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Opera / Gaius Valerius Catullus ; Albius Tibullus ; Sextus Propertius
No full textGaius Valerius Catullus ; Albius Tibullus ; Sextus Propertiu
The author of [Tibullus] 3.19 and 3.20: anonymous or Tibullus?
No full textPoem 3.19 in the Tibullian corpus names Tibullus as the 'I' figure; the arguments against Tibullian authorship do not stand up to close examination, there are Tibullian elements to the poem and the relationship with Horace, Epistles 1.4 is easiest to understand if Tibullus is the author. It is suggested that the poem is incomplete, a fragment from the lost portion at the end of Tibullus 2; it is not impossible that a similar history lies behind the shorter piece, 3.20
The elegies of Tibullus : and the poems of Sulpicia /
No full text"The life of Tibullus": p. [13]-34.Mode of access: Internet
Tibullus
No full textOf the three major elegists—Tibullus, Propertius, and Ovid—Tibullus is today probably the most difficult to approach. He is often less valued than the more modernist Propertius or the more witty and playful Ovid. This was not always the case. Quintilian famously writes, “mihi tersus atque elegans maxime uidetur auctor Tibullus. Sunt qui Propertium malint” [“In my opinion Tibullus is a very elegant and concise author. There are those who prefer Propertius”] (Inst. 10.1.93). Ovid terms Tibullus cultus or “polished” (Amores 3.9.66). The ancients held Tibullus in high regard and valued him above all for his smooth style. In the latter part of the 20th century, however, with the publication of Bright’s Haec mihi Fingebam: Tibullus and His World (1978) and Cairns’s Tibullus: A Hellenistic Poet at Rome (1979), Tibullus once again began receiving more attention. In recent years, his stock has risen further with the publication of several influential articles, chapters, and dissertations, including: Fineberg, “Configurations of Desire in the Elegies of Tibullus” (1991); Kennedy, The Arts of Love: Five Essays in the Discourse of Roman Love Elegy (1993); Miller, Subjecting Verses: Latin Love Elegy and the Emergence of the Real (2004); and Wray, “What Poets Do: Tibullus on ‘Easy’ Hands” (2003) et al., as well as a new commentary (Maltby, Tibullus: Elegies. Text, Introduction, and Commentary, 2002). One of the commonplaces of Tibullan criticism is the dream-like quality of his text. This view often goes hand in hand with the devaluation of his poetry as soft and lacking in formal integrity. Smith once characterized his poetry as “smooth” and “drifting.” More postively, it can be seen as nonlinear and working by association (Veyne, Roman Erotic Elegy: Love Poetry and the West, 1988, p. 36). In any case, his texts are less a series of rhetorical arguments or narratives, than complex tissues of interwoven and sometimes contradictory themes and images. Information on Tibullus’s life is scarce. He was born between 60 and 55 bce and died in 19 bce. Ancient testimony links him to the area near the village of Pedum in the Alban hills east of Rome. He was closely associated with the orator and general, M. Valerius Messalla Corvinus (64 bce to 8 ce), whom he appears to have accompanied on his Acquitanian campaign and perhaps on others. He also seems to have known Horace. Tibullus’s poetry, unlike Propertius or Ovid’s, is all but free of references to Augustus and the nascent imperial regime. From a statement in poem 1.1, we can reasonably deduce that Tibullus’s family, like many others, suffered a reduction of fortune during the proscriptions carried out by the members of the second triumvirate after the defeat of the republican assassins of Caesar.</p
Catullus Tibullus Propertius Cum Galli Fragmentis Et Pervigilio Veneris : Præmittitur Notitia Literaria Studiis Societatis Bipontinæ
No full textDie Vorlage enthält insgesamt 6 WerkePaginierfehler: springt von S. 354 auf 455Catullus Tibullus Propertius Cum Corn. Galli FragmentisVorlageform des Erscheinungsvermerks: Biponti Ex Typographia Societatis MDCCLXXXIIITitelvign. (Portr., Kupferst.
Tibullus
No full textTaifacos, I. G. (1985), "A note on Tibullus' indirect tradition", Philologus, 129, p. 155-159
In the name of Tibullus. [Tib.] 3, 19 and Horace
No full textElegy 3, 19 of the so-called Appendix Tibulliana depicts the passionate and typically elegiac love for an unnamed woman by a poet who in v. 13 identifies himself with Tibullus. For this reason, several scholars have accepted, even recently, that the elegy is his work. However, several elements contradict this hypothesis, such as the fact that the authentic Tibullus only names himself in imagined inscriptions. It is more likely that [Tib.] 3, 19 is an instance of Tibullan impersonation: it seems to be constructed from the references to Tibullus found in Hor. epist. 1, 4 (his retreat into the siluae salubres) and carm. 1, 33 (his painful love for a bold and unfaithful woman). The author of [Tib.] 3, 19 thus creates an elegy that prefigures what Horace says in his texts addressed to Tibullus and assumes his authorial mask in an allusive literary game
Callimachean Allusions in Tibullus I 4
No full textThis paper discusses Tibullus I 4 with particular attention to three Callimachean intertexts, namely Iambus 9, Aetia fr. 41 and Iambus 3. Iambus 3 in particular proves to be a crucial intertext for the last portion of Priapus’ lecture on love. The paper argues that Tibullus does not merely echo the Alexandrian text but reacts to it and dramatically alters its implications. The Roman poet places this allusion at a crucial point, that is, at the end of Priapus’ lecture on homoerotic love. The appropriation and subversion of Callimachus’ Iambus 3 has a central place in Tibullus’ strategy of establishing the literary prestige of his own elegiac endeavor
Gender Reversals and Intertextuality in Tibullus
No full textThis paper argues that Tibullus’ practice of altering the gender of his intertextual references destabilizes gender as a biological, social, and even grammatical category in his elegies. In 1.8, Tibullus draws on images of women’s adornment from Callimachus, Philitas, and Propertius to create the opening image of the puer Marathus. In 2.6, Tibullus draws from Catullus’ lament for his brother in carmen 101 as he describes Nemesis’ dead young sister and demonstrates his technical skill in manipulating the flexibility of grammatical gender in Latin
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