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Reading Ovid

Page 37

by Peter Jones


  18 recidō 3 sink, fall back

  quicquid: ‘whatever [of us] are . . . ’, ‘whatever we are who are . . . ’

  creō 1 create

  19 ambāg-ēs um 3f. pl. deceptions

  ōris: from ōs, ‘mouth’ i.e. speech

  20 sinō 3 allow

  opāc-us a um*

  21 Tartar-a ōrum 2n. pl. Tartarus, the underworld

  utī: = ut

  uillōs-us a um rough, shaggy (with + abl.)

  coluber colubr-ī 2m. snake

  22 tern-us a um triple

  Medūsae-us a um Medusa-like. The mōnstrum is the three-headed dog Cerberus, which had snakes for hair, like Medusa

  uinciō 4 bind. Hercules had bound Cerberus and brought him to the upper world as the last of his twelve labours

  guttur -is 3n. throat

  23 calcō 1 tread on

  uenēn-um ī 2n. poison

  24 uīper-a ae 1f. viper

  diffundō 3 diffūdī pour, spread

  27 auguror 1 dep. guess

  28 mentīt-us a um untrue, false

  rapīn-a ae 1f. abduction, seizure. The reference is to Pluto abducting Persephone down to the underworld

  30 Chaos n.: Greek acc. s. of Chaos, ‘Gaping Void’

  *silenti-um ī 2n. silence

  31 Eurydicēs: Greek gen. s.

  retexō 3 unweave, reverse

  32 omnia: either acc. ‘in all respects’ or nom., ‘everything’, qualifying the ‘we’ of dēbēmur

  paulum for a little

  moror 1 dep. delay

  33 sērius later

  citius sooner

  34 sēd-ēs is 3f. seat, resting-place. ūnam here means ‘one and the same’

  35 hūmān-us a um*

  36 haec: ‘this [woman]’, i.e. Eurydice

  mātūr-us a um*

  perago 3*

  37 iūris . . . uestrī: ‘of/under your control’

  poscō 3 ask for, beg

  38 ueni-a ae 1f. pardon, mercy

  39 lēt-um ī 2n. death

  41 exsangu-is e bloodless. Bloodless souls – weeping? A paradox, but such is the power of Orpheus’ song

  Tantal-us ī 2m. Tantalus. He was doomed ever to stand in water but never to scoop it up to refresh himself

  42 refug-us a um flowing away

  stupeō 2 be amazed

  Ixīōn Ixīon-is 3m. Ixion. He was doomed to rotate for ever on a wheel

  43 iecur -is 3n. liver (of Tityos, on which birds eternally fed)

  *uolucr-is is 3f. bird

  urn-a ae 1f. urn

  uacō 1 rest from (+ abl.)

  44 Bēlides: nom. pl. f., descendants of Belus, i.e. the Danaids, doomed for ever to try to fill buckets with holes in them

  Sīsyph-us ī 2m. Sisyphus, eternally doomed to fail to push a rock up and over a hill

  45 tunc prīmum . . . genās: take in order tunc prīmum fāma est genās Eumenidum, uictārum carmine, maduisse lacrimīs

  46 Eumenidum: Greek gen. pl. of Eumenides, the Furies

  madeō 2 grow wet

  gen-a ae 1f. cheek

  rēgi-us a um*

  coniunx : i.e. Persephone/Proserpina

  47 sustinet: controls ōrantī . . . negāre ‘bear to deny [to] him begging’

  quī: i.e. Pluto

  īm-us a um deep (here n. pl., used as a noun)

  48 Eurydicēn: Greek acc. s.

  49 inter: refers back to umbrās . . . recentēs

  incēdō 3 incessī approach

  *pass-us ūs 4m. pace, steps

  50 hanc simul et lēgem: an amusing syllepsis

  hērōs: Greek. nom. s.*

  51 retrō*

  Auern-us a um of Avernus, the underworld

  52 uall-is is 3f. valley

  *irrit-us a um (in) vain

  53 adclīu-is e sloping

  mūt-us a um*

  trāmes trāmit-is 3m. path

  54 cālīgō cālīgin-is 3f. fog, mist

  dēns-us a um*

  opāc-us a um*

  55 tellūris . . . summae: i.e. the real world above margō margin-is 3m. edge

  56 dēficiō 3/4 weaken, falter (Eurydice is the subject)

  auid-us a um*

  relābor 3 dep.*

  58 intendō 3 stretch out. But who is the subject of these two lines – Orpheus or Eurydice? Without a change of subject indicated, and the next sentence certainly having Eurydice as subject, it must still be Eurydice, desperate to save herself from a second death (60)

  prendō 3 seize, take

  certō 1 struggle

  arripiō 3/4*

  60 moriēns: Eurydice is the subject

  62 suprēmum for the last time

  quod . . . acciperet: subj. of characteristic, ‘[a cry] of the sort which he could hardly . . .’; almost ‘such that he could hardly . . .’. Characteristic and result clauses are very similar, RLQ2(a), W38

