum quoque, compositis cum collinct ora venenis, ad dominae vultus, nee pudor obstet, eas. pyxidas invenies et rerum mille colores, et fluere in tepidos oesypa lapsa sinus. illa tuas redolent, Phineu, medicamina mensas; 355 (353) non semel hinc stomacho nausea facta meo est. Nunc tibi, quae medio veneris praestemus in usu, eloquar; ex omni est parte fugandus amor. 323-4 habet [Plan.] 333 uti Es, exc. Seal.: ut RKs: quod y(in ras.)w 343-5 habet [Plan.] 351 cum collinet s, prob. Goold: sua cum linet E,Kts: sua cum linit K 1(sscr.)s: sua collinet K 1 s: cum collinit s: 355-6 habet [Plan.] 357 veneris pro cum linit RYs: cum linietys Veneris scripsi (item 407 venerem; Soo, 802, 805 veneri) 12

multa quidem ex illis pudor est mihi dicere, sed tu ingenio verbis concipe plura meis. 36o (358) nuper enim nostros quidam carpsere libellos, quorum censura Musa proterva mea est. dummodo sic placeam, dum toto canter in orbe, qui volet, impugnent unus et alter opus. ingenium magni livor detractat Homeri; 365 (363) quisquis es, ex illo, Zoile, nomen babes. et tua sacrilegae laniarunt carmina linguae, pertulit hue victos quo duce Troia deos. summa petit livor; perflant altissima venti, summa petunt dextra fulmina missa Iovis. 370 (368) at tu, quicumque es, quern nostra licentia laedit, si sapis, ad numeros exige quidque suos. fortia Maeonio gaudent pede bella referri; deliciis illic quis locus esse potest? grande sonant tragici: tragicos decet ira cothurnos; 375 (373) usibus e mediis soccus habendus erit. liber in adversos hostes stringatur iambus, seu celer, extremum seu trahat ille pedem. blanda pharetratos Elegea cantet Amores, et levis arbitrio ludat amica suo. 380 (378) Callimachi numeris non est dicendus Achilles; Cydippe non est oris, Homere, tui. quis ferat Andromaches peragentem Thaida partes? peccet, in Andromache Thaida quisquis agat. Thais in arte mea est; lascivia libera nostra est; 385 (383) nil mihi cum vitta; Thais in arte mea est. si mea materiae respondet Musa iocosae, vicimus, et falsi criminis acta rea est. rumpere, Livor edax; magnum iam nomen habemus; maius erit, tantum, quo pede coepit, eat. 390 (388) [sed nimium properas; vivam modo, plura dolebis, et capiunt anni carmina multa mei.] 363-70 habet [Plan.] 364 qui volet Y'Es [Plan.], enallage mnneri iniuria suspecta (cf. enim 7II, al.): quod volet RYKs: cum volet, quam volet, quodlibet s: quamlibet Heinsi.us ex codd., prob. Benthius, Goold; quod solet Shackleton Bailey 378 trahat RYK 1 w: trahit EK's 379 Elegea scripsi (wk Goold, 'Amatoria Critica', p. 1z): elegeia R: elegia yEK 1 w 383 ferat s: feret RYEKw 384 peccet Heinsius: peccat codd. 389-9z habet [Plan.] 391-z seclusi 39z capiunt RYs: capient rEKw [Plan.] anni RYE 1K 1 s; animi E 1K 1 w [Plan.]

13

nam iuvat et studium famae mihi crevit honore; principio clivi noster anhelat equus. tantum se nobis elegi debere fatentur, quantum Vergilio nobile debet epos. hactenus invidiae respondimus; attrahe lora fortius et gyro curre, poeta, tuo.

395 (391)

Ergo ubi concubitus et opus iuvenale petetur et prope promissae tempora noctis erunt, 400 (396) gaudia ne dominae, pleno si corpore sumes, te capiant, ineas quamlibet ante velim. quamlibet invenias, in qua tua prima voluptas desinat; a prima proxima segnis erit. [sustentata venus gratissima ; frigore soles, 405 sole iuvant umbrae, grata fit unda siti.] et pudet et dicam: venerem quoque iunge figura, qua minime iungi quamque decere putas. nee labor efficere est; rarae sibi vera fatentur, et nihil est, quod se dedecuisse putent. 410 (404) tune etiam iubeo totas aperire fenestras turpiaque admisso membra notare die. at simul ad metas venit finita voluptas lassaque cum tota corpora mente iacent, dum piget, ut malles nullam tetigisse puellam 415 (409) tacturusque tibi non videare diu, tune animo signa, quaecumque in corpore menda est, luminaque in vitiis illius usque tene. forsitan haec aliquis (nam sunt quoque) parva vocabit, sed, quae non prosunt singula, multa iuvant. 420 (414) parva necat morsu spatiosum vipera taurum; a cane non magno saepe tenetur aper. tu tantum numero pugna praeceptaque in unum contrahe: de multis grandis acervus erit. sed quoniam totidem mores totidemque figurae, 425 (419) non sunt iudiciis omnia danda meis. 394 noster K 1 w: vester RYEK1s 396 epos Muretus: opus codd. 405-6 secl. Bornecque 415 ut Heinsius, prob. Camps: et codd., edd. plerique malles yK 1 w: malis RYEK 1 s 417 quaecumque ... menda K 1 w,prob. Goold: quodcumque ..• mendumRYEK1s, edd.: quodcum419-24 habet [Plan.] 426 meis] tuis que •.. mendae s Bornecque, mira temeritate

14

quo tua non possunt offendi pectora facto, forsitan hoe alio iudice crirnen erit. ille quod obscenas in aperto corpore partes viderat, in cursu qui fuit, haesit amor, 430 (424) ille quod a veneris rebus surgente puella vidit in immundo signa pudenda toro. luditis, o si quos potuerunt ista movere; adflarant tepidae pectora vestra faces. adtrahat ille puer contentos fortius arcus, 435 (429) saucia maiorem turba petetis opem. quid, qui clam latuit reddente obscena puella et vidit quae mos ipse videre vetat? di melius, quam nos moneamus talia quemquam; ut prosint, non sunt expedienda tamen. 440 (434) Hortor et ut pariter binas habeatis amicas (fortior est, plures si quis habere potest); secta bipertito cum mens discurrit utroque, alterius vires subtrahit alter amor. grandia per multos tenuantur flumina rivos, saevaque diducto stipite flamma perit; non satis una tenet ceratas ancora puppes, nee satis est liquidis unicus hamus aquis. qui sibi iam pridem solacia bina paravit, iam pridem summa victor in Arce fuit. at tibi, qui fueris dominae male creditus uni, nunc saltem novus est inveniendus amor. Pasiphaes Minos in Procride perdidit ignes; cessit ab ldaea coniuge victa prior; Amphilochi frater ne Phegida semper amaret, Calliroe fecit parte recepta tori; et Parin Oenone summos tenuisset ad annos, si non Oebalia paelice laesa foret;

445 (439)

450 (444)

455 (449)

435 attrahat s, prob. Bentleius, Goold: attrahet RYEKw, edd. 440 ex1 1 445-8 habet [Plan.] pedienda RYK w: experienda YcEK s 446 saevaque Merkel, prob. Goold: haesaque RY: cassaque s: laesaque K 1 (v.l.)s: magnaque E: totaque K 1 : letaque K 1 s: lentaque s: sectaqueys, ex 443: spissaque Luck, coll. Met. xv. 250 ('ignis enim densum spissatus in aera transit'), vix recte (improbat Bahler, Gnomon xxxi.v, p. 787) 453, 455-6o habet diducto Ks: seducto Rs: deducto E: subducto Y [Plan.] 456 Calliroe scripsi.pro Callirhoe (ita praecipit Goold, 'Amatoria Critica', p. 12)

