Carmina Publii Ovidii Nasonis

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Publius Ovidius Naso was first and foremost a love poet. He was brilliant and well connected with his time and the world around him. His works on love include Ars Amatoria, Remedia Amoris, and Amores. The Metamorphoses deal with creation and other natural wonders through Roman mythology. After his exile by Augustus (read more in my short biography of Ovid) he wrote Epistulae ex Ponto, Tristia, etc. Here I have provided my study of two poems selected from Amores. In my notes I will try to give explanations for some of the things which I have translated rather literally.

Amores I.1
Amores I.3 coming soon!!! - Em, fateor, fieri potest ut nimium otiosus nunquam hoc finiam!!



This poem sets the stage for all three books of the Amores. It clearly defines the work as a collection of love poems, and through Ovid's numerous references to Roman gods and goddesses ties the story into a vast mythological background. Ovid's clever humor is visible throughout. Meter: elegiac couplet of course.

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Notes
Translation

Amores I.1

Arma gravi numero violentaque bella parabam
edere, materia conveniente modis.
Par erat inferior versus; risisse Cupido
dicitur atque unum surripuisse pedem.
"Quis tibi, saeve puer, dedit hoc in carmina iuris?
Pieridum vates, non tua turba sumus.
Quid si praeripiat flavae Venus arma Minervae
ventilet accensas flava Minerva faces?
Quis probet in silvis Cererem regnare iugosis,
Lege pharetratae virginis arva coli?
Crinibus insignem quis acuta cuspide Phoebum
instruat, Aoniam Marte movente lyram?
Sunt tibi magna, puer, nimiumque potentia regna:
cur opus affectas ambitiose novum?
An, quod ubique, tuum est? Tua sunt Heliconia tempe?
Vix etiam Phoebo iam lyra tuta sua est?
Cum bene surrexit versu nova pagina primo,
attenuat nervos proximus ille meos.
Nec mihi materia est numeris levioribus apta,
aut puer aut longas compta puella comas."
Quaestus eram, pharetra cum protinus ille soluta
legit in exitium spicula facta meum.
lunavitque genu sinuosum fortiter arcum
"quod" que "canas, vates, accipe" dixit "opus."
Me miserum! Certas habuit ille puer sagittas.
Uror, et in vacuo pectore regnat Amor.
Sex mihi surgat opus numeris, in quinque residat;
ferrea cum vestris bella valete modis.
Cingere litorea flaventia tempora myrto,
Musa per undenos emodulanda pedes.



NOTES:

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LINE 1: a) This line mimics the opening of the Aeneid.
b) 'numero' - ablative of means. Here "measure, meter, rhythm." The use of the adjective 'grave' reflects the grave subject matter of epic dactylic hexameter poetry, which Ovid claims that he was attempting to produce.

LINE 2: a) 'edere' - complimentary infinitive with 'parabam', here it means "to produce," "to put forth."
b) 'materia conveniente modis' - The first two words are ablative absolute. The third word is probably dative of reference.

LINE 3: a) 'par' - refers to the meter, which, according to Ovid's narration, had originally been dactylic hexameter. b) 'inferior' - refers to the last line Ovid had written, which would be responsible for maintaining the meter.
c) 'risisse' complimentary infinitive with 'dicitur' in line 4.

LINE 4: a) 'surripuisse' - also complimentary infinitive with 'dicitur.' Its subject is 'Cupido'

LINE 5: a) 'in carmina' - here the preposition is better translated "over."
b) 'iuris' - partitive genitive with 'hoc.'

LINE 6: a) 'Pieridum' - the Pierides were muses who lived on a slope of Mt. Olympus.
b) 'sumus' = "sum" - Ovid sometimes uses the first person plural form of verbs instead of the first person singular.

LINES 7-8: Subjunctive mood here suggests a hypothetical situation and shows Ovid's indignation. The grammatical term for the second verb is probably deliberative subjunctive, with the first verb subjunctive because it serves as the protasis of a future less-vivid condition. Ovid starts scolding Cupid for his mischeif in line 5, but here his playful complaints become more interesting. He is mad because Cupid has turned him into a love poet, when at first he was intending to write epic poetry. He contrasts the two by using analogies with gods and goddesses. He cites the foolishness of switching the roles of Venus and Minerva, who stand for Love and War.
a) 'quid' - here probably best translated as "why..?"
b) 'accensas...faces' - This refers to the torches between which Venus would preside at Roman marriage ceremonies.

