A selection of eight short poems on the theme of amor (love) by the poets Catullus, Martial, Ovid, Horace and Petronius.
Digital Activities
These sections have been moved to the Cambridge Elevate platform. Please click below to go to Elevate. Elevate
WebBooks
The Stories
Practising the Language
Cultural Background
Please note: the Cultural Background weblinks will be removed in early 2024.
CSCP is not responsible for the content of external sites.
Listen to the poem
How Many Kisses? (Catullus, Poem 7): About the Author
HOW MANY KISSES?
Catullus, Poem 7
About the author
To find out about Catullus' life and works, <*Stage59&view_and_hide_section=2click here.
How Many Kisses?: Listen to the Poem
Listen to the poem
Recited in Latin, this is how the poem (Catullus, Poem 7) was heard 2000 years ago.
How Many Kisses?: English Translations
English Translations
of How Many Kisses (Catullus, Poem 7) by Daniel San.
of How Many Kisses (Catullus, Poem 7) by H.J.Walker
of How Many Kisses (Catullus, Poem 7) by A.S.Kline.
How Many Kisses?: Analysis
Analysis
Lesbia is the subject of 25 of Catullus' 116 surviving poems, and these display a wide range of emotions, ranging from tender love (e.g. Poems 5 & 7), to sadness and disappointment (Poem 72), and to bitter sarcasm (Poem 8), following the often unsteady course of Catullus' relationship with her.
Lesbia's rather poetic name is considered by many to be a false name for the notorious Clodia Metelli - the woman laid into by Cicero in his defence of Caelius (see the Anthology extract entitled "Clodia").
The names Lesbia and Clodia are metrically interchangeable, and so when Catullus read aloud his poem to his girlfriend he could have used her real name, Clodia, but then could have easily substituted her nickname "Lesbia" when he published them.
One can estimate that this poem was probably written sometime between 67-57 BC when Catullus was aged around 20-30.
A detailed and descriptive biography of Clodia, the probable real name of Catullus' girlfriend "Lesbia". Remember, however, that while the website takes it as certain that the two women are the same - and indeed this is highly likely - this is still unproven.
Hyperlinked biography from Wikipedia.
Many insights into the life of Clodia can be found in this review of a new book about her.
Libya was never an "official" geographical area in Roman times; instead the designation "Libya" referred to the Greek colonial city of Cyrene and the area around it known as Cyrenaica (which became a Roman province in 75 BC). The term Libya was derived from the ancient Egyptian name of one of the local tribes in that area. However, to the Roman public and especially Roman poets, Libya sometimes meant North Africa in general and even the whole continent of Africa. (In the same way that to many non-British, "England" is a catch-all term for the United Kingdom, irrespective of whether they actually mean Wales, Scotland, Northern Ireland etc).
This above link takes you to a map highlighting the province of Cyrenaica ("Libya"); and here's a second map with all the other provinces labelled for reference.
Did you know that that the English word "arena", as in a building for spectators, comes from the Latin harena meaning "sand"? It's because sand was sprinkled on the floors of amphitheaters to soak up the blood of gladiators and wild beasts that were forced to fight, often to the death, for public entertainment. The link shows the Roman amphitheater at Nimes in southern France where sand is still placed on the ground for "modern" bull-fights.
Good webpage describing the now-extinct plant that once grew around Cyrene. It was probably a type of Giant Fennel.
Detailed historical account of this north African city.
Here's a collection of labelled photos of this now-ruined city; these are some clearer, but unlabelled, photos.
More on this oracle (famous throughout the Greek world, less so the Roman) at the temple of Ammon, the Egyptian god identifed with Zeus/Jupiter, which stood in the oasis of Siwa in the Libyan desert - and hence, to Catullus, aestuosi or sweaty.
Photos: the ruins of oracle-temple still lie within the Siwa oasis, a welcome haven from the encroaching sandy desert.
More detailed tour of the temple.
However, the explanation that oracles could "see into the future" is... er... wrong! See following note on oracles.
Oracles
Oracles are often said to have predicted the future. However, this is a misconception, or indeed "trap", that the oracles themselves would no doubt have wished people to fall into - for reasons in ascending order of popularity, prestige and pecuniary offerings... that's money (kerrr-ching!). Oracles couldn't predict the future - no-one can (can they?), they only gave advice and suggestions of what may occur which, on later reflection, may have seemed like a prediction! They were notorious for their ambiguity.