coniugis Odrysio placuisset forma tyran.no, sed melior clausae forma sororis erat. 46o (454) quid moror exemplis, quorum me turba fatigat? successore novo vincitur omnis amor. fortius e multis mater desiderat unum, quam quem flens clamat 'tu mihi solus eras!' et, ne forte putes nova me tibi condere iura 465 (459) (atque utinam inventi gloria nostra foret !), vidit id Atrides; quid enim non ille videret, cuius in arbitrio Graecia tota fuit? Marte suo captam Chryseida victor amabat, at senior stulte flebat ubique pater. 470 (464) quid lacrimas, odiose senex? bene convenit illis; officio natam laedis, inepte, tuo. quam postquam reddi Calchas ope tutus Achillis iusserat, et patria est ilia recepta domo, 'est' ait Atrides 'illius proxima forma 475 (46g) et, si prima sinat syllaba, nomen idem; hanc mihi, si sapiat, per se concedet Achilles; si minus, imperium sentiet ille meum. quod si quis vestrum factum hoe accusat, Achivi, est aliquid valida sceptra tenere manu. 480 (474) nam si rex ego sum, nee mecum dormiat ulla, in mea Thersites regna licebit eat.' dixit et hanc habuit solacia magna prioris, et posita est cura cura repulsa nova. ergo adsume novas auctore Agamemnone flammas, 485 (479) ut tuus in bivio distineatur amor. tu perlege nostras: quaeris ubi invenias? AR.TES plena puellarum iam tibi navis erit. Quod si quid praecepta valent mea, si quid Apollo utile mortales perdocet ore meo, 490 (484) quamvis infelix media torreberis Aetna, frigidior glacie fac videare tuae. 464 quern Es [Plan.]: quae RYK.1w 467-8 habet [Plan.] 467 id Es: et rs [Plan.], prob. Goold: ut RYKs 473 achillis ry(vel Yc)EKw: achilles RY: achilli s, prob. Heinsius, Lenz (qui geneti'VUm-ei sub lectione in RY adservata latitare suspicatur) 477 concedet Es, prob. Goold: concedat RYKs, edd. 478 sentiet rYEKw: sentiat Rs 487 Artes, non artes, edmdum 492 glacie s: dominae RYEK"'

16

et sanum simula nee, si quid forte dolebis, sentiat, et ride, cum tibi flendus eris. non ego te iubeo medias abrumpere curas; non sunt imperii tarn fera iussa mei. quod non es, simula, positosque imitare furores; sic facies vere, quod meditatus eris. saepe ego, ne biberem, volui dormire videri; dum videor, somno lumina victa dedi. deceptum risi, qui se simulabat amare, in laqueos auceps decideratque suos. intrat amor mentes usu, dediscitur usu; qui poterit sanum fingere, sanus erit. dixerit ut venias: pacta tibi nocte venito; veneris, et fuerit ianua clausa: feres. nee die blanditias nee fac convicia posti nee latus in duro limine pone tuum. postera lux aderit: careant tua verba querelis, et nulla in vultu signa dolentis babe. iam ponet fastus, cum te languere videbit (hoe etiam nostra munus ah ARTE feres). te quoque falle tarnen, nee sit tibi finis amandi propositus; frenis saepe repugnat equus. utilitas lateat; quod non profitebere, fiet; quae nimis apparent retia, vitat avis. nee sibi tarn placeat nee te contemnere possit; sume animos, animis cedat ut illa tuis. ianua forte patet: quamvis revocabere, transi; est data nox: dubita nocte venire data. posse pati facile est, ubi, si patientia desit, protinus ex facili gaudia ferre licet. Et quisquam praecepta potest mea dura vocare? en, etiam partes conciliantis ago. nam quoniam variant animi, variabimus artes; mille mali species, mille salutis erunt. corpora vix ferro quaedam sanantur acuto; auxilium multis sucus et herba fuit.

495 (489)

500 (494)

505 (499)

510 (504)

515 (509)

520 (514)

525 (519)

497 es rK1s: est RYEK 1 w 512 Arte, non arte, edendum(cf. 487), verms enim ad A.A. i. 7z5 sqq. spectat 516 habet [Plan.] 521 ubi si patientia Y, conieceratMadvig: tibi ni patientia E 1 w: ubi non patientia E 1(v.l.)s: tibi ni sapientia yK1s: tibi ubi sapientia K 1(v.l.): ubi sapientia R 525-8 habet [Plan.]

17

mollior es neque abire potes vinctusque teneris, et tua saevus Amor sub pede colla premit: desine luctari, referant tua carbasa venti, quaque vocant fluctus, hac tibi remus eat. explenda est sitis ista tibi, qua perditus ardes. cedimus: e medio iam licet amne bibas. sed bibe plus etiam quam quod praecordia poscunt; gutture fac pleno sumpta redundet aqua. i, fruere usque tua nullo prohibente puella; ilia tibi noctes auferat, illa dies. taedia quaere mali; faciunt et taedia fi.nem. iam quoque, cum credes posse carere, mane, dum bene te cumules et copia tollat amorem et fastidita non iuvet esse domo. fit quoque longus amor quern diffidentia nutrit; hunc tu si quaeres ponere, pone metum. qui timet ut sua sit, ne quis sibi detrahat illam, ille Machaonia vix ope sanus erit. plus amat e natis mater plerumque duobus, pro cuius reditu, quod gerit arma, timet.

530 (524)

535 (529)

540 (534)

545 (539)

Est prope Collinam templum venerabile Portam 550 (544) (imposuit templo nomina celsus Eryx); est illic Lethaeus Amor, qui pectora sanat inque suas gelidam lampadas addit aquam. illic et iuvenes votis oblivia poscunt et si qua est duro capta puella viro. 555 (549) is mihi sic dixit (dubito verusne Cupido an somnus fuerit; sed, puto, somnus erat): 'o qui sollicitos modo das, modo demis amores, adice praeceptis hoe quoque, Naso, tuis: ad mala quisque animum referat sua, ponet amorem; 56o (554) omnibus illa deus plusve minusve dedit. qui Puteal Ianumque timet celeresque Kalendas, torqueat hunc aeris mutua summa sui; cui durus pater est, ut voto cetera cedant, huic pater ante oculos durus habendus erit; 531 referant EKs: referent RYs 535-6 habet [Plan.] 537 i fruere 1 E: fruere RYK s: perfruere s: tu fruere s 539 mali RYE 1K"': malis E1, prob. Heinsius, qui post quaere distinxit 545 ne] neu Heinsius 555-6 habet [Plan.]

18

(hie male dotata pauper cum coniuge vivit: 565 uxorem fato credat adesse suo.] est tibi rure bono generosae fertilis uvae vinea: ne nascens usta sit uva, time; ille habet in reditu navem: mare semper iniquum cogitet et damno litora foeda suo; 570 (562) filius hunc miles, te filia nubilis angat; et quis non causas mille doloris habet? ut posses odisse tuam, Pari, funera fratrum debueras oculis substituisse tuis.' plura loquebatur; placidum puerilis imago 575 (567) destituit somnum, si modo somnus erat. quid faciam? media navem Palinurus in unda deserit; ignotas cogor inire vias. Quisquis amas, loca sola nocent: loca sola caveto. quo fugis? in populo tutior esse potes. non tibi secretis (augent secreta furores) est opus; auxilio turba futura tibi est. tristis eris, si solus eris, dominaeque relictae ante oculos facies stabit, ut ipsa, tuos. tristior idcirco nox est quam tempora Phoebi: qua relevet luctus, turba sodalis abest. nee fuge colloquium nee sit tibi ianua clausa nee tenebris vultus flebilis abde tuos. semper babe Pyladen aliquem, qui curet Oresten; hie quoque amicitiae non levis usus erit. quid nisi secretae laeserunt Phyllida silvae? certa necis causa est: incomitata fuit. ibat, ut Edono referens trieterica Baccho ire solet fusis barbara turba comis, et modo, qua poterat, longum spectabat in aequor, nunc in harenosa lassa iacebat humo. 'perfide Demophoon I' surdas clamabat ad undas, ruptaque singultu verba loquentis erant. limes erat tenuis, longa subnubilus umbra, qua tulit ilia suos ad mare saepe pedes. nona terebatur miserae via: 'viderit' inquit, et spectat zonam pallida facta suam,

580 (572)

585 (577)

590 (582)

595 (587)

6oo (592)

565-6 damnat Goold 566 adesse RYEKs: obesse s 571-4 habet 582 tibi est RYEs: tibi Ks: tuo est y(ut wl.)s: tuo s [Plan.] 589 habet [Plan.]