  63 reuoluō 3*

  eōdem to the same place

  Book 11

  2 Thrēici-us a um Thracian

  3 ecce look! See!

  nur-us ūs 4f. young woman

  Ciconum: gen. pl. of Cicones (a Thracian tribe). These women are engaged in a Bacchic (Dionysiac) ritual frenzy. Ironically, the rites of Dionysus were said to have been invented by Orpheus

  lymphō 1 make mad

  ferīn-us a um of wild beasts

  4 uellus ueller-is 3n. skin

  uertex uertic-is 3m. top, summit

  5 Orphea: Greek acc. s. of Orpheus

  sociō 1 join, unite

  6 iactō 1 toss

  7 en look!

  contemptor -is 3m.*

  hast-a ae 1f. spear. This is the thyrsus carried by Bacchic women in honour of their god Bacchus, a wand tipped with a pine-cone (originally concealing a spear-point) and entwined with ivy or vine leaves; hence its inability to hurt Orpheus (9, cf. 27–8)

  8 Apolline-us a um*

  uōcāl-is e*

  9 foli-um ī 2n. leaf, foliage

  praesūt-us a um sewn over with

  not-a ae 1f. mark

  10 lapis lapid-is 3m. stone

  in ipsō/āere: i.e. as it was travelling through the very air

  11 concent-us ūs 4m. harmony

  *lyr-a ae 1f. lyre

  12 supplex supplic-is 3m. suppliant (who traditionally fell at another person’s knees as (s)he asked forgiveness or sought help)

  prō: almost ‘to beg forgiveness for’

  furiāl-is e frenzied

  aus-um ī 2n.*

  13 sed enim none the less

  temerāri-us a um reckless, impetuous

  14 abiīt: for the heavy -īt, see above on 10.15

  īnsān-us a um*

  rēgnō*

  Erīns: Greek nom. s., Fury, goddess of revenge; here = ‘battle frenzy’, ‘desire for revenge’

  15 forent . . . mollīta: ‘would have been mollīta . . .’, RLE1

  cant-us ūs 4m. song

  16 clāmor -is 3m.*

  īnfrāct-us a um bent, curved

  Berecynti-us a um from Berecyntia (a region of Caria [South-Western Turkey]), i.e. of Cybele (a goddess associated with Bacchic worship)

  tībi-a ae 1f. pipe

  corn-u ūs 4n. horn

  17 tympan-um ī 2n. drum

  plaus-us ūs 4m. clapping of hands

  Bacchē-us a um Bacchic. Note that Bacchēī is in hiatus with ululātūs (Ovid seems to allow hiatus where Greek words are involved: it generates a strange rhythmic effect)

  ululāt-us ūs 4m. howling

  18 obstrepō 3 obstrepuī drown out (+ dat.)

  cithar-a ae 1f. lyre

  19 exaudiō 4*

  rubēscō 2 turn red

  20 attonit-us a um astonished (uōce ‘by the voice canentis’)

  etiamnum even now

  21 innumer-us a um*: this line contains the three objects of rapuēre (22)

  *angu-is is 3m. snake

  *agmen agmin-is 3n. body, group, column

  22 Maenades: Greek nom. pl., Maen
ads (lit. ‘mad women’, i.e. women driven by Bacchic frenzy)

  Orphē-us a um of Orpheus, Orpheus’

  titul-us ī 2m. renown (in apposition to the three objects of 22)

  *theātr-um ī 2n. audience. With Orphēī titulum = (lit.) ‘the renown of Orpheus’ audience’, i.e. ‘Orpheus’ renowned audience’, meaning the audience of animals Orpheus had attracted to listen to him

  23 cruentāt-us a um bloodied

  Orphea: Greek acc. s. of Orpheus

  24 ut like

  au-is is 3f. bird (auis noctis is probably an owl)

  25 struō 3 strūxī strūctus draw up (begin this clause with ceu 26)

  utrimque on both sides, i.e. the amphitheatre (cf. Greek amphi ‘on both sides’)

  26 ceu or [like]

  mātūtīn-us a um in the morning

  ceru-us ī 2m. stag

  *harēn-a ae 1f. sand (of the amphitheatre/(h)arena; animals were slaughtered in the morning, humans in the afternoon)

  27 praed-a ae 1f. prey

  *frōns frond-is 3f. leaves, foliage

  uireō 2 be green

  28 thyrs-us ī 2m. thyrsus, Bacchic wand

  29 hae . . . illae . . . pars: the various groups of Bacchants

  glaeb-a ae 1f. clod of earth

  dīripiō 3/4*

  30 torqueō 2 throw

  *silex silic-is 3m./f. pebble, stone

  31 *bōs bou-is 3m. ox

  subigō 3 subdue, plough

  uōmer -is 3m. plough

  32 frūct-us ūs 4m. crop

  sudor -is 3m. sweat

  33 lacertōs-us a um muscular

  fodiō 3/4 dig

  colōn-us ī 2m. farmer

  34 agmine: i.e. the column of charging Bacchants

  35 dispers-us a um*

  36 sarcul-um ī 2n. hoe. Note -quē (long), a rare scansion

  rāstr-um ī 2n. rake

  ligō ligōn-is 3m. mattock (for trenching, removing weeds, etc.)

