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A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. / All the poems of Catullus and Tibullus and the first three books of Horace's Odes are investigated tor structures of parallelism and inverse paralelism (chiasmus) and thus the extent to which these devices were used is determined. Such structures are demonstrated for the first time for several poems. Sometimes additions or modifications are made to the structural analyses of other scholars, and sometimes their findings are confirmed. The notion that inverse parallelism was seldom used by Roman authors is dispelled. The freedom with which these devices were used, resulting in a great variety of deviations from strictly symmetrical structures, is demonstrated Both common and idiosyncratic features in the use of the devices by the three authors are shown. Several poems of each author are discussed to illustrate that the demonstration of a structure of parallelism or inverse parallelism is in itself an interpretative act, which can at the same time serve as a basis for further interpretation. In particular it is shown that structures of inverse parallelism often, if not always, iconically reflect the meaning of the poem (hence the title of the thesis) This ability or structures of inverse parallelism to reflect the meaning of the poem may partly account for the fact that they are used more frequently than are structures of parallelism. In the poems discussed structures of inverse parallelism iconically reflect the ideas of reversal, cyclical movement, non-progression/deadlock, balance and/or contrast and enclosure, as well as combinations of the above, such as a spiral (both progression and non-progression) or the combination of reversal and nonprogression. Continuity between the structural methods of Greek and Roman authors is demonstrated, and a theoretical framework is provided, which answers the questions how such structures can be determined, and what purposes, both practical and poetic, they serve. A literary-critical awareness of inverse parallelism in Antiquity is demonstrated. St. Augustine, especially, has a fairly developed theoretical frame of reference on the subject, in his De Genest ad Litteram / Andrew Chakane 2019

Latin erotic poetry is an important genre recording surviving examples of male friendship. This report argues that a specific group of poems involving the poet and his powerful friend should be identified and studied separately as a sub-genre. Drawing examples largely from Horace, Catullus and Propertius, I argue that homosocial erotic poetry exploits the same repertoire of generic conventions as erotic poetry, but reshapes some of them for different functions. To articulate the erotic emphasis and the generic concern of this report, Eve Sedgwick’s notion of “homosocial desire” (1985) is introduced. The concept of homosociality is useful in revealing how male desire in our sub-genre has an erotic tinge and functions to foster the social bond of male friendship, but precludes the homoerotic possibility. Chapter One introduces the important terms and methodology chosen for this study, while Chapters Two to Four define and describe three distinctive features of the sub-genre. Chapter Two is devoted to showing that sermo amatorius, the “love speech” often featured in romantic relationships, can be assimilable to the structure of male homosocial relations. Chapters Three and Four examine how the sub-genre reshapes the recusatio and the topos of wealth to negotiate the tension of desire between the poets and their powerful friends. Ultimately, this report argues that male homosocial desire motivates the sub-generic conventions and thereby the seemingly disparate poems constitute a coherent sub-generic classification. / text

This thesis examines the influence of Parthenius' doctrine of erotika pathemata on the Neoteric epyllion. His influence on Cinna has been readily acknowledged, but except for a few incidental and tentative references, little has been made of his role in determining important features of Neoteric poetry; in fact, many Leading scholars in the field fail even to mention him. A survey of the evolution of the epyllion in the Hellenistic world shows a radical transformation of the Callimachean type by Euphorion and Parthenius", in the late Alexandrian era. It is clearly the late Alexandrian epyllion that became popular with the Neoterics, as the relevant works of Catullus and, what can be conjectured about the nature of the lost Neatenc epyllia suggest. There is a marked bias towards tragic love-stories, sensational and bizarre, often metamorphic and with ample scope for emotional analysis and a subjective treatment. These features closely parallel the tenor of Parthenius', summary of 36 love-stories in the Erotika Pathemata, his only wholly extant work. While the collection was dedicated to Comelius Gallus well after most of the Neoteric epyllia were written, it is safe to assume that Parthenius preached his doctrine from the time of his arrival at Rome, as his widely acknowledged influence on Cinna's Zmyrna, perhaps the first Latin epyllion, seems to suggest. This thesis cannot pretend to defend Ross' extravagant claim that "without Parthenius' timely arrival there could have been no New Poetry"; but it can attempt to illuminate Parthenius' central role in establishing the nature of the Neoteric epyllion. This study has been undertaken, then, in the belief that Parthenius' influence on the Neoterics and on the creation of a new genre at Rome warrants closer scrutiny than has so far been attempted. Thus, it seeks to provide an alternate basis for the analysis of poems like 63 and 64, and heralds a possible shift from the emphasis on the autobiographical approach, which, though undoubtedly valid, has been belaboured in recent years to the point of excess. Abbreviated title: Erocika Pathemata and the Neoteric Epyllion. / Thesis (Ph.D.)--University of Durban-Westville, 1996.