aspicit et ramos; dubitat refugitque quod audet, et timet et digitos ad sua colla refert. Sithoni, tune certe vellem non sola fuisses; non fiesset positis Phyllida silva comis. Phyllidis exemplo nimium secreta timete, laese vir a domina, laesa puella viro. Praestiterat iuvenis quidquid mea Musa iubebat, inque suae portu paene salutis erat; reccidit, ut cupidos inter devenit amantes, et, quae condiderat, tela resumpsit Amor. si quis amas nee vis, facito contagia vites; haec etiam pecori saepe nocere solent. dum spectant laesos oculi, laeduntur et ipsi, multaque corporibus transitione nocent. in loca nonnumquam siccis arentia glaebis de prope currenti fiumine manat aqua; manat amor tectus, si non ah amante recedas, turbaque in hoe omnes ingeniosa sumus. alter item iam sanus erat: vicinia laesit; oceursum dominae non tulit ille suae. vulnus in antiquum rediit male firma cicatrix, suecessumque artes non habuere meae. proximus a tectis ignis defenditur aegre; utile, finitimis abstinuisse locis. nee, quae ferre solet spatiantem porticus illam, te ferat, officium neve colatur idem. quid iuvat admonitu tepidam recalescere mentem? alter, si possis, orbis habendus erit. non facile esuriens posita retinebere mensa, et multum saliens incitat unda sitim. non facile est taurum visa retinere iuvenca; fortis equus visae semper adhinnit equae. haec ubi praestiteris, ut tandem litora tangas, non ipsam satis est deseruisse tibi; et soror et mater valeant et conscia nutrix et quisquis dominae pars erit ulla tuae,

6o5 (597)

610 (6o2)

615 (6o7)

620 (612)

625 (617)

630 (622)

605 tune RYKw: tum Es 607-8 habet [Plan.] 611 reccidit RYs: decidit EKw 612 condiderat s, in textum vocavit Heinsius: conciderant RYEKw 625-6 habet [Plan.] 632 multum 1 RYEK1w [Plan.]: multam K (v.l.), prob. Heinsius 634 visae ... equae RYKw: visa ••• equa Es

20

nee veniat servus nee flens ancillula fictum suppliciter dominae nomine dicat 'ave'. nee si scire voles quid agat, tamen, ilia, rogabis ; perfer: erit lucro lingua retenta tuo. tu quoque, qui causam finiti reddis amoris deque tua domina multa querenda refers, parce queri; melius sic ulciscere tacendo, ut desideriis effluat ilia tuis. et malim taceas quam te desisse loquaris; qui nimium multis 'non amo' dicit, amat. sed meliore fide paulatim extinguitur ignis quam subito; lente desine, tutus eris. flumine perpetuo torrens solet acrior ire, sed tamen haec brevis est, ilia perennis aqua. fallat et in tenues evanidus exeat auras perque gradus molles emoriatur amor. Sed modo dilectam scelus est odisse puellam; exitus ingeniis convenit iste feris. non curare sat est; odio qui finit amorem, aut amat aut aegre desinit esse miser. turpe, vir et mulier, iuncti modo, protinus hostes; non illas lites Appias ipsa probat. saepe reas faciunt et amant; ubi nulla simultas incidit, admonitu liber aberrat Amor. forte aderam iuveni; dominam lectica tenebat; horrebant saevis omnia verba minis. iamque vadaturus 'lectica prodeat' inquit; prodierat; visa coniuge mutus erat; et manus et manibus duplices cecidere tabellae; venit in amplexus atque ita 'vincis I' ait. [tutius est aptumque magis discedere pace, nee petere a thalamis litigiosa fora.] munera quae dederas, habeat sine lite iubeto; esse solent magno damna minora bono.

640 (632)

645 (637)

650 (642)

655 (647)

66o (652)

665 (657)

670

Quod si vos aliquis casus conducet in unum, mente memor tota, quae damus, arma tene. 649-52 habet [Plan.] 651 acrior y, coniecerat Riese ex acrius, kcti.one in aliquot Heinsii codicibus adseroata: altior REs [Plan.]: altius Kw: artior Y 658 desinit E 1K 1 s: desinet RYs: desinat E1K 1 w 669-70 habet [Plan.], damnaverunt Heinsius, alii 21

nunc opus est annis; hie, o fortissime, pugna; vincenda est telo Penthesilea tuo. nunc tibi rivalis, nunc durum limen, amanti, nunc subeant mediis irrita verba deis. nee compone comas, quia sis venturus ad illam, nee toga sit laxo conspicienda sinu. nulla sit ut placeas alienae cura puellae; iam facito e multis una sit ilia tibi. Sed quid praecipue nostris conatibus obstet, eloquar, exemplo quemque docente suo: desinimus tarde, quia nos speramus amari; dum sibi quisque placet, credula turba sumus. at tu nee voces (quid enim fallacius illis?) crede nee aetemos pondus habere deos, neve puellarum lacrimis moveare, caveto; ut flerent, oculos erudiere suos. artibus innumeris mens oppugnatur amantum, ut lapis aequoreis undique pulsus aquis. nee causas aperi, quare divortia malis, nee die quid doleas, clam tamen usque dole; nee peccata refer, ne diluat; ipse favebis, ut melior causa causa sit ilia tua. qui silet, est firmus; qui dicit multa puellae probra, satisfieri postulat ille sibi.

675 (665)

680 (670)

685 (675)

6go (680)

6g5 (685)

Non ego Dulichio furari more sagittas nee raptas ausim tinguere in amne faces, 700 (6go) nee nos purpureas pueri resecabimus alas, nee sacer arte mea laxior arcus erit. consilium est, quodcumque cano; parete canenti, tuque favens coeptis, Phoebe saluber, ades. Phoebus adest; sonuere lyrae, sonuere pharetrae; 705 (6g5) signa deum nosco per sua; Phoebus adest. 677 amanti RYs-: amicae EKw 683 obstet Ys-: obstat REKw 687-92 habet [Plan.] 687 voces] verbis Monacensis z4809 ('M.,' vel 'M 1' apud edd.). an votis legendum, quod in vocis (-es) abirefacik potuit1 699 furari Housman et Palmer; furiales Heinsius ex codd.; furiali rEKw: foriali RY 700 raptas RYEKw: rapidas s-,prob. Heinsius 704 tuque favens Parisinus lat. 7994 teste Lenz, coniecerat Goold; tuque fave Oxoniensis Bibi. Bodi. Canon. class. lat. z; utque (atque R) facis rK 1(v.l.)s-: utque faves EK 1 s-: ut faveas y (-eas ex corr.)w 22

Confer Amyclaeis medicatum vellus aenis murice cum Tyrio: turpius illud erit. vos quoque formosis vestras conferte puellas: incipiet dominae quemque pudere suae. utraque formosae Paridi potuere videri, sed sibi collatam vicit utramque Venus. nee solam faciem, mores quoque confer et artes; tantum iudicio ne tuus obsit amor. Exiguum est, quod deinde canam, sed profuit illud exiguum multis, in quibus ipse fui. scripta cave relegas blandae servata puellae; constantis animos scripta relecta movent. omnia pone feros (pones invitus) in ignes et die 'ardoris sit rogus iste mei.' Thestias absentem succendit stipite natum; tu timide Bammae perfida verba dabis? si potes, et ceras remove; quid imagine muta carperis ? hoe periit Laodamia modo. et loca saepe nocent; fugito loca conscia vestri concubitus; causas ilia doloris habent. 'hie fuit, hie cubuit, thalamo dormivimus illo; hie mihi lasciva gaudia nocte dedit.' admonitu refricatur amor vulnusque novatum scinditur; infirmis culpa pusilla nocet. ut, paene extinctum cinerem si sulphure tangas, vivit, et e minimo maximus ignis erit, sic, nisi vitaris quidquid renovabit amorem, flamma redardescet, quae modo nulla fuit. Argolides cuperent fugisse Capherea puppes teque, senex luctus ignibus ulte tuos. praeterita cautus Niseide navita gaudet; tu loca, quae nimium grata fuere, cave. haec tibi sint Syrtes, haec Acroceraunia vita; hie vomit epotas dira Charybdis aquas.