The most famous instance of this comes down to us through a Delphic prediction given to Croesus, king of Lydia. In 550 BC, Croesus was preparing to invade the Persian Empire when he consulted the Oracle about his chances for victory. After sacrificing 300 head of cattle to Apollo, he had gold and silver melted down into 117 bricks, which were sent to Delphi, along with jewels, statues, and a gold bowl weighing a quarter of a ton. With these gifts, Croesus sent his question of whether he should attack Persia.
The Oracle answered that, if he crossed a river, "Croesus will destroy a great empire." Encouraged by this response, he invaded Persia, only to suffer a decisive defeat. The Persians invaded and then conquered Lydia and captured Croesus, who thereafter bitterly denounced the Oracle. He sent his iron chains to Delphi with the question, "Why did you lie to me?" The Oracle answered that the prophecy had been fulfilled: Croesus had destroyed a great empire -- his own!
Simple explanation with good links to some of the most famous.
Can't quite remember the facts about the "head-honcho" (a word of Japanese origin, not Roman unfortunately) of the Roman gods? After this reminder, take a look at one of the best paintings of Jupiter/Zeus ever done. (It's by the great French artist J-A-D. Ingres, 1811,Musee Granet, Aix-en-Provence, France)
This is as good as the online information on this first king of Cyrene gets; it omits, however, that after his death he was worshiped as a hero and his tomb stood in the centre of the his city.
This poem is written in a poetic form or "meter" known as hendecasyllables.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
How Many Kisses?: Further Resources
Further Resources
Interactive text with a separate literary and cultural Question & Answer section.
Created by Godfrey Evans of Chelmsford County High School.
Can she be Faithful? (Catullus, Poem 109): About the Author
CAN SHE BE FAITHFUL?
Catullus, Poem 109
About the author
To find out about Catullus' life and works, <*Stage59&view_and_hide_section=2click here.
Can she be Faithful?: Listen to the Poem
Listen to the poem
Recited in Latin, this is how the poem (Catullus, Poem 109) was heard 2000 years ago.
Can she be Faithful?: English Translations
English Translations
A close, neat translation by Tony Kline, 2001. He has decided to leave the Roman term of endearment, mea vita (literally my life), untranslated, presumably in the belief that it has more poetic force in the original Latin.
Slightly freer English version by Rudy Negenborn, 1997.
English translation by H.J. Walker, 1998.
Can she be Faithful?: Analysis
Analysis
The poem is undoubtedly addressed to - although given the content probably never recited in person to - Catullus' girlfriend "Lesbia".
For analysis on "Lesbia", see the
Anthology selection above entitled HOW MANY KISSES? (Catullus, Poem 7).
Interactive text with a separate literary and cultural Question & Answer section created by Godfrey Evans of Chelmsford County High School.
This poem is written in a poetic form or "meter" known as elegiac couplets.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
Conflicting Emotions (Catullus, Poem 85): About the Author
CONFLICTING EMOTIONS
Catullus, Poem 85
section
About the author
To find out about Catullus' life and works, <*Stage59&view_and_hide_section=2click here.
Conflicting Emotions: Listen to the Poem
Listen to the poem
Recited in Latin, this is how the poem (Catullus, Poem 85) may have been heard 2000 years ago.
Conflicting Emotions: English Translations
English Translations
English version of Catullus 85 by H.J. Walker, 1998.
English version of Catullus 85 by Rudy Negenborn, 1997.
Conflicting Emotions: Analysis
Analysis
The poem - a famous and much-praised couplet - is undoubtedly addressed to Catullus' girlfriend "Lesbia".
For analysis on "Lesbia", see the
Anthology selection above entitled HOW MANY KISSES? (Catullus, Poem 7).
A little bit of fun and learning!
This poem is written in a poetic form or "meter" known as elegiac couplets.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
Contradictions (Martial, Epigrams XII.46): About the Author
CONTRADICTIONS
Martial, Epigrams XII.46(47)
section
About the author
To find out about Martial's life and works, <*Stage59&view_and_hide_section=5click here.
Contradications: English Translations
English Translations
Scroll down to poem XII.46 for Martial's epigram entitled "Contradictions" in the Anthology.
Translated by T. Apiryon.
Scroll to the final poem (XII.47) on this page of quotes from Martial.
Contradications: Analysis
Analysis
as indicated by the masculine gender of the adjectives.
Fresco from a tomb at Paestum, Italy.
It's a "classic" in it's own right. U2's song "With or Without You" from 1987 echoes Martial's sentiments. This link takes you to the video posted on YouTube.
