By David Wray
This literary research of the first-century BCE Roman poet, Catullus makes use of units of comparative versions to provide a brand new knowing of his poems. the 1st contains cultural anthropological money owed of male social interplay within the premodern Mediterranean, and the second one, the postmodern poetics of such twentieth-century poets as Louis Zukofsky, that are characterised via simultaneous juxtaposition, a "collage" aesthetic, and self-allusive play. The ebook could be of curiosity to scholars of comparative literature and gender experiences in addition to to classicists.
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Additional info for Catullus and the Poetics of Roman Manhood
641 incaluitque deo, quem clausum pectore habebat (Ocyrhoe). On this passage see p. 46 below. A connection with Accius’ Atreus, cautiously suggested by La Penna (1979) 136, n. 1, cannot be ruled out. inc. lviii and lix Ribbeck2 must refer to Tantalus, and might thus belong to the prologue. Leo (1912) 201–2. Calder ((1983) 185–6) compares the scene with the dialogue between Hephaestus and Kratos at the beginning of Aeschylus’ Prometheus (1–87), mediated through Sophocles’ Oedipus at Colonus, and argues that Sophocles, not Euripides, is Seneca’s primary model.
Prior to Fitch (1981), see Tarrant (1976) 5–6. The whole issue is reassessed in Nisbet (1990). It is tempting to charge transcribor (13) with metadramatic resonances, if for no other reason than its etymological reference to writing. The verb is seldom used in poetry, see Virg. Aen. 422; Ov. Ibis 187; Met. 173. See Tarrant (1985) 89 and Jacobi (1988) 153. 7 The Fury’s power is the power of unavoidable destiny. The Fury is the Muse of scelus, and her victory is the victory of poetry (of this particular brand of poiein) against the repressive silence advocated in vain by Tantalus.
The Fury and Tantalus establish in a tense dialogue the connection between their deeds and the tragic text they will bring to life. The Fury intensifies 31 32 For information on previous treatments of the play along these lines, and a new proposal, see Lef`evre (1985). I will consider below (pp. ) to what extent the chorus is left unscathed by the cognitive turmoil that is forced on the audience in the prologue and can thus be seen as a reliable incarnation of a superior moral stance. See below, pp.
Catullus and the Poetics of Roman Manhood by David Wray