710 (700)

715 (705)

720 (710)

725 (715)

730 {720)

735 (725)

740 (730)

707-8, 711-2 habet [Plan.] 713 artes yEs: artem RYKs, &ld.J11rt1 724 Laodamia K: Laudamia RY: Laodomia Ew 727 dormivimus illo rK1w: dormimus in illo RYs: domuit (voluit dormiuit) in illo E: donnivimus ambo K 1(v.l.)s 729-32 habtlt [Plan.] 729 admonitu yEKw [Plan.]: admonitus RY 732 vivit RYKs [Plan.]: vivet rEw 735-6 habet [Plan.]

omnu

D

Sunt quae non po88Wlt aliquo oogente iuberi, saepe tamen casu facta levare solent. perdat opes Phaedra, parces, Neptune, ncpoti, nee faciet pavidos taurus avitus equos. [Cnosida fecisses inopem, sapienter 2roasset:; 745 divitiis alitur luxuriosus amor.] cur nemo est, Hecalen, nulla est, quae ceperit Iron? nempe quod alter egens, altera pauper erat. non habet unde suum paupertas pascat amorem; 750 (738) non tamen hoe tanti est, pauper ut esse velis. At tanti tibi sit non indulgere theatris, dum bene de vacuo pectore cedat amor. enervant animos citharae lotosque lyraeque et vox et numeris bracchia mota suis. illic adsidue ficti saltantur amantes; quod caveas, actor, quam iuvet, arte docet. eloquar invitus: teneros ne tange poetas (sumrnoveo dotes impius ipse meas I). Callimachum fugito, non est inimicus amori, et cum Callimacho tu quoque, Coe, noces. me certe Sappho meliorem fecit amicae, nee rigidos mores Teia Musa dedit. cannina quis potuit tuto legisse Tibulli, vel tua, cuius opus Cynthia sola fuit? quis poterit lecto durus discedere Gallo? et mea nescioquid cannina tale sonant.

755 (743)

Quod nisi dux operis vatem frustratur Apollo, aemulus est nostri maxima causa mali. at tu rivalem noli tibi fingere quemquam inque suo solam crede iacere toro. acrius Hermionen ideo dilexit Orestes, esse quod alterius coeperat ilia viri. 742 levare RYEs: iuvare Kw 743·9 hahet [Plan.] 745-6 ucl. 756 ita expedivit Camps, prob. Goold (vitk L. Maller, Mad:vig 'Amatoria Critica', pp. 1 o6-7): quid •.• qua iuvet ••• docet R Y: quid ••• qua iuvat ••• nocet E: quid ••• quid iuvat ••• nocet K 758 impius yEKw: ipaius RYs 759 amori RYw: amoris EK1s: amanti .K'(tJ.l.) 771-8 hahet [Plan.]

quid, Menelae, doles ? ibas sine coniuge Creten et poteras nupta lentus abesse tua. ut Paris bane rapuit, nunc demum uxore carere ns (']63) non potes; alterius crevit amore tuus. hoe et in abducta Briseide flebat Achilles, illam Plisthenio gaudia ferre viro. nee frustra flebat, mihi credite; fecit Atrides, 78o (']68) quod si non faceret, tu.rpiter esset iners. certe ego fecissem, nee sum sapientior illo. invidiae fructus roaxirous ille fuit; nam sibi quod numquam tactam Briseida iurat per sceptrum, sceptrum non putat esse deos. di faciant, possis dominae transire relictae 785 (n3) Jimina, proposito sufficiantque pedes. et poteris, modo velle tene; nunc fortiter ire, nunc opus est celeri subdere calcar equo. illo Lotophagos, illo Sirenas in antro esse puta; remis adice vela tuis. 790 (n8) hunc quoque, quo quondam nimium rivale dolebas, vellem desineres hostis habere loco. at certe, quamvis odio remanente, saluta; oscula cum poteris iam dare, sanus eris.

Ecce, cibos etiam, medicinae fungar ut omni munere, quos fugias quosque sequare, dabo. Daunius, an Libycis bulbus tibi missus ah oris, an veniat Megaris, noxius omnis erit; nee minus erucas aptum vitare salaces et quidquid veneri corpora nostra parat. utilius sumas acuentis lnmina rutas et quidquid veneri corpora nostra negat. quid tibi praecipiam de Bacchi munere, quaeris? spe brevius monitis expediere meis. vina parant animum veneri, nisi plurima sumas, ut stupeant multo corda sepulta mero. nutritur vento, vento restinguitur ignis; lenis alit flammas, grandior aura necat. aut nulla ebrietas aut tanta sit, ut tibi curas eripiat; si qua est inter utrumque, nocet. 774 lentus yw: letus RYEKs r(sscr.)s 8o6 utyEKs: et RYs

25

795 (783)

8oo (788)

805 (793)

810 (798)

778 viro r(IIX oiro R) YEK•: toro 807-8Jrabdt[Plan.]

HOC OPVS exegi. fessae date serta carinae; contigimus portus, quo mihi cursus erat. postmodo reddetis sacro pia vota poetae, carmine sanati femina virque meo.

post 814 P. OVIDI NASONIS LIBER PRIMVS. REMEDIORVM EXPLICIT. R: P. OVIDI NASONIS REMEDIORVM EXPLICIT. LIBER. PRIMVS. Y

26

COMMENTARY

1-40(38). PREFACE No, Cupid, I've not turned traitor: this is no recantation of my Ars Amatoria. It's those wronged in love I now seek to aid, whom you drive to suicide. Your bloodthirstiness has made you hated. Come, child, treat your human playthings less cruelly: tears, you'll find, are a better proposition than biers I Unlike the Ars but like the Amores, the Remedia is prefaced by a short, independent scene of dialogue between Cupid and the poet that sets out allegorically the scope and occasion of the work. It thus anticipates the Exordium proper (41 ff.), which it also balances in length (excluding 25 f., 38 lines apiece). The complementary relationship of the poem to the Ars (cf. 45 ff., 71 f.) is conveyed through Ovid's repudiation of the charge of sedition or treachery levelled against him by Cupid (3-12, esp. 11 'nee te .•• nee nostras prodimus artes' (not Artes)); its raison d'etre is given as the god's murderous war against lovers (20 ff., 'death' standing for unhappiness or dissatisfaction in love: cf. 42, 6..otfroxla); cf. Nisbet-Hubbard on Hor. Od. 1. 7. 27 Teucro, with references. This is not quite the same as the signatory use of his name by the poet at the end of a book (e.g. at AA 2. 744 or 3. 812) or elsewhere (e.g. Am. 2. 1. 2, Prop. 2. 14. 27), though in this case the name serves effectively as a a.r,'and esp. Ovid, Met. I. 517 ff. 'per me 48

concordant carmina nervis / ..• (521) inventum medicina meum est, opiferque per orbem / dicor, et herbarum subiecta potentia nobis', with Homer's notes. The Romans first made the acquaintance of Apollo as a god of healing when a temple to Apollo Medicus was dedicated in 431 B.c. following a series of plagues (Livy 4. 25. 3, with Ogilvie's note); this was rebuilt in 353 B.c. The cult of Aesculapius was not introduced until about 290 B.c. (Livy 10. 47. 6 f.). Macrobius, comparing Greek and Roman ritual, remarks: 'eadem opinio sospitalis et medici dei in nostris quoque sacris fovetur; namque virgines Vestales ita indigitant: Apollo Medice, Apollo Paean' (1. 17. 15). 77. pariter ... pariter: a characteristically Ovidian locution, expressing identity either of time (cf. Met. 8. 324 'hanc pariter vidit, pariter Cyllenius heros / optavit') or of manner, degree, etc. (cf. Am. 2. 19. 5 'speremus pariter, pariter metuamus amantes', Met. 8. 759 'et pariter frondes, pariter pallescere glandes / coepere', 11. 305 '(Phoebus Maiaque creatus) videre hanc pariter, pariter traxere calorem'). succurre: succurrere, 'to come (quickly) to the aid of', is also a doctor's term used of medicines, 'to relieve' ( = prodesse).The double meaning adds an unobtrusive touch of humour to the prayer. medenti: substantival, i.q. medico,first at Luer. 1. 936.