LINES 9-10 Deliberative subjunctive. Ovid continues the analogy (see lines 7-8) with Ceres and Diana, who stand for the open plains/fields vs. woods/hunting.
a) 'regnare' - infinitive with 'probet.' Subject of this infinitive is 'Cererem.'
b) 'iugosis' - enhances the feeling of 'silvis' and the contrast with 'arva.'
c) 'pharetratae virginis' - an epithet for Diana, who was the goddess of the woods and hunting, and so would carry a quiver.
d) 'arva coli' - The first word is the subject of the second, which is a present passive infinitive also with 'probet.'

LINES 11-12 Same theme as in lines 7-8 and 9-10. Ovid now contrasts Apollo (here standing for Poetry) and Mars (War).
a) 'crinibus' - ablative of respect or cause with 'insignem.'
b) 'acuta cuspide' - Ablative of means with 'instruat.'
c) 'Phoebum' - an epithet for Apollo.
d) 'Marte movente' - Ablative absolute with present participle. The object of the participle is 'lyram.'
e) 'Aoniam' - Epithet for poetry. Makes it a "poet's lyre."

LINE 13: a) 'tibi' - dative of possessor.
b) 'nimium' - Adverbial accusative. For a slightly more in depth explanation of this use of the accusative see my notes on line 3 of the Aeneid.

LINE 14: a) 'ambitiose' - This is vocative, addressing Cupid.

LINE 15: a) 'quod ubique' - The first word is a relative pronoun. Supply "est."
b) 'Tua sunt Heliconia tempe?' - The last word is neuter plural (the only form in which it is found), and so explains the two preceding adjectives.

LINE 16: One should probably change this around a little bit to get a good translation.
a) 'Phoebo' - again referring to Apollo. Dative of reference with 'tuta.'

LINE 17: a) 'cum...surrexit' - Frequentative cum clause. Translate the conjunction "whenever."
b) 'versu...primo' - Possible ablative of means, but it carries the feeling of Ablative of attendant circumstance. The emphasis of this clause in on this phrase.

LINE 18 a) 'proximus ille' - Agrees with 'versu' in previous line. "The next one."
b) 'nervos...meos' - This noun usually refers to the strings of a musical instrument or bow. Here it is possibly an epithet for Ovid's "aequanimitas." I'm not really sure - if anyone knows this, please contact me through LatinChat-L - you will find it on Yahoo Groups.

LINE 19: a) 'mihi' - dative of possessor.
b) 'numeris levioribus' - Dative of reference with 'apta.' In this case the first word means "measure, meter, rhythm," as it does throughout this poem.

LINE 20: a) 'puer...puella' - Also subjects of 'est' in line 19. Sometimes multiple subjects can take a singular verb if the closest one to the verb is singular.
b) 'longas...comas' - Accusative of respect denoting the part of the body affected with 'compta.' This is a form carried over to Latin from Greek, although more often in Latin one will find the ablative of respect. The accusative of respect is closely allied to the adverbial accusative, if not originally the same thing.

LINE 21: a) 'cum' - conjunction introducing a temporal clause.
b) 'pharetra...soluta' - Could be ablative absolute or may ablative of means. Maybe ablative of place where with the preposition left out. I have not scanned this poem, so I am not sure of vowel quantities.

LINE 22: a) 'in exitium...meum' - here probably best translated "for my ruin."
b) 'spicula' - This is an epithet for an arrow. I say an arrow because I am fairly sure that Ovid is using the plural here still with singular intent. Either way it is better translated singularly.

LINE 23: a) 'lunavit' - a wonderful verb.
b) 'genu' - I would say ablative. Translate liberally - hell, the Romans did not classify the uses of cases when speaking or writing or reading - that's why I say the best way to learn a language is to get a feel for it. I don't know about anybody else, but more often than not I have a much easier time understanding Latin poetry than I do translating it into English.

LINE 24: a) 'canas' - the mood of this verb (subjunctive) tells you that it is part of a relative clause of purpose with 'quod' as the relative pronoun. Thus Cupid gives Ovid the burden of Love in order that he may write about it.

LINE 25: a) 'me miserum' - accusative of exclamation.

LINE 27: This is a reference to elegiac couplet verse, which is composed of a hexameter and a pentameter.
a) 'surgat' and 'residat' - both jussive subjunctives. Ovid gives in to the task of writing Love poetry.

LINE 28: a) 'ferrea...bella' - Vocative. There's something you don't see every day.
b) 'vestris...modis' - Referring to the dactylic hexameters of epic poetry to whic Ovid is bidding farewell.

LINE 29: a) 'cingere' - Passive imperative used reflexively. 'flaventia tempora' - is another accusative of respect denoting the part of the body affected.
b) 'litorea myrto' - Ablative of means. The myrtle tree's foliage was worn around the head by Roman kings and was also used by prophets to assist in predicting the future.

LINE 30: Translate liberally (although I have not done so, for the sake of literal comprehension). This is another reference to the elegiac couplet.