There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.

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Cette recherche repose sur l’étude rythmique de l’hexamètre de la poésie de Catulle. Elle est utile, car cela n’a jamais été entrepris dans le cadre d’un travail de grande envergure. Le but est de fournir, enfin, une étude complète sur ce type de mètre utilisé par Catulle. On répertorie tous les éléments permettant de déterminer les caractéristiques propres à l’auteur, par exemple : les césures, les schémas métriques et les finales des vers. Une fois ces éléments notés, on explique davantage ceux dignes d’être mentionnés. Par l’analyse des données, on justifie que Catulle adapte son style rythmique aux différents sujets qu’il aborde dans ses poèmes. De plus, pour rendre ce travail encore plus complet, on indique les diverses innovations introduites par l’auteur. Pour ce faire, on analyse deux œuvres de poètes antérieurs. D’abord, on explore l’Aratea de Cicéron, un poème écrit une génération avant notre auteur. Cela présente une vision générale de l’écriture hexamétrique presque contemporaine à Catulle. Ensuite, on étudie une sélection suffisante de vers tirée des fragments des Annales d’Ennius, car il est le tout premier poète à avoir écrit en hexamètre dans la langue latine en l’adaptant de la langue grecque. Pour terminer, on présente une analyse de certains éléments de deux auteurs grecs, Homère et Callimaque, afin de démontrer les liens entre eux et Catulle. Ainsi, l’analyse de ces quatre auteurs permet d’avoir un portrait juste de l’écriture hexamétrique avant Catulle. On recense les éléments amenés par Catulle de ceux provenant soit de la mode de son époque ou soit venant d’une certaine tradition archaïque. Pour finir, on arrive à prouver que notre auteur réussit à innover, même s’il reste borné aux limites de son époque. / This research is a rhythmical study of the dactylic hexameter in Catullus. It has never been undertaken on such a large scale. The aim is to provide, at last, a complete study of this type of meter as used by Catullus. All elements that allow definition of the author's characteristics, for example, caesuras, metrical patterns and verse clausulae, are counted. Once these elements are noted, those worthy of mention are further explained. Through the analysis of the data, it is established that Catullus adapts his rhythmic style to the different subjects he addresses in his poems. In addition, to make this work even more complete, the various innovations introduced by the author are identified. To achieve this, two works by earlier poets are analysed. First, Cicero's Aratea, written a generation before the author under study, is explored. Thus is presented a general view of hexametric writing almost contemporary to Catullus. Next, a sufficient selection of verses from the fragments of Ennius' Annals is studied, as he was the very first poet to write hexameters in the Latin language, adapting the form from the Greek. Finally, an analysis of some elements of two Greek authors, Homer and Callimachus, is presented to demonstrate the links between them and Catullus. Thus, the analysis of these four authors allows an accurate portrait of hexametric writing before Catullus. Elements added by Catullus are distinguished from those coming either from the fashion of his time or from a certain archaic tradition. In the end, a picture emerges of an innovating author, even if he remains within the limits of his time.