79(77)-810(798). TRACT ATIO Ovid's powers of organising a large body of diverse material, displayed at their near-miraculous best in the Metamorphoses,are evident in lesser but still impressive degree here. There are 38 specifically remedial praecepta, to which are prefixed two pieces of general advice (numbered [oo] and [o] in the Synopsis), bringing the total up to a round number. The basic scheme of the Tractatio is a simple chronological progression, in conformity with the nature of the subject. The first section, (a), is concerned with the 'disease' from its earliest diagnosable stage, through its development to its period of maximum intensity. The second, (b), deals with the post-critical phase, when treatment becomes a practical proposition. (b)(ii) (A) and (B) present alternative regimes to be followed, depending on whether the patient can or cannot get away from the source of infection; Ovid's remarks on magic, shown as a bridge passage (A-B) in the Synopsis, could apply equally to either situation. (b )(iii) takes us on in time to a stage when the disease is supposedly cured, but may break out again if the patient is incautious; (b)(iii) (A) to (C), though not articulated serially, may nonetheless be envisaged as successive, culminating in the final proof of complete recovery, the ability to kiss one's former rival on the cheek (794 'oscula cum poteris iam dare, sanus eris'). The exposition concludes with two precepts about food and drink, aimed at maintaining this hard-won

49

IIIIIWU.The balance and proportion of parts is best ascertained from the Synopsis. Ovid appears to have deliberately avoided dividing his rules into two equal groups; 17 pertain to breaking the attachment {IS, if the blanket maxim [ 1] is added), but 20 to preventing its renewal; rules [oo] and [o] may however be included in the first part to obtain parity. To prevent the Tractatio from seeming to fall apart down the middle considerably more space is devoted to (a)+ (b)(i) and (ii) than to (b)(ili) and (iv). His apparent fidelity to the base unit 38 excepted, Ovid shows no interest in numerically based patterns; there is no evidence that he has utilised the ratio of the so-called Golden Section (1: o. 618), or sought to engineer major breaks at even roughly 3/5th positions (for the seeming occurrence of this 'perfect' proportion in Book I of the Metammphoses, see H. Wagenvoort, MPh. 57 [1952], 10). Although Ovid throughout plays the rOleof the medical practitioner and employs medical metaphors and analogies where he can, it is left to the reader to grasp for himself the fact that the disposition of the subject-matter actually fits the traditional division of medicine into three parts. A tip-off comes near the end, when Ovid turns to the question of food and drink, 'medicinae [as he says] fungar ut omni/ munere' (795 f.). Dietetics formed one of the branches, or services (munera), of ancient medicine; medication and 'surgery' (including cautery, manipulation, etc.) were the other two. Cf. Celsus (writing under Tiberius), promi. 9: 'isdem temporibus [4th-3rd centuries B.c.] in tres partes medicina diducta est, ut una esset quae victu, altera quae medicamentis, tertia quae manu mederetur. primam .dIAITHTIKHN, secundam q,APMAKEYTIKHN, tertiam XEIPOYPI'IAN Graeci nominarunt.' Ovid reverses this order. The desiderated approach to the disease of love, if it is discovered early enough (cf. 79 modici motus, 81 nova 1emina, 115 nascentis morbos), is essentially surgical, metaphorically speaking:the infected part should be removed before the 'germs' spread through the body; if that is allowed to happen, the doctor is powerless to act until the crisis has passed (cf. 91 f. 'sero medicina paratur •• .', 101 f., 105 f.). Two illustrations which have a reference to mamu (cf. 'tertia quae manu mederetur', above) supply the key : that of the tree, which when immature could be plucked out of the earth by hand (87 'tum poterat manibus .•• revelli'), and especially that of Philoctetes, who ought to have taken the knife to himself without delay ( 111 f. 'quam laesus fuerat, partem •.• / debuerat celeri praesecuisse manu'). That Ovid conceives his remedies from 131 onward as analogous to the medicamentaof the physician is suggested by allusions to drugs for internal consumption (227 'saepe bibi sucos quamvis invitus amaros' (coupled with a dietary restriction), 313 f. 'curabar propriis aeger Podalirius herbis / (et, fateor, medicus turpiter aeger eram)', 528 'auxilium multis sucus et herba fuit'; cf. 131 f. 'data tempore prosunt / et data non apto tempore vina nocent), and possibly also to salves (623 'vulnus in antiquum rediit male fuma cicatrix' ; cf. 729 f. 'vulnusque

50

novatum / scinditur', 613 ff. contagia oculonnn, and see on 129 implevmt). For two different analyses of the Tractatio see Zinn, pp. 1-7 (by K. Weisert) and 35-43 (by Th. Greiner).

79(77)-134(132). Preliminary Advice

[oo], [o]

Halt before you are deeply involved. Delay will result in your becoming hooked. Then nothing can be done until your passion has worked itself out. The thought underlying this section is traditional, expressed in the , \ ,~ (} '\ \ '\ , " - '\ ., ' f c•tc. r,m. DL~J proverb capX1JV i.aa ai 11'0/\V I\WWV 'TJTUt.EvrTJV ; c . 5. 31 'omne malum nascens facile opprimitur, inveteratum fit plerumque robustius', Pers. 3. 64, Dist. Cat.7Jrpis), by which 'id quod ••• esse aut fore arbitramur contrarium nobis, praeoccupamus dicere et cum ratione dissolvere' (Rutil. Lup. 2. 4); see Sandys on Cic. Or. 138 ante occupet. The emphatic anaphora of dura shows that the poet believes his patients are adult enough to be told and to accept the truth; he does not try to evade the charge. The importance of the principle laid down in 226--'ut valeas, multa dolenda feres'-is unobtrusively underlined by the use of 'parallel' alliteration: the initial letters of the last four words of the hexameter and of the pentameter are the same (v, m, d,/). The warning given here- 'This is going to hurt'---along with the following reasons why it is necessary to suffer (225-37 form a parenthesis) does more than merely lend fales to the exposition. These lines have also a structural function, for they help to give shape to the central portion of the work. Ovid calls this section the ianua artis nostrae(233), and we may regard 225 ff. as the pillars of the entrance hall to the meta-

70

phorical building. The exit is marked by a related block of lines, 523-8 'et quisquam praecepta potest mea dura vocare? / en, etiam partes conciliantis ago. / nam quoniam variant animi, variabimus artes; / mille mali species, mille salutis erunt. / corpora vix ferro quaedam sanantur acuto; / auxilium multis sucus et herba fuit.' Between these two points the patient is exposed to an increasingly difficult and distressing series of cures up to roughly the geographical centre of the Tractatio (399 ff., culminating in the ultimate ordeal of 437 ff.); thereafter the going becomes progressively easier (cf. 495 f.), for he has been through the fire and merits encouragement. The arrangement of the precepts is thus in the form of an arch, a practical expression of the buildingmetaphor conjured up by 233 f. It is paradoxical that in truth the patient-initiate is required to descend into the pit of disgust, instead of ascending the stairway of mortification to the shrine of peace of mind; but that is Ovid's humour. The descent would have been less deep, perhaps, had he not been moved by an impish and somewhat puerile desire to outrage those who had found his Ars immoral (cf. 361 ff.) by serving up something even more offensive; there was no call to take 'Lucretian realism' to this crude extreme out of fidelity to the didactic tradition. 227 f. Another appeal to usus; cf. 101 vidi ego, 3II mea cura, 663/orte a.deram. 227. sucos ... amaros: cf. Luer. 1. 936 ff. ( =4. II ff.) 'veluti pueris absinthia taetra medentes / cum dare conantur ... (940) interea perpotet amarum / absinthi laticem', Ovid, Am. 3. II. 8 'saepe tulit lassis sucus amarus opem.' sucusis a medical term; cf. Cels. 2. 19 ff. 'aliae res boni suci [nom.] sunt, aliae mali, quas Ev~.\ovs vel ,ca,co~.\ovs Graeci vocant; aliae lenes, aliae acres', Pliny, NH 24. 125 f. 228. mensa: i.q. cibus, solid food, opp. potio (sucus); first in Cicero, e.g. De Fin. 2. 92, TD 5. 100. 229. redimas! sc. a morbo,i.q. reficias. ferrum patieris et ignes: cf. Prop. 1. 1. 27 'fortiter et ferrum, saevos patiemur et ignes', i.e. surgery and cautery, Toµ,~ ,cai Kavu,s, the most extreme forms of physical cure and very early adopted as metaphors (cf., e.g., Aesch. Agam. 17, 849, Cho. 539). 231. tolerare negabis: a poetic construction, modelled on nolo or recu.ro+infin., first attested in Ovid; cf. Her. 3. 40, Fast. 5. 650, Pers. 5. 157, Val. Flacc. 7. 306, Stat. Theb. 4. 127. 232. at: 'yet (in fact)', implying that the answer to the question in 231 was more hesitant than Ovid desired. pretium ... maius: 'greater worth'. The observation is a cliche (cf. esp. Sall. BC 1. 2, BJ 1. 3, 2. 3), reflecting ultimately Platonic (Orphic, Pythagorean) thought; cf., e.g., Plato, Phaedo 643 ff., 82d ff., where it is argued that the body is a hindrance to the operation of the soul and should be 'eliminated' by the philosopher as far as possible in life. G