  37 ferae: sc. ‘women’

  cornū: if taken with minācēs, abl. of cause; if taken with dīuulsēre, abl. of separation, i.e. they tore apart the oxen from their horns (to use as weapons)

  mināx mināc-is threatening

  38 dīuellō 3 dīuulsī tear apart

  recurrō 3*

  39 tendentem . . . dīcentem . . . mouentem: acc., referring to Orpheus, object of sacrilegae perimunt (41)

  41 sacrileg-us a um*

  perimō 3 kill

  43 sēns-us ūs 4m.*

  exhālō 1*

  recēdō 3*

  44 tē . . . : a long ‘funeral’ apostrophe, with anaphora (tē), asyndeton and five rising cola.

  45 rigid-us a um*

  47 tondeō 2 totondī tōnsum cut

  lūgeō 2 lūxī grieve

  quoque: take with flūmina

  48 incrēscō 3*

  obstrūs-us a um edged

  carbas-a ōrum 2n. pl. (linen) garment

  pull-um ī 2n. black (material)

  49 Dryades: nom. pl., Dryades, nymphs of the woods

  pass-us a um loose (pandō)

  50 dīuers-us a um apart, scattered

  Hebr-us ī 2m. the river Hebrus in Thrace

  51 excipiō 3/4*

  amn-is is 3m. river

  52 *flēbil-is e lamentable, piteous. Note the (funereal? See on passage 13, 8.231) tricolon with anaphora and asyndeton as lyre and head harmonise, and the river-banks respond

  53 murmurō 1*

  exanim-is e lifeless

  54 inuehō 3 inuexī inuectum carry into. The understood subjects are Orpheus’ head and lyre

  populār-is e of his (Orpheus’) people

  55 Methymnae-us a um where Methymna is (a famous city on Lesbos). The city is eighty miles from the mouth of the Hebrus, over the Aegean sea

  Lesbī: gen. s. f. of Lesbos, a Greek island

  56 expōnō 3*

  peregrīn-us a um foreign

  57 stillō 1 drip

  rōs rōr-is 3m. dew

  58 mors-us ūs 4m. bite

  īnferō 3*

  parantem: acc., referring to the snake, object of congelat, 60

  60 congelō 1 freeze

  patul-us a um gaping

  indūrō 1 harden

  hiāt-us ūs 4m. mouth

  61 subeō*

  62 recognōscō 3*

  pi-ī ōrum 2 m. pl. the pious (dead), living in the Elysian (blessed) fields

  63 cupid-us a um desirous

  uln-a ae 1f. embrace

  64 coniungō 3*

  spatior 1 dep. stroll

  65 praecēdō 3 walk ahead (the subject of the sentence is Orpheus, 66)

  praeui-us a um in front

  anteō*

  66 tūtō: adverbial

  respiciō 3/4 *

  Notes

  8–17: The story of Orpheus and Eurydice was very well known. Ovid rapidly gets out of the way the details that do not interest him – Eurydice’s death (8–10), Orpheus’ despair (11–12: he sings to the upper air above and then to the shades below) and his descent to the underworld (14–17). There is none of the usual stuff about Cerberus the dog, the ferryman, the souls of the dead and so on. One might have thought this last item would rather appeal to Ovid, but Homer had done it in Odyssey 11 and Virgil in Aeneid 6 and Georgics 4. Ovid here has a different target in his sights, which no one had previously attempted: the song that Orpheus sang to appeal for his wife’s return.

  17–24: Orpheus, appealing in a grandly sonorous opening to the lords of the world below (17–18), explains to the underworld gods why he has come. He says that, if he is allowed to tell the truth (19–20: he must impress his absolute sincerity on the gods below, as if poets were renowned for their falsehoods), he has descended to the depths not to view the monsters (21–2, which Ovid has indeed not done, though he gets in a quick description of Cerberus at this point) but to save his wife (23–4).

