Thesis--Zürich. / Vita. Includes bibliographical references (p. 5-6).

Thesis (Ph. D.)--University of Pennsylvania, 1942. / Bibliography: p. 9-22.

Thèse--Paris. / Includes bibliographical references.

Inaug.-Diss.--Tübingen, 1914. / Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss.--Tübingen. / Lebenslauf. "Literatur": p. 7-8.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

This thesis examines the manner in which the Roman love-elegists used myth to illustrate personal experience. It is shown that the elegists were probably indebted to the poets of the Hellenistic period for the various techniques they used to link myth (usually in the form of exempla) to its context. Chapter 1 looks at some illustrative and paradeigmatic uses of myth by the Hellenistic catalogue-elegists; by Callimachus, Apollonius Rhodius and Theocritus; and by the epigrammatists. It is shown that the major Hellenistic poets developed techniques by means of which the exemplum could be made an integral part even of a short poem or episode. It was Tibullus and Propertius on whom these ways of handling myth' had the most effect; Ovid was influenced more by the epigrammatists. Chapter 2 examines briefly Catullus' handling of myth in his elegy LXVIII and Callus' possible use of myth. Chapter 3 deals in some detail with Tibullus' use of myth in 1, 3 (the Golden Age; Elysium; Tartarus); 1, 10 (the mythic past; Hades) and 11,3 (Apollo and Admetus; the mythic past). The very close connexion between these myths and the poet's personal experience is demonstrated. Chapter 4 handles Propertius' use of myth to illustrate in various ways his own and his mistress' experience. The material here is treated in three sections: (i) Allusive Exempla - where the poet presupposes knowledge on the reader's part of the mythological events concerned. (ii) Shaped Exempla - i.e. exempla which the poet shapes in different ways for his own purposes, including in them all the details necessary for the reader's understanding. (iii) Mixed Exempla - which combine the characteristics of both the above categories. Chapter 5 deals with Ovid's use of myth in his Amores to illustrate what is presented as personal experience. His mythological illustrations are discussed in four categories: (i) Illustrative Exempla - i.e. exempla used in a rhetorical way simply to prove a given point or statement. (ii) Witty Exempla - used chiefly to create humorous and amusing effects. (iii) Mixed Exempla - combining the functions of both the first two categories. (iv) 'Propertian' Exempla - i.e. exempla handled by Ovid very much in the manner of Propertius. The Conclusion briefly draws together evidence of the influence of the Hellenistic poets' treatment of myth on the Roman love-elegists. It also outlines what is distinctive and characteristic about each of the elegists' manner of handling myth.

The aim of this thesis is, by means of a close examination of the evidence presented by the texts, to analyse the ways in which Tibullus, Propertius and Ovid treat the god Bacchus and, by so doing, to discover why Bacchus becomes for them a patron of poetry. Chapter I, the introduction, deals briefly with the literary background and sets the limits of the study. Chapters II, III and IV analyse the appearances of the god in the poetry of Tibullus, Propertius and Ovid respectively: the Tibullan Bacchus is primarily a patron of viticulture and is associated with poetry and Amor because of this basic role; Propertius is more concerned with the god's relationship with Ariadne and the Maenads and develops a complex exemplum for his affair with Cynthia using these as major characters; Ovid makes frequent use of ideas concerning Bacchus developed by the other two poets but adds nothing really new to the concept of the god as patron of poetry. Chapter V, the conclusion, summarizes the findings of these three chapters and on the basis of this information, first, makes a general statement about the use of myth in each of the three poets and, second, answers the original question: Tibullus, Propertius and Ovid are personally involved in their poetry, not only as poets but also as lovers; thus Bacchus, because of his relationship with Ariadne and the Maenads, because of his powerful and avenging nature and because of his ability (through wine) to free them from the pain of an unhappy love affair, is their special patron. An appendix dealing with Bacchic iconography in Latin love-elegy is added. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

The Naturalist is a collection of poems with a critical preface. In this preface, titled "'Death is the mother of beauty': The Contemporary Elegy and the Search for the Dead," I examine contemporary alterations and manifestations of the traditional genre of elegy. I explore the idea that the contemporary mourner is aware of the need to search for meaning despite living in a world without a centrally believed mythology. This search exposes the mourner's need to remain connected to the dead and, by proxy, to grace. I conclude that the contemporary elegy, through metaphorical figuration, personal memory, and traditional symbolism, simultaneously employs and denies the traditional elegiac conventions of apotheosis and resurrection by reconceiving them as methods not of achieving transcendence but of embracing desire with an acceptance of the inability to transcend. The poems of The Naturalist are a collection of elegies that reflect many of the ideas brought forth in the preface.