234. tabor ... unus: 'your one and only labour'; i.e. once you have undergone the first stages (tempora prima), your task will be lighter. The pentameter is a typical variation on the hexameter. The sentiment is proverbial; cf. Otto, s.v. princi.pium(3). 235 f. The two illustrations are traditional; cf. Tib. 1. 4. 15 ff., Prop. 2. 4· 3 f., Ovid, AA I. 471. 237. a laribus patriis: 'from your ancestral home'. Cf. Hor. Sat. 1. 2. 56 'qui patrium mimae donat fundumque laremque', Epist. 2. 2. 50 f. 'inopemque paterni / et laris et fundi', Tib. 1. 3. 33 f. 'patrios celebrare Penates / reddereque antiquo menstrua tura Lari'. 239. oec: i.q. nee tamen; cf. 321 and Plaut. Trin. 205, Cic. De Or. 2. 277, Petr. 58. 4, Juv. 3. 102, Tac. Agr. 8. 3, 19. 3; etc. 240. praetendens culpae splendida verba mae: 'cloaking your moral failure in fine words', i.e. high-sounding excuses. Cf. Virg. Aen. + 172 '(Dido) coniugium vocat, hoe praetexit nomine culpam', 338 f. 'nee coniugis umquam / praetendi taedas'. praetendereis not used in this sense elsewhere by Ovid. 241. curae: objective genitive (cf. 483). (Mozley Inistranslates 'a hundred cares will bring you solace'.) 243-8. The argument is as follows: it is necessary not merely to go away, but to stay away as long as possible, in order to let the fires of love die out completely. Return too soon, and they will flare up again, putting all your efforts at nought. 243. leotus abesto: 'take your time about staying away' (cf. 116,774). lentus cannot mean cold or indifferent to love, since (a) Ovid could hardly ask this of his patient: it is his task to make him such; (b) the point of the dum clause would be lost; (c) there would be no antithesis to properaris. 244. cinis: 'the embers of your passion'. Cf. Callim. Epigr. 45. 1 f. '"E crn 'T£ ••• KEKpvµ,µ,&ov , ~ n_, • • • / • •• 'TTVP V'TTO'T'[J cnroo£T} , A nth• .ru,,. 12. 80. 3 f. (Meleager). cinisis logically in apposition to an unexpressed amor; the ellipse is quite bold. 245. quod nisi firmata: for quodsinon-firmata (infirma). The negative element normally affects the whole clause; cf. Ter. Phom,. 155 (ni), Cic. Verr. 2. 66, De Nat. Dear. 1. 44 (ni), Virg. Eel. 9. 14, Georg. 1. 155, Livy 3. 46. 4, 6. 15. 6, Tac. Agr. 16. 2, 37. 4. 246. inferet arma . .. rebellis Amor: cf. 612 'et, quae condiderat, tela resumpsit Amor'-a deliberate responsion, which serves to 'clamp' the poem together (cf. on 358, 579, etc.). For the thought cf. Hor. Od. 4. 1. 1 f. 'lnterinissa, Venus, diu / rursus bella moves?' 247. quidquid et afueris: 'however far away you've been' ('quamlibet longe afueris', Nemethy). 248. spatium: temporal (as at 277). darnoo cesserit ... tuo: cederehas here the sense of accedereor contingere+ dative. From the examples quoted in the Thesaurus (iii, p. 731. 20 ff.) it appears that the usage is properly a legalism (lucro A

72

•

,

A

A,

cedere: Pompon. Dig. 7. 6. I. 35• 1).

1.

69, Paul. Dig. 4. 4. 23; damno c.: id. ibid.

[7]

249(247)-290(288). On Magic

Witchcraft will avail you nothing. Neither Medea nor Circe was able to charm away her love. Set your face against magic. The substance of Ovid's advice is contained in the first two and the last couplet of the section. The rest is non-expository material, illustrative or frankly digressive. Ovid has taken his brief remarks on the futility of love-magic at AA 2. 99 ff., expanded them into a catalogue of the better-known tricks of the sorcerer's trade, and dovetailed to that a dramatic episode modelled on the scene with Ulysses and Calypso that follows in the Ars (2. 123 ff.). The result is something of a disappointment. The writing in the first part has a mechanical air about it: the subject was a stale one, which Ovid had treated before (cf. Am. 1. 8. 5 ff., Her. 6. 83 ff. (of Medea)) and in which he seems to have had little real interest, unlike Tibullus, to whom it is probable that he turned for inspiration (cf. esp. Tib. 1. 2. 43-52). Ovid's rejection of anaphrodisiac magic (as of aphrodisiac in the Ars) is generally shared by the poets (see Gow on Theocr. 1 1. 1 ). Loveloosing spells are referred to by Horace (Epod. 5. 69ff.), Virgil (Aen. 4. 487), Tibullus (1. 2. 59 f.), Pliny the Elder (NH 28. 262) and Nemesianus (Eel. 4. 62). The cf,apµ,a,ca 8vµ,oyovaa ICW'T"TJV ig,pa>..E tpapµ,a,cwv J,cE'£ ,ca2avEtpvaav'.In reality it harboured superstitions that had died out elsewhere, because of its geographical and cultural isolation. mala pabula: 'baneful herbs'; cf. 106 mala arbor. 251. veneficii: venefa;iumin law was not restricted to poisoning but

on

73

embracedall forms of witchcraft. Cf. QuinL 7. 3. 7 ' .•• an cannina magoru.m veneficium. res enim manifesta est, sciturque non idem esse • • • cannina ac mortiferam potionem; quaeritur tamen an eodem nomine appellanda sinL' vetus: 'bad old', as often (cf., e.g., Cic. Pro Rose. Am. 17, Pro Cael. 64). 252. sacro carmine: the 'holy song' of Apollo is the opposite of the old hag's in.Jame cannm (254); sacnan cannencould mean more or less the same as the latter ('accursed, evil spell'). The legal expression for this was ma/um cannen; cf. XII Tab. 8. 1b Warmington 'qui malum carmen incantassit •• .'. A f amosumcannen, on the other hand, was in law a slanderous or insulting song or lampoon (including a published libel): cf. ibid. 1a, with \Varmington's n. (Loeb). 253-4- NEKVOp.o.vrElawas perhaps the most frightening manifestation of occult powers. First causing the earth to gape by means of a spell, the sorcerer summoned forth the spirits of the dead to ask their help in divining the future. Cf. the ritual performed by Odysseus in Hom. Od. 11, who also pours in blood; other famous descriptions are Aesch. Pers. 619 ff., Luc. 6. 738 ff., Sen. Oed. 530 ff. 255. The translation of another's crops to one's own field by magical spells was specifically prohibited by the Law of the Twelve Tables: 8. Sb Warmington 'neve alienam segetem pellexerit' (ap. Serv. on Virg. Eel. 8. 99 traduceremesses).Cf. Pliny, NH 18. 41 ff. 256. The sun's sudden pallor is caused by cloud, perhaps a veil of snow-bearing stratus (cf. Tib. 1. 2. 50 'cum libet, aestivo convocat orbe nives'). No magician could ever turn down, as it were, the sun's voltage. 257. Stopping and reversing the flow of rivers were routine feats. Their purpose is apparently never made clear, but must be connected with the traditional inability of a witch to cross running water; by halting a stream at one point and turning back the water above that point, she can walk across the dry bed. Cf. Ap. Rhod. 3. 532 (of Medea) '«al ' " J!,1.' - 1:' pEovras, ' ' ' Prop. 1. 1. 23 f. ' ere d'17TCYraµ,ovs WTYJULV ..,,.,,,..p KEl\cwELVa derim vobis et sidera et amnis / posse Cytaeines ducere carminibus' (see Enk ad loc.), Tib. 1. 2. 44 'ffuminis haec rapidi carmine vertit iter'. '>f \ f • f!:258• Cf • AP· Rh 0d . 3· 533 aUTpa TE Kai Jll1JVTJS UP'TJSE7TE07JUE «EAEv0ovs', and see Enk on Prop. 1. 1. 19, who gives references for this most famous of all µ,ayEvµ,aTa from Aristop~anes (Nub. 749) to Nonnus and Claudian; also Smith on Tib. 1. 2. 43 and 1. 8. 21 f.; Hughes, Witchcraft, p. 39. The 'drawing down' of the moon, i.e. bringing about an eclipse, was especially associated with aphrodisiac magic, where it was essential that there be no celestial witness to the nocturnal goings-on. in niveis ... equis: i.e. in curru niveis equisducto; cf. on 6 Martis equis.The adj. does not necessarily connote coldness; cf. Am. 2. 1. 24 'et revocant (sc. carmina) niveos solis euntis equos', Lygd. 6. 8 'fulserit A