MY TRANSLATION:

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I was preparing to tell, by weighty measure
(a tale of) arms and brutal wars,
that being fitting material for these lines.
The page's bottom line was equal,
when Cupid, they say, giggled, and stole one vital foot.
"Who gave you this sway over poems,
wild boy? I am a poet of the mountain's Muses,
Not your loyal crowd of followers.
If Venus should snatch away yellow-haired Minerva's arms,
why would yellow-haired Minerva
make herself at home between the wedding torches?
Who would allow Ceres to rule
in the mountainous woods, the open fields to be
tilled under quivered Diana's law?
Who would equip Apollo, distinguished for his tresses
with a sharp spear - and leave Mars to strike the poet's lyre?
You, boy, have great and all too mighty, wide domains:
Why do you pursue a new task,
Conceited boy! - or is that which is everywhere yours?
Are Mount Helicon's valleys yours?
Is Apollo's own lyre now scarcely safe even to him?
Whenever a new page rises well
upon the first line - the next is too much to bear.
Nor do I have subject apt
to these lighter, lovely verses. - Either a boy
or a girl adorned with long hair."
I had complained, when suddenly, upon his loosened bow
he chose a slender arrow
which had been made but for my unfortunate ruin.
And upon his little knee he bent,
in the shape of a crescent moon, his sinuous bow.
And said "receive, poet, a burden of which you may sing."
Poor me! That boy had sure arrows.
I burn with passion, and in my vacant breast reigns Love.
Let the burden rise in six lines,
let it reside into five; farewell, iron wars
with your separate poet's style.
And gird the golden-yellow temples of your head
with the littoral myrtle's leaves,
O Muse of eleven-footed song.

This poem pleads artfully for the love of the woman who is the object of Ovid's affection. In it he makes his case which states that while he may not be from the richest of Roman families, he has on his side love and several gods who he claims can back him up. The poet also builds himself up as a man of morals, good faith, and humility. He uses settings from classical mythology to exemplify the grand story which he thinks shall be made out of a love affair which he hopes will take place. All in all a rather great and ostentatious exhibition of his poetic skill, which overshadows the pretense of emotional turmoil.

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Notes

Amores I.3

Iusta precor: quae me nuper praedata puella est,
aut amet aut faciat, cur ego semper amem!
a, nimium volui—tantum patiatur amari;
audierit nostras tot Cytherea preces!
Accipe, per longos tibi qui deserviat annos;
accipe, qui pura norit amare fide!
si me non veterum commendant magna parentum
nomina, si nostri sanguinis auctor eques,
nec meus innumeris renovatur campus aratris,
temperat et sumptus parcus uterque parens—
at Phoebus comitesque novem vitisque repertor
hac faciunt, et me qui tibi donat, Amor,
et nulli cessura fides, sine crimine mores
nudaque simplicitas purpureusque pudor.
non mihi mille placent, non sum desultor amoris:
tu mihi, siqua fides, cura perennis eris.
tecum, quos dederint annos mihi fila sororum,
vivere contingat teque dolente mori!
te mihi materiem felicem in carmina praebe—
provenient causa carmina digna sua.
carmine nomen habent exterrita cornibus Io
et quam fluminea lusit adulter ave,
quaeque super pontum simulato vecta iuvenco
virginea tenuit cornua vara manu.
nos quoque per totum pariter cantabimur orbem,
iunctaque semper erunt nomina nostra tuis.



NOTES:

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LINE 1: a) 'iusta' - adjective as substantive. Could be translated as one would "iustitiam."

LINE 2: a) 'amet...faciat' - jussive subjunctives.
b) 'cur ego semper amem' - A hint at exasperation. No literal translation here, in my opinion: instead something like "isn't that the least she could do?"

LINE 4: a) 'audierit' - a contracted poetical form of "audiverit." - future perfect.
b) 'nostras' - poetic plural in place of the singular. translate as "meas."
c) 'Cytherea' - An epithet for Venus, the goddes of love and thus the one who would be receiving Ovid's prayers on this matter. I believe the epithet refers to an island that worshipped Venus extensively, though I must get access to some research material to confirm that. Give me a few days.

LINE 5: a) 'accipe' - assume Ovid himself as an object. translate as first or third person, if you can make it work that way while conveying the meaning.
b) 'deserviat' - subjunctive in a relative clause of characteristic.

LINE 6: a) 'norit' - contracted form of the perfect subjunctive - "noverit." This is also subjunctive in a relative clause of characteristic, except that here the action has already been completed. One could actually translate it, though, as either "has learned," or "knows." (This verb is often used to convey that idea when used in the perfect.)

LINE 7: a) 'si' - just as the one in the next line, this is better interpreted as "etsi."
b) 'parentum' - ancestors.