This poem is written in a poetic form or "meter" known as elegiac couplets.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
Ovid Picks a Favorite (Ovid, Amores III.2.1-14): About the Author
OVID PICKS A FAVOURITE
Ovid, Amores III.2.1-14
section
Since the Anthology selection is just the beginning of a longer poem, you'll have to read the remainder (via the links below) to discover if Ovid gets his girl!
About the author
To find out about Ovid's life and works, <*Stage59&view_and_hide_section=6click here.
Ovid Picks a Favorite: English Translations
English Translations
Pretty faithful translation by A.S.Kline (2001) of the whole of Ovid's poem (Amores III.2).
Prose translation by Julian May(1930).
The English playwright Christopher Marlowe, a contemporary of Shakespeare, wrote this translation c.1580-90. Scroll to Book 3, Elegy 2.
Ovid Picks a Favorite: Analysis
Analysis
Ovid's Amores ("Loves") was his first major work begun c.25 BC; only his revised 2nd edition survives, comprising 50 poems, divided into three books. The elegies (poems written in elegiac couplets) follow the ups and downs of the poet in love, the girl of his desires - although not named in this poem - is Corinna.
As you'll see in this extract, the poet-in-love (which we shouldn't necessarily regard as Ovid himself) is a slick talker with a great range of chat-up lines! And this is exactly what was original about the Amores: previous love elegies had shown the poet-in-love as a clumsy, shy, not-very-good-with-girls type of guy. Ovid's poet-in-love is a skilled operator in the field of "lurve".
It's a day at the incredibly popular races for our poet, and although not explicitly stated, it's the Circus Maximus he's off to.
CHARIOT-RACING & THE CIRCUS MAXIMUS.
Click the above link and scroll down for chariot-loads of images & info.
Ovid perhaps refers to the starting-stalls as "sacred" because there appear to have been three temples just behind them - as illustrated in this mosaic from Piazza Armerina in Sicily which undoubtedly depicts the Circus Maximus in Rome.
Here's a less dusty photo from further away.
So, who's the girl?
In this delightful and vivid poem, the object of the poet's affections remains a mystery. Initially, she seems to be by herself, but she's neither a prostitute nor an easy-pick-up of low-morals - the poet's social respect for her indicates this. Neither would any respectable girl be at the races unchaperoned, nor would any married lady be so shockingly adulterous as to take her lover to such a public place. Given Ovid's sense of mischievous fun, there are perhaps two alternatives, both of which rely on the poet never in fact speaking any of his words out-loud - he's merely fantasizing:
1. The girl is a married and accompanied by her husband - whom the poet silently mocks in line 82: "Hey you, whoever you are(!)... You may be sitting on the other side of this lady, but just watch it...don't lean on her like that!" yep - Ovid's taking the p.
2. The girl is, in fact, the poet Ovid's wife. He's in love, besotted - even at the races! All together now...ahhhhh!
This interpretation is indebted to Peter Green.
Ovid Picks a Favorite: Special Resources
Special Resources
Interactive text with a separate literary and cultural Question & Answer section.
Excellent resource created by Godfrey Evans of Chelmsford County High School.
This poem is written in a poetic form or "meter" known as elegiac couplets.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
Pyrrha (Horace, Odes I.V): About the Author
PYRRHA
Horace, Odes I.V
About the author
To find out about Horace's life and works, <*Stage59&view_and_hide_section=3click here.
Pyrrha: Listen to the Poem
Listen to the poem
Recited in Latin, this is how the poem (Horace, Odes I.V) would have been heard by the Romans.
Another recital of Horace, Odes I.V; however, audio cuts out after line 13.
Pyrrha: English Translations
English Translations
Faithful translation that sticks close to the Latin (noticeably, only omitting to translate flavam in line 4). By A.S.Kline, 2003.
Super, modern yet literal translation by Helen, a recent sixth-form student at Malvern St James School in Great Malvern, UK. You can even listen to it being read aloud.
Two poetic, free translations by Eugene and Roswell Martin Field, 1920. To get to the right page, go to the 'jump to' box in the top right hand corner and type in '72'.
Rather lovely, if oldey-worldy, translation by John Milton from 1673.
A modern (1980) reworking of the poem for our times! Entitled "An Old Malediction", meaning an old curse - referring to the ex-girlfriend - it's by the prize-winning American poet, Anthony Hecht.