74

J

hie niveis Delius alitibus'. For the horses of the moon, cf. Hymn Hom. 32. 9 f., Theocr. 2. 163 f. Her car was drawn by two, in contradistinction to the sun's, which had a team of four (see Daremberg-Saglio, iii. 2, pp. 1388-92 for representations in art). 259. recantatas ... curas: recantareis to charm away by a spell, commonly just the love-binding spell in reverse; cf. Met. 14. 299 ff. (Ulysses' companions are restored to human form by Circe). See Smith on Tib. 1. 2. 59 ff. 26o. The end of the paragraph is marked by the change to metaphor (Amor personified); cf. on 168. There follows a transition (261 f.) to the case of Circe. vivo sulphure: natural (i.e. volcanic), as opposed to artificially prepared, sulphur. This mineral had a great vogue as a physical and spiritual disinfectant in antiquity. For the former function cf. Virg. Georg. 3. 449 (sheep-dip), Colum. 7. 5. 9 (ditto), Cels. 5. 28. 16C 'amurca ... decocta vel sulphur pici liquidae mixtum, sicut in pecoribus proposui, hominibus quoque scabie laborantibus opitulantur'. More relevant here (though Ovid might hope that his readers would recall these cruder medicinal uses) is its r6le in ritual love-loosing lustration, of which Tibullus gives a description: 'nempe haec eadem (sc. saga) se dixit amores / cantibus aut herbis solvere posse meos, / et me lustravit taedis, et nocte serena / concidit ad magicos hostia pulla deos' (1. 2. 59 ff.). The torches were impregnated with sulphur (cf. Nemes. + 62 ff.). A similar procedure was followed in the treatment of the sick, in order to exorcise the malign spirit causing the illness; cf. Tib. I. 5. 9 ff., Ovid, AA 2. 329 f. 261 f. As in the Ars Ovid had declared that magic was of no assistance to Circe and Medea when they desired to keep their lovers, Ulysses and Jason, bound to them (2. 103 f. 'Phasias Aesoniden, Circe tenuisset Vlixem, / si modo servari carmine posset amor'), so now he advises the reader that their potions and spells helped not a whit when they sought to dispel their love (but Medea has not yet married Jason; contrast 59 f.). Ovid had treated of Medea's love sufficiently elsewhere; he therefore concentrates on Circe. 261. Phasiacae ... terrae: the kingdom of Colchis, watered by the River Phasis. gramioa: i.q. pabula (249), herbae(263). 262. patria . .. manere domo: cf. Ap. Rhod. 3. 639 f. 'µ,v&.a0w ecw

OV mos lpEW'fl'(cf. Lycophr. Alex. u27 A. a,c6-ros), + 545 Lethaea papaoera, Aen. 5. 854 Lethaeo rore; etc.). Of these passages the nearest parallel to LethaeusAmor is afforded by the Callimachus, where "'Y1TVOS may easily and legitimately be read, and the epithet attached to him no less than to his wing alone. From A718afus "Y1TVosto LethaeusAmor is not too large a jump, as Amor heals (551) by bringing oblivia (553), just as does Sleep; and it may be that the paet was already thinking in terms of the Amor-sommu ambiguity with which he makes play in the dream-sequence that follows (SSS ff., imitated from Aen. 5 ad fin. (Somnus and Palinurus); see below on 577 f.). 552. inque suas gelidam lampadas addit aquam: for the figure cf. App. Plan. 14 (Zenodotus) '-rls y>..vif,as-rov "Epw-ra 1rapd."P1JV[Jreis aquis suggests the never-ending cycle of waves, the booming u's of undiquepulsus (picking up and concentrating the four u's of 691) their reverberations against the rock (undiquebringing unda, and perhaps also nmdere, to mind). 693-8. Cf. 299 ff. 'saepe refer tecum sceleratae facta puellae', etc., 309 f. 'atque utinam possis etiam facundus in illis / esse: dole tantum, sponte disertus eris'. Such faamdia as the dolens amator can muster, however, must on no account be unleashed in the girl's presence, lest she prove even more eloquent in her defence. 694, Cf. Prop. 2. 18a 'Assiduae multis odium peperere querelae: / frangitur in tacito femina saepe viro. / si quid vidisti, semper vidisse negatol / aut si quid doluit forte, dolere negal' Also Menander, frr. 557 K, 574 K. 695. ne diluat: 'in case she explain them (i.e. her peccadilloes) away'. 695-6. ipse favebis, ut melior causa sit ilia tua: '(if you do list her transgressions) you will help her to make her case stronger than yours'. With the juxtaposition causa causa cf. 484 curd cura. ilia is a genuine enallage for illius, metri gratia (cf. on 37 his). 697. firmus: 'sure of himself', 'determined'. 698. satisfieri ••• sibi: impersonal; sc. ab ea. The sense is not 'that she apologise' or 'make amends to him', but 'that she offer a satisfactory explanation of her conduct that will allay his suspicions'-proving that he still seeks to be reassured that she loves him (cf. 685). Cf. Plaut. True. 190 ff. 'hoe nobis vitium maximumst, quom amamus tum perimus: / si illud quod volumus dicitur, palam quom mentiuntur, / verum esse insciti credimus'. 699-7o6. Ovid pauses in his exposition to reaffirm, in elaborately metaphorical terms, that his wish is not to quell love by unseemly or violent methods, but to dispel it prudently and with the cooperation of the patient (703). This declaration leads into an epiphany of Phoebus, to whom the poet prayed for inspiration at the beginning of the Remedia, and whose appearance now signals that the end of the poem is at hand. For the technique of negative enumeration cf. 253 ff. The actions rejected by Ovid cover, with characteristic Alexandrian thoroughness, all Cupid's attributes-quiver, torch, wings and bow. Various Hellenistic models may be cited, e.g. Anth. Pal. 5. 179 (Meleager), 5. 188 (Leonidas), 12. 150 (Callimachus). Epigrams Els ll.ya>.µ,a Tov "Ef'WTOS 8E8Eµ.&ov (describing a figure of Love in chains) were also a popular form of exercise: cf. App. Plan. 195-9. For the image in 700 cf. 552 and n. 124

