The Art of Catullus 64

Putnam, Michael C. J.

doi:10.2307/310836

Cited by 27 publications

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“…On the persona of the Ovidian praeceptor amoris see Watson 2002: 149-51; on erotodidaxis in elegy see James 2003a: 161-66. 8 On the relation between the main story and the secondary story of the ecphrasis within the Catullan passage see Armstrong 2006: 190;Warden 1998: 398-413;Deroux 1986;Duban 1980: 777-78;Putnam 1972;Kinsey 1965: 911-12 evident in previous versions of the story or scholarly readings. As the discussion will demonstrate, the god's arrival and his very presence are crucial pieces in the construction of the rape narrative, as is the confinement of the heroine's speech to two verses (Ars am.…”

Section: The Re -Imagination and The De -Construction Of Ariadne As Amentioning

confidence: 99%

The Re-Imagination of a Letter-Writer and the De-Construction of an Ovidian Rape Narrative at Ars Amatoria 1.527-64

Keramida¹

2019

C&M

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Ovid’s writing is infused with the retelling of known myths and the portrayal of heroes and heroines, whose figurae held a central role in Greek and Roman literature. This article argues in favour of reading Ariadne’s story at Ars am. 1.527-64 as a rape narrative. The exploration of the passage in question and its comparative reading with other poems (such as Prop. 1.3 and the Ovidian version of the rape of the Sabine women), illustrates and explains why Ovid reimagines Ariadne as a victim of erotic violence.

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Section: The Re -Imagination and The De -Construction Of Ariadne As Amentioning

confidence: 99%

The Re-Imagination of a Letter-Writer and the De-Construction of an Ovidian Rape Narrative at Ars Amatoria 1.527-64

Keramida¹

2019

C&M

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“…Remembering this tale of feminine devotion and masculine infidelity at the heart of the wedding feast (and the wedding night), Catullus demonstrates that "the ideal is never reached," even in a marriage "above all others the most perfect." 67 The spectre of masculine betrayal introduced by Russell' s Catullan subtext threatens the ideal of happy marriage, but beyond this, the embroidered emblem resonates with social and political realities confronting Elizabeth and her court in the last years of her reign. 4), a hand prunes an unfruitful vine growing between two fruit trees beside which are Mary' s arms and impresa.…”

Section: Chaste Paintingmentioning

confidence: 99%

“…69 While the measures concluding Russell' s masque ideally create an interwoven tapestry of female sociability, the queen' s unscripted word, "Affection is false," threatens Russell' s figurative program in terms that repeat the challenge posed by the Catullan subtext. As if recalling the masculine crime of Theseus, which "express[es] the contrast between vulgarity and chastity," 70 Elizabeth' s indictment of Affection glanced, at least in part, toward her recent betrayal by her favorite, Robert Devereux, Earl of Essex. Following his unlicensed return from the Irish Campaign in September 1599, he was placed under arrest, and days before Nan Russell' s wedding, on June 5, was formally charged with insubordination.…”

Section: Chaste Paintingmentioning

confidence: 99%

Chaste Painting: Elizabeth Russell's Theatres of Memory

Phillippy¹

2012

Early Modern Women: An Interdisciplinary Journal

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Patricia Phillippy far as my self doth, she shall see here no bad example of life but with me may learn to know God" (297). 4 We might expect that Russell' s refusal of all things Catholic, her advocacy of reformist doctrine, and her selffashioning as a humanist would lead her to condemn both the decorative art of painting and the cosmetic adornment of the body -the twin senses current in the term "painting" in Elizabethan England 5 -as equivalent practices, equally vain and deceptive. She seems unlikely to paint or to be painted.Yet around the time that she sought to publish her religious beliefs and linguistic accomplishments by bringing her translation to press (and by means of her tutelage of a third generation of Cooke women), Russell commissioned a portrait that still hangs in her former home, Bisham Abbey, Berkshire (figure 1). Portrayed in the widow' s weeds that she wore for the last twenty-five years of her life, holding a small devotional text and standing beside a folio Bible with an embroidered cover, Russell is the picture of feminine piety and a formidable woman of property. The Turkish carpet on which she stands and the velvet tablecloth where she rests her hand affirm her material wealth, but Russell emphasizes her intellectual property. She presents herself as a reader and implicitly a writer, by associating needlework with writing, 6 while a Greek verse from Psalm 55 inscribed on the background asserts her humanist credentials. 7 Amid these emblematic objects, Russell' s painted face is an emblem as well. As is often true in Elizabethan portraiture, the female subject' s face is an ideal. Conforming to 4 Although Frances' aunt was a suspected convert to Catholicism, Cecil nonetheless placed his daughter with her.

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“… 4 E.g., Putnam (1961), Skinner (2007 [1993]), and De Villiers (2017). See Harkins (1959) for ‘autoallegory’ in poems 63 and 64; Nauta (2004) 598 cautions against excessively autobiographical readings.…”

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Conquering Ida: An Ecofeminist Reading of Catullus’ Poem 63

O'Hearn¹

2021

Antichthon

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Many have recognised poem 63 as a study in contrasts – light versus darkness, masculine versus feminine, rationality versus madness, animal versus human, culture versus nature. Caught between these polarities is the figure of Attis, removed from everything bright, male, sane, human, and civilised by one impassioned act. The poem suggests that it is partly the nature of the place, its quasi-Hippocratic airs, waters, and places, that emasculates Attis, making him like a notha mulier, iuvenca, and famula. This article will use ecofeminist theory – in particular, Val Plumwood's Feminism and the Mastery of Nature – to investigate the logic of domination running between the poem's polarities and to show how a foreign ‘Eastern’ wilderness effeminises Greek Attis. Moreover, it will be shown that the characterisation of Attis and the galli as a dux and his comites associates the story with the Roman imperial endeavour, suggesting that we can read the poem alongside others that portray conquest (11, 29) and the experience of young men abroad on provincial cohorts (10, 28, 47). In this way, Catullus implies that the imperial project is also made weak and feminine by its very contact with foreign places.

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The Art of Catullus 64

Cited by 27 publications

References 0 publications

The Re-Imagination of a Letter-Writer and the De-Construction of an Ovidian Rape Narrative at Ars Amatoria 1.527-64

The Re-Imagination of a Letter-Writer and the De-Construction of an Ovidian Rape Narrative at Ars Amatoria 1.527-64

Chaste Painting: Elizabeth Russell's Theatres of Memory

Conquering Ida: An Ecofeminist Reading of Catullus’ Poem 63

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