R. O. A. M. Lyne: Collected Papers on Latin Poetry by R. O. A. M. Lyne

By R. O. A. M. Lyne

This quantity offers a variety of items from a world-class Latinist which monitors either his varied pursuits as a pupil and his constant quandary with Augustan texts, their language and literary texture. the variety of articles, written over greater than 3 a long time and together with one formerly unpublished piece, covers an analogous hooked up territory - mostly Virgil, Horace, and elegy. R. O. A. M. Lyne's constant process of shut examining implies that the articles shape a coherent entire, whereas his compelling sort as an engaged literary analyst guarantees that those should not dry or forbidding items.

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Natalis nostrae signum misere puellae et manibus faustos ter crepuere sonos. transeat hic sine nube dies, stent aere uenti, ponat et in sicco molliter unda minas. aspiciam nullos hodierna luce dolentis; et Niobae lacrimas supprimat ipse lapis; alcyonum positis requiescant ora querelis; increpet absumptum nec sua mater Itym. tuque, o cara mihi, felicibus edita pennis, surge et poscentis iusta precare deos. ac primum pura somnum tibi discute lympha, et nitidas presso pollice Wnge comas: dein qua primum oculos cepisti ueste Properti indue, nec uacuum Xore relinque caput; et pete, qua polles, ut sit tibi forma perennis, inque meum semper stent tua regna caput.

78 Cynthia is thus taking up the vocabulary of the rude forces which Propertius, in his idealistic regard for her idealised self, rejected. It is a hard blow for him. Given this technique of ironic eVect by verbal echo, we might look back at the harshly sudden introduction to the Wnal speech ‘sic ait in molli Wxa toro cubitum’ (34). One reason it does sound so harsh is, I think, that it echoes, while jumbling up, sounds and ideas from the idealistic Wrst portion of the poem. As a whole, it is clearly reminiscent in construction and sound of line 8 ‘Cynthia non certis nixa caput manibus’, the description of the idealised Cynthia’s statuesque position.

The situation alluded to is not thus the conventional one of the exclusus amator. namque magniWcently reveals Cynthia’s tenuous feminine logic. The thought process is: ‘you must have been sleeping with another girl, for where else could you have been . ’. 67 The claim, anticipated by referens68 and nostro . . lecto, is of course part of Cynthia’s version of the marriage convention,69 and the perversion of the elegiac conception is now plain. nostro lecto could have turned out all right, but meae noctis, given the tone of the speech, is the expression of a domineering wife of terrible reality, not the dream spouse of poetry.

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