Love Will not Let the Poet Sleep: Analysis
Analysis
"If this is not great poetry, it is at least one of the most perfect
specimens of conventional erotic verse in all ancient literature. If we
except a very few of the best poems of Propertius, Latin Elegiacs have
nothing to show that combines such perfection of form with such
exquisite sensuous charm. It breathes the fragrance of the Greek
Anthology.
Quoted from H.E.Butler, Post-Augustan Poetry (1909).
God of love - more often than not passionate, sexual desire. Known to the Greeks as Eros, he was originally portrayed as being born at the beginning of time and a major cosmic force over both gods and men (Hesiod, Theogony). Later writers, inlcuding the Romans, softened his edges, made him a son of Aphrodite (Venus), and turned him into a bit of a cheeky chappy!
From the Greek island of Delos, this sculpture, dating c.100 BC, portrays Aphrodite (Venus) and little, winged Eros (Cupid) playfully(?) warding off goat-footed Pan who's trying it on! In the National Archaeological Museum, Athens.
Cupid riding the back of a crab! Originally from Pompeii, now in the National Archaeological Museum, Naples.
Cupid riding a dolphin; mosaic from Fishbourne Palace, UK.
...together with his lover, Psyche (meaning "soul"). Wonderful collection of images from all periods of art.
This poem is written in a poetic form or "meter" known as elegiac couplets.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
Pyrrha: Analysis
Analysis
Pyrrha - whose name means "fiery-red" - seems to Horace representative of the type of beautiful and deceptive woman who was dangerous to him in his youth, and this poem is the result of that recognition.
Note how Horace plays with contrasting sensations of light and dark, dry and wet, warmth and cold, as well as employing what first appear as two contradictory images of Pyrrha, first as flame and then as a storm out at sea. Horace's susceptibility to Pyrrha is reinforced by the use of complementary metaphors for his own experience (shipwreck) and Pyrrha's nature (beautiful but treacherous weather). In addition, in using images of moisture to describe both the boy who is perfusus liquidis ... odoribus ("drenched with liquid perfumes") in the first stanza, and the uvida ... vestimenta ("wet clothes") of Horace's own shipwreck in the last stanza, Horace links himself with the boy.
For more insights look at the following link, from which this note takes its ideas.
Very interesting and useful article based on the thoughts and opinions of Latin students and teachers from Rutgers University, New Jersey, USA.
A similar sentiment to Horace's ode is found in the 1988 hit song "She's like the Wind". Rather than the sea, the girl in the song is compared to the wind - sometimes gentle ("She leads me through moonlight")...sometimes harsh ("Only to burn me with the sun").
Watch the video here.
As today, in Roman times roses were associated with beauty and love; they were the flowers of Venus.
The painting, "The Birth of Venus" by Botticelli, Zephyr, the gentle West Wind, blowing roses upon Venus (c.1490, in the Uffzi, Florence).
A more modern interpretation of roses and beauty is in the poster for the acclaimed 1999 film American Beauty.
As well as a natural cave (which could be a tad uncomfortable for the lovers), Horace may mean an artificial cave or grotto, of which wealthy Romans were particularly fond, sometimes having them built into their gardens. They would have had running water and been fitted out with furniture and statues. The one illustrated here is the remains of the Nymphaeum or Grotto of Egeria just outside Rome.
There may also be an illusion to the famous Roman lovers, Aeneas and Dido, who made love in a cave, as well as the hero Odysseus and Calypso who also got cosy in a cave (painting by Jan Bruegel, c.1600).
flavam religas comam:
In classical times, a girl tying up her hair was a sexual come-on; today, in western society the opposite action is a provactive signal - i.e. shaking your hair out - preferably in slow motion!
Sailors who survived shipwreck sometimes dedicated clothes they were rescued in to Neptune and commemorated this event on a votive tablet.
The following votive tablets, while not dedicated to Neptune by sailors, are good examples of the types and sophistication of classical votive tablets...
The Greeks and Romans commonly offered small items of some worth to the gods either in hope of, or in thanks of, deliverance from some afflication. This painted plaque is a famous, rare example of a painted "votive tablet". Dating to 540 BC, this so-called Pitsa plaque comes from a cave sanctuary at Pitsa near Sikyon in Greece and shows a sacrifical procession. In the National Archaeological Museum, Athens.
A silvered bronze tablet depicting Jupiter standing on a bull, surrounded by attendant deities. In the National Museum of Hungary, Budapest.
Modern votive offerings to be hung on the walls in some Roman Catholic and Greek orthodox churches.