6gg. Dulichio ••• more: 'in the style of Ulysses'. The allusion is to Odysseus' 'theft' of the arrows of Philoctetes on Lemnos (see on II I f.); for Dulichius cf. 272 and n. The implication that Ulysses was in the habit of stealing things conforms to the post-Homeric opinion of that hero, which downgraded his resourcefulness (exemplified by such feats as the removal of the Palladium from Troy) into mere immoral and vagabondish cunning. See W. B. Stanford, The UlyssesThntu! (1954), pp. 102 ff. Lenz (II, p. 93) mistakenly takes the reference to be to the stringing of the bow in Od. 21. 701. purpureas: 'gleaming'; cf. Am. 2. 1. 38. Of the dazzling whiteness of a swan's plumage: Hor. Od. 4. I. 10; of light: Virg. Aen. 1. 590, Ovid, Fast. 6. 252. pueri has to be supplied retrospectively with sagittas (699) and/aces (700), as well as with arcus (702)-an unusual instance of a construction extending over two couplets. 703. consilium est, quodcumque cano: 'whate'er I utter is in the nature of advice' (cf. 292); cano implies divine, prophetic inspiration (coming from Phoebus). 'Advice' does not conflict with the poet's assumption of didactic infallibility and consequent right to issue orders or prescribe for his patients throughout much of the Remedia(cf. on 292, 496 iussa). 703-4. parete canenti, / ... coeptis, Phoebe saluber, ades: closely modelled on AA 1. 29 f. 'vati parete perito; / vera canam. coeptis, mater Amoris, ades'. 70+ tuque ravens ... ades: cf. Virg. Georg. 1. 18 'adsis, o Tegeaee, favens' (coeptis:ibid. 40). xopq,· 705. Ovid imitates Callim.fr. 227. 1 Pf. '"EvEcrr''A1r6MwvTq> ""' \I I J 'T7/S I\VfY'lS aKOVW • 7o6. signa deum nosco per sua: si.gna= the god's accoutrements and the tell-tale noise they emit. nosco for agnoscois rarely found after Plautus; cf. Hor. Sat. 2. 7. 89, Tac. Hist. 1. 90. On the cyclic form of the couplet, in which the first and last words are the same, cf. on 71 f. and 385 f. The second 'Phoebus adest' is confirmatory: 'Yes, Apollo's here!' 707. Amyclaeis medicatum vellus aenis: 'a fleece (i.e. raw wool) dyed in Spartan vats'. medicareis an exclusively poetic synonym of tinguereor inficere,first attested at Hor. Od. 3. 5. 28; aenum(sc. vas) = 'a copper tub', cf. Virg. Aen. 1. 213 (for boiling water), Ovid, Fast. 7. 822, Sen. Here. Oet. 663, Stat. Silv. 1. 2. 151 (all for dyeing). Amyclaeis stands by metonymy for Laconicis or Lacedaemoniis.The town of Amyclae (modem Aghia Kyriaki) was anciently in the domain of Menelaus (Hom. II. 2. 584) and the family seat of the Tyndarids. It had no dye-works, nor, it appears, were there any in Lacedaemon at all. 'Spartan purple' was produced on Cythera (also called Porphyris), where the Phoenicians first established the industry. See DarembergSaglio, iv. 1, p. 775, s.v. PURPURA; OCD1 s.v. PURPLE; Mayor on Juv. 1. 27. J

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7()8. .amrice cam TyrilY. ...-ia (fOI'other examples see TLL mi, p.

wst.e tiadJ,

-ia!.

a metonymy

16j1. 32 ff.; all arc post-Ov:idian). The comparison is one that OTid himself bad drawn in an early ( ?) work in hcndecasyllables, from which Quintilian quotes (12. 10. 75): • "Jana tincta fuco" citra purpuras placet, "at si contuleris eam Lacaeme, conspectu mclioris obruatur", ut ait Oridius' (see Austin ad loc.). 710. pudere: although other precepts have been directed to making the man feel contempt for his mistress (e.g. 331 ff.), this is the first time that an external stmdard of comparison bas been posited. These Jormosae arc presumably a handful of girls about whose surpassing loveliness fashionable society is agreed; the lover is asked to measure his girl against these beauties with the eye of an unprejudiced observer, when be must admit that they are a class or two above her. 711. utraque formoaae Paridi potuere videri: 'each goddess had the power to seem gorgeous to Paris'. dea is readily supplied from the context; Hera Uuno) and Athene (Miner\"a) are meant. The Judgment of Paris formed part of the \"anished Cypria: cf.frr. 1, 3, 4 and 5 Allen, Proculus, Chrest. 1 (p. 102 Allen); for other references see Eur. Androm. 274 ff., TroaJ. 919 ff., Hee. 644 ff., etc., Isocr. 10. 44, Virg. Am. 1. 26 f., Ovid, Her. 16. 59 ff. 715-40. Three pieces of advice are brought together in this well-defined paragraph-bum her letters, take down her portrait and avoid the places where you made love. They are handled in a lively and inventive manner. A pair of mythological exemplais given (721,724; cf. 735 f. and 737); direct speech is interjected to good dramatic effect (727 f.); medical terminology makes a long-overdue reappearance (729 f.); there is an interesting simile from chemistry (731 f.); and a cluster of geographical metaphors, arranged in climactic triro/on tllldlun with anaphora, makes an impressive conclusion. With these precepts cf. Sen.

Epist.69.3· 715. profuit: cf. on 315. 717-18. scripta cave relegas ... / ... scripta relecta moveat: the ingenious anadiplosis humorously augments the sense: the Q1IUlllS will not only re-read her letters, but re-re-read them, and so on. Note also the chiasmus scripta • • • blanda.e/ cmutantis••• scripta. blanda.eis well chosen: the tender endearments of her correspondence tug at his heartstrings and threaten his cmutantia. 720. "ardoris sit rogus iste mei": 'let that be my passion's pyre', 'fire to fire, ashes to ashes'. iste, rather than ille, because the rogus consists of his girl's letters, and because his mind is occupied by thoughts of her ( 'you'). 721. Theatias: i.e. Althaea, daughter of Thestius, sister of Leda and mother of Meleager. For the events leading up to his death see Met. 8. 451 ff., with Hollis' notes. 8Uccenclit stipite natum: 'kindled her son with a brand', a poetic 126

ellipse for 'kindled the (fatal) brand and so destroyed her son'. But the effect upon Meleager was indeed as if a slow fire had been kindled within him: Met. 8. 515 f. 'absens ffamma Meleagros ah ilia/ uritur et caecis torreri viscera sentit / ignibus'. 722. timide ••• dabis: i.q. dare timdns, 'will you be afraid to (hesitate to) give ..• r' 723. ceras: i.q. imagines,wax portraits of the girl. A cera or imago of a living person was the ancient equivalent of a studio photograph and would probably have been displayed in a case, which could be closed (cf. Pliny, NH 35. 6 singulisarmariis). The most familiar type of wax portrait was however the death-mask; in the houses of distinguished families the imaginesof ancestors were displayed in the atrium, possibly sometimes so as to form a genealogical tree. Colours were either added to the wax while it was being worked, or applied superficially to the finished product; glass eyes were customary. 72+ carperis: 'be reproached', 'worn down', an oxymoron with muta. hoe periit Laodamia modo: the tale of Laodamia is succinctly summarised by Servius on Virg. Aen. 6. 447: 'uxor Protesilai fuit; quae cum maritum in hello Troiano perisse cognovisset, optavit ut eius umbram videret: qua re concessa, non deserens eum, in eius amplexibus periit'. Ovid supposes (anachronistically) that if she had had no wax image of her husband to gaze on, her love would not have endured. Cf. Her. 13 with Palmer's introd. (and note line 152 'quae referat vultus est mihi cera tuos'), Catull. 68. 73 ff., Hygin. Fah. 103, Eustath. on Hom. Il. 2. 701 ; etc. 725. et loca saepe nocent: 'places also often work Inischief', sc. by their past associations. conscia: 'privy to', 'that witnessed'. 727 f. The unheralded switch to direct speech is an imaginative piece of repraesentatio;instead of describing the reactions of the lover in this situation, the poet transports the reader into the scene to see and hear for himself. So anguished is the lover that his thoughts burst forth in speech-but carefully organised speech, in the shape of a tetracolon auctum (memhraof 1, 1½, 2½ and 5 feet) with climax. 727. hie: 'in this house'; thalamo •.• illo = 'and that was our bedroom over there'. hie in 728 either has the same general reference, or points specifically to the thalamus, into which the lover has now advanced. 728. lasciva ... nocte: 'one amorous night'; cf. Prop. + 8. 76 lasciuutn forum, Mart. 8. 78. 9 lasciva numismata. The epithet may be regarded as transferred fromgaudia or from the subject; nocte unqualified would signify 'at night', not 'one •.. night'. 729 f. Cf. 629 and 662 (admonitu),623 'vulnus in antiquum rediit male firma cicatrix'. 731. sulphure: cf. 26o and n., AA 2. 441 f. 'sed tamen extinctas 127

admoto sulphure flammas / invenit (sc. ignis), et lumen, quod fuit ante, redit'. 73:z. vivit: 'it comes to life', 'revives'. 734- quae modo nulla fuit: 'which but a moment ago was nonexistent'. The clause corresponds to P