  25–39: At once he lays the groundwork of his case – he is driven by amor, just like the gods. He says he has tried to live without Eurydice, but failed (25), and points out that Amor is a god equally well known to the divinities of the upper world and the lower world too (26–9). There is an amusing pause at 27, where one can imagine Orpheus looking around him at the inamoena rēgna (15) and wondering whether amor, traditionally found in the locus amoenus (see Introduction, p. 8), could flourish down here. But he remembers that it can, and quotes the abduction of Persephone, if that was not a false story (28, cf. his question about whether the truth could be told in the underworld, 19–20). The grounds of his case now established, Orpheus goes into the full appeal routine. In the name of the underworld and its terrifying, vast, silences, turn back fate, he begs (29–31). He follows this with sublimely majestic lines arguing that, since death will get us all anyway, sooner or later, Hades is everyone’s final destination (32–5). So since Eurydice will eventually come under Hades’ control, Hades will not be losing Eurydice, merely lending her (37: note that at 36–7 he argues that she will properly come under Hades’ iūs only when she has completed her iūstōs years on earth). He ends by reaffirming the sincerity of his feelings: I die too if she does not return with me (38–9).

  40–52: At this the bloodless spirits of the dead burst into tears(!) (40–1) and individuals, objects and birds all stop what they are doing to listen to the great singer. Tantalus forgets his thirst, Ixion’s wheel stops in amazement, the vultures stop pecking Tityos’ liver (song is even tastier), the daughters of Belus abandon their buckets and Sisyphus uses his rock for a seat to enjoy the show (41–4). Even the normally implacable Furies weep (45–6). What chance do Persephone and Pluto stand (46–7)? They summon Eurydice, whose ‘physical’ condition in Hades is still affected by the way she was killed (48–9, cf. 10), and lay down the terms for her safe return to the upper air (50–2). Note that the gods decree Eurydice’s return not as a right but as a gift (dōna, 52) – a gift that can be revoked.

  53–63: The road to the upper world is steep, silent (Orpheus ca
nnot hear Eurydice, 53), hard-going, dark and shrouded in mist (54). As love drove Orpheus to descend to the underworld to retrieve his Eurydice, so love now (amāns, 57), driven by fear and desire (56), compels him to look behind him. At once she slips away from him, back into the underworld. Desperately she tries to seize hold of him, as he her (prendīque et prendere), but clutches only the breezes (58–9). Nor does she make any complaint – as Ovid touchingly points out, her only complaint could be that she was loved (60–1) – and with a final ualē, which Orpheus could hardly hear, she disappears (62–3).

  1–19: While Orpheus sings his bewitching songs (1–2: observe that the beasts have animī but not the woods or rocks, though they still all follow), women from the Cicones tribe (in Thrace) appear, clothed in animal skins, hair tossing in the wind (6) and celebrating their wild Bacchic rites (3–4). Fired with the supernatural power of the god Bacchus/Dionysus inside them, they spot Orpheus and one of them, remembering how he had spurned them, throws an unavailing thyrsus at his mouth (4–9). Why the mouth? Because Orpheus’ voice is the source of his appeal and power over all nature (not to mention women); shut his mouth, and he is helpless (one is reminded of Samson and his hair). The problem the Bacchants will have in doing this becomes clear when one of them throws a stone at him which, charmed by his song (unlike the Bacchants themselves), falls at Orpheus’ feet, begging (as it were) for mercy for trying to hurt him (10–13). This in turn creates a problem for Ovid: if nothing the Ciconian women throw at Orpheus is going to get through, how are they going to kill him? But Ovid is up to it. The women redouble their efforts, all hell breaks loose (13–14), and the noise generated by the battlecries, Bacchic pipes, drums, shouts and howls (15–17) is such that it drowns out the bard. Result? The rocks are now deaf to Orpheus’ song, so start to hit home (18–19)!

  20–43: The Bacchants turn on Orpheus’ followers – birds, snakes and beasts – tearing them apart and, hands bloody from that assault, finally take the attack to Orpheus himself (20–3). Two similes decorate this climactic moment: birds mobbing an owl, and a stag being killed by hounds in the arena (where wild-animal hunts in the morning preceded the gladiatorial contests in the afternoon, 24–7). At first the women throw their thyrsi, but (as Ovid points out) these are useless for this task (27–8, cf. 9). So they look elsewhere for weapons. Some come naturally to hand: clods of earth, branches, stones (29–30). But as it so happens (forte), men are working in the fields nearby (31–3). lacertōsī they may be (33), but they know Bacchic women take no prisoners, and they run when they see them. The women seize their working tools, tear the horns from their oxen (a particularly gruesome moment) and return to the attack (34–8) on the now defenceless poet. All he can do is stretch out his arms in supplication (cf. Actaeon, 3.237–41), because his voice will move nothing now (39–40). The women kill him, and he breathes his last through that mouth that once beasts and rocks had understood (41–3). The women’s sacrilege (41) lies in the fact that Orpheus was a priest of Apollo and Bacchus, having (ironically) himself founded the rites of the latter divinity whom the women themselves worship.

 

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