This Greek statue is one of the most famous of all ancient statues due to its almsot complete preservation, its being of bronze and its strking pose. Found in the sea near Artemision, presumably lost in a shipwreck whilst being shipped to Rome - it could be of the god of the sea - Poseidon (Neptune to the Romans) in which case he would be holding a trident; otherwise it is Zeus, in which case he would be holding a thunderbolt.
Famous Roman mosaic of Neptune being pulled in his 4-horse chariot over the sea. He holds his trident and a small dolphin just to let you know who he is! From Chebba, 2nd-century AD; in the Bardo Museum, Tunis, Tunisia.
Awesome photo (even if it is digitally enhanced) of a Neptune statue set against a stormy sky. By Kris Kros, 2006
Map of Rome showing the approximate location in the Circus Flaminius (an open space not as the name would suggest a race-course!) of a known temple to Neptune in Rome. One supposes that most of Neptune's temples were near water or the sea.
The most famous temple of Neptune (Poseidon) in the Greek or Roman world was that of Poseidon at Cape Sounion, south of Athens. Built around 450 BC, it stands on a dramatic promontory above the Aegean, and was a welcome sight to sailors returning home to Athens.
A computer-animated movie showing the inside of the Parthenon, Athens. Although larger and more elaborate than most temples with its interior columns and huge gold-and-ivory cult statue, it nevertheless gives an idea of the impresiveness of ancient temples. However, we also know that paintings & tapestries covered the inside walls of some temples, whilst statues and other types votive offerings filled the spaces. Temple exteriors - columns and steps - were likewise known to have been adorned with offerings! So some classsical temples were not quite as neat and clean-cut as we are often led to believe.
amor: Roman Images of Love
~ amor: ROMAN IMAGES OF LOVE
section
Marble statue (perhaps of fabled lovers Cupid and Psyche) from the Aventine Hill in Rome and now in the Capitoline Museum, Rome.
Here's a full-length photo of the pair.
Roman sarcophagus depicting lovers kissing. From around Rome, now in the north forecourt at Cliveden House, UK.
Famous mosaic of two lovers, dating 310-340 AD, from the Villa at Piazza Armerina in Sicily.
From the inn of Salvius in Pompeii; now in the Archaeological Museum, Naples.
Painted terracotta bust (200-100 BC) from Centuripe in South Italy. Now in the British Museum.
Cupid and Psyche having an intimate moment. Sculpted in 1793 by Antonio Canova; now in the Louvre, Paris.
A beautiful detail of the heads.
Tremendous cgi of Cupid and Psyche by Remy; 2005.
Alcyone Fears for her Husband (Ovid, Metamorphoses XI): About the Author
Special Resources
Interactive text with a separate literary and cultural Question & Answer section.
Excellent resource created by Godfrey Evans of Chelmsford County High School.
This poem is written in a poetic form or "meter" known as Asclepiads.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
ALCYONE FEARS FOR HER HUSBAND CEYX
Ovid, Metamorphoses XI
section
Ovid, Metamorphoses XI, lines 415-429, 439-443
About the author
To find out about Ovid's life and works, <*Stage59&view_and_hide_section=6click here.
Alcyone Fears for her Husband: English Translations
English Translations
Literal translation by A.S.Kline.
The Anthology extract starts at "Nevertheless, before he set out..." continuing to "empty tombs"; resuming at "But if no prayers..." until "together we shall be borne over the waters".
Alcyone Fears for her Husband: Analysis
Analysis
The Anthology extract tells of Ceyx, king of Thessaly, and Alcyone his loving wife who despairs at his decison to set out on a long, dangerous sea-voyage. Alcyone's hysterical reaction can be appreciated when you realise that in classical times, a sea-voyage was a highly dangerous means of travel... a brief explanation why can be found on the following link:
While Alcyone's and Ceyx's love for each other is touching, the real tragedy of the story (and the requisite "metamorphosis" that allows Ovid to include the story in his poem) lies in the continuation of the tale after the Anthology extract - you can read the full version in the following link:
In summary, Ceyx's ship is shipwrecked and, tragically, he is drowned. Alcyone dreams her husband's death and on waking rushes to the seashore and finds his body borne in on the tide. Distraught, she is pitied by the gods and transformed into a halcyon (an ancient play on the name Alcyone and hals the Greek for "sea") - a bird known today as the kingfisher. The gods also resurrect Ceyx, and turn him into a kingfisher too. Alcyone and Ceyx, as two kingfishers, fly together eternally.
The phrase "halcyon days" - meaning a happy and carefree time - derives from Alcyone's name and refers to the ancient belief that for seven or fourteen days each December, around the winter solstice, the seas became calm to help halcyons lay their eggs in their floating nests
Interactive text with a separate literary and cultural Question & Answer section.