Catulle, dans le poème 64, invente une ekphrasis d’un nouveau genre : au lieu de décrire une œuvre d’art dans sa matérialité pour la mettre sous les yeux des lecteurs selon la tradition rhétorique, il fait parler son personnage principal, Ariane. En quoi la figure d’Ariane a-t-elle permis à Catulle d’entériner une évolution de l’ekphrasis entamée par la littérature hellénistique, à savoir la focalisation non sur la matérialité de l’objet, mais sur son sens, une réflexion sur les liens entre vision et diction ? Il convient d’éclairer ce poème majeur de la littérature latine en le réintégrant, d’une part, aux multiples représentations figurées d’Ariane dans l’Antiquité et, d’autre part, à la lignée des ekphraseis précédentes, concept entendu au sens de « texte consacré à une œuvre d’art » pour inclure descriptions mais aussi narrations ou courts dialogues comme ceux des épigrammes ecphrastiques. En particulier, la prise de parole de l’objet d’art se révèle un topos épigrammatique hellénistique qui nécessite une étude systématique. Ce motif, baptisé topos de l’illusionnisme de l’art, mesure la qualité d’une œuvre d’art à sa capacité à sembler sur le point de parler, se mouvoir ou prendre vie. La typologie de ce topos met en évidence l’évolution de l’esthétique et de la relation entre poésie et arts figurés. Le poème 64 de Catulle se révèle alors reprendre ce topos – comme de nombreux textes après lui – pour constituer une surenchère illusionniste dans l’ekphrasis où l’œuvre d’art prend vie. La poétique de Catulle trouve un éclairage nouveau qui permet de mieux tracer la réception de l’esthétique alexandrine à Rome et l’influence de Catulle sur les poètes latins postérieurs. / This interdisciplinary dissertation uses text and image studies, intertextuality and metapoetics to analyze the relationships between vision and diction in ekphraseis understood as texts devoted to works of art, and particularly in Catullus’s canonical poem 64. Poem 64 has puzzled many critics by its “disobedient ekphrasis” of a coverlet: not only does it scarcely describe its subject, but it turns into a long monologue by Ariadne, the main figure woven into the coverlet. I argue that, far from disregarding the coverlet, Catullus elaborates on a topos of Hellenistic ekphrastic epigrams that measures an artwork’s value by its illusionist capacity to “seem about to speak” and “come to life”. My extensive classification of the epigrammatic variants of this topos reveals its presence in Catullus through specific keywords. Ariadne’s representation on the coverlet is so lifelike that it starts to speak. Instead of following the critical tradition which considers Ariadne’s speech as another instance of epic or tragic monologue, I analyze it as a major Catullan innovation, in dialogue with the aesthetic debates of his day. Bringing together Hellenistic and Roman figurative arts and literatures sheds a new light on Catullan poetics and, more generally, on the reception of Alexandrian aesthetics in Rome and on Catullus’s influence on posterior Latin poets.

Partindo da premissa de que a forma mais produtiva de abordar a obra de determinado poeta é levantar os pontos-chave de sua poética, explicitados em suas próprias palavras, quer em prefácios, quer em poemas metalingüísticos (que podemos aqui chamar metapoemas), este trabalho se propõe a, a partir da vasta produção do poeta Marcos Valério Marcial (c.40 105 d.C.), selecionar, traduzir, anotar e comentar analiticamente o conjunto de metapoemas que explicitam o conceito de epigrama para Marcial que é o gênero que pratica no que tange à matéria (ou invenção), à elocução e à disposição. / Assuming the premise that the most efficient way of approaching the work of a certain poet is to determine the key points of his poetry, made explicit by his own words, either in prefaces or in metalinguistic poems (which we shall call \"metapoems\"), the objective of this study is, from the vast production of the poet Martial (c.40 - 105 AD), to select, translate, annotate and comment analytically the corpus of \"metapoems\" that explains Martials concept of epigram - the genre this poet practices - in terms of invention, style and disposition.

Partindo da premissa de que a forma mais produtiva de abordar a obra de determinado poeta é levantar os pontos-chave de sua poética, explicitados em suas próprias palavras, quer em prefácios, quer em poemas metalingüísticos (que podemos aqui chamar metapoemas), este trabalho se propõe a, a partir da vasta produção do poeta Marcos Valério Marcial (c.40 105 d.C.), selecionar, traduzir, anotar e comentar analiticamente o conjunto de metapoemas que explicitam o conceito de epigrama para Marcial que é o gênero que pratica no que tange à matéria (ou invenção), à elocução e à disposição. / Assuming the premise that the most efficient way of approaching the work of a certain poet is to determine the key points of his poetry, made explicit by his own words, either in prefaces or in metalinguistic poems (which we shall call \"metapoems\"), the objective of this study is, from the vast production of the poet Martial (c.40 - 105 AD), to select, translate, annotate and comment analytically the corpus of \"metapoems\" that explains Martials concept of epigram - the genre this poet practices - in terms of invention, style and disposition.