Excellent resource created by Godfrey Evans of Chelmsford County High School.
Roman beliefs on kingfishers
Pliny the Elder in his Natural History Book 10, 47, writes a rather contorted description of halcyons or kingfishers. You can read the full version below, but a summary would be: "Kingfishers, slightly larger than a sparrow and azure-blue in colour, with a long, slender beak. They are rarely seen except at the setting of the Pleiads and around midsummer and midwinter. The time at which they breed is called the "halcyon days"; at this time the sea is calm and navigable, particularly so around the island of Sicily. The build their nests seven days before the shortest day, and lay their eggs seven days after it".
Here's Pliny's description of kingfishers from his work: Natural History Book 10, 47.
There are, in fact, many types of kingfishers, but the most common one in Europe is the originally-named "common kingfisher". Check-out the last picture on the webpage which gives you a good idea of its small size.
Pliny - reflecting other Greek and Roman beliefs, as evidenced in the myth of Alcyone and Ceyx - apparently mixes up the characteristics of the Common Kingfisher with another distinct type of kingfisher, the Pied Kingfisher.
Pliny also refers to a second type of kingfisher that lives by the sea - apparently referring to the Pied Kingfisher which can sometimes be found around the Mediterranean Sea. As this article states, the fact it can eat in-flight means it can hunt over the sea or in estuaries that lack the perches required by other kingfishers.
The Romans' belief that the kingfishers nest at sea may have derived from pieces of broken coral seen floating on the sea (and perhaps being pecked at or just rested upon by kingfishers). The photo in this link is of a type of coral today known as alcyonium in reference to this tale.
Alcyone & Ceyx: alternative version
A slightly later, alternative account of the tragic couple appears in the collection of myths called the Bibliotheca by "Apollodorus":
Alcyone was married to Ceyx, son of Lucifer. They perished by reason of their pride; for he said that his wife was Hera, and she said that her husband was Zeus. But Zeus turned them into birds: her he made a kingfisher (alcyon) and him a gannet (ceyx). [Bibliotheca 1.7.4]
This poem is written in a poetic form or "meter" known as dactylic hexameters.
Find out more in the section LATIN POETRY: Meters, Rhythms & Scansion on the <*Stage59&view_and_hide_section=1Verse Authors page.
Alcyone Fears for her Husband: Images
Images
18th-century print by Jean Michel Moreau.
1915. By English Classicist artist Herbert James Draper; private collection. Note the kingfishers, into which she will be transformed, painted over her head.
1768 by Welsh artist Richard Wilson. In the National Museum Wales, Cardiff.
Oil painting by Carle Van Loo, 1750.
Photo of Alcyone and Ceyx from a theater production of Ovid's Metamorphoses. The water is a real pool, built for the performance!
2006. Digital image by Goldkat.
2004. Photo of a theatrical performance of Ovid's Metamorphoses by Guilford College in North Carolona, USA.
Love Will not Let the Poet Sleep (Petronius, fragment): About the Author
LOVE WILL NOT LET THE POET SLEEP
Petronius, fragment
section
Up to 57 fragments of Latin prose and poetry have been attributed to Petronius, the author of the satirical novel The Satyricon. There is no standard numbering sequence to the fragments but, for reference, the fragment selected for the Cambridge Latin Anthology is numbered LIII (53) in the widely-available Peguin translation.
About the author
To find out about Petronius' life and works, click here.
Love Will not Let the Poet Sleep: English Translations
English Translations
English Translation by H.E.Butler, 1909
I lay on my bed and began to enjoy the silence of the night
scarce yet begun, and was yielding my wearied eyes to sleep,
when fierce Love laid hold of me, and, seizing me by the
hair, aroused me, tore me, and bade me wake. 'Canst thou, my
servant,' he cried, 'the lover of a thousand girls, lie thus
alone, alone, hard-hearted?' I leapt from my couch, and
barefoot, with dishevelled robe, started on my errand, yet
never accomplished it. Now I hurry forward, now am loth to go;
now repent me that I have returned, and feel shame to stand
thus aimless in mid-street. So the voices of men, the murmur
of the streets, the song of birds, and the trusty watchdogs
all are silent; and I alone dread the slumbers of my couch and
follow thy behest, great god of love.
The Penguin Classics series has the 57 fragments of Latin attributed to Petronius included at the end of its main title, The Satyricon - well worth a read and a laugh!