[PDF] Ovids Heroides 4 and 8. A commentary with introduction





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Ovid's Heroides 4 and 8. A commentary with

introduction

Charilaos Michalopoulos

Submitted in accordance with the requirements for the degree of

Doctor of Philosophy

The University

of Leeds

School

of Classics

October,

2006
The candidate confIrms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement.

Por my parents

20 TOO loUVIl a1tO TO Y1U M~ou etA.e1 TOOpu

~ ",u..t~ Ka1 oaoeie~ oev a1toxcopi~0~a1 ~E n1tOtE. eiSa OTOV oa ~ A.UOCO~U ~uUul Ka1

Kut T11 1C1 1tep101tCO~e~

elj.la to ~oo. l:TO txoo~ TPE1~ ~UYE~: TTl

KU1 OE eooo.

..,eeA.a va Eij.lut

KOO~O 0T11

A~1teA.o1CfJ1tou~, eu ",elp1a, 0 1-IeeA.U

oev n..,pa K1 ve~ vauTTl~ ~ 1tA.11oiaoe. a1tO T11 vu (Aoooo~iKO~ TCOV To '1Pap.J.la

June 20th 1990. Leaving Dubai behind we are now sailing for Marseille. How do you spell Marseille? One "I"

or two? My spelling is terrible. But, I cannot do without smooth and rough breathings. I dreamt of them one night;

they looked like barefoot gypsy kids, with greasy hair. I was scared. I also dreamt of a subscript. Since I use it too. If you ask for circumflex, ifit seems right, I pay my debt. In the common room we have three flies: Myrto, Janet and Cornelius. They feed on sugar and milk.

Sometimes I come across them in the corridor, but I pretend I don't see them. I'm going to the fridge now to get some

unripe fruits. I will put them at the window screen to mellow. Without fruits and books I would have no passion here.

I wish I were on Omonoia Square now, in the smog and the heat, waiting at the crowded bus-stop. And no

sign

of the bus coming. And when I would finally get at Ampelokipoi, I would buy fish, greens and wheat bread. And

God bless. I wish I knew: aren't you happy?

close: I got a letter from my mother, the same things again and again. I read it many times. A young sailor came "Captain Manolis, is this letter from your mother?" it's from my mother." it to me to read." (Ludwig of Anogea, The sailor's letter) -11-

Acknowledgements

In the course of writing this thesis I have incurred a number ef debts, which is a great pleasure for me to acknowledge here. First of all, I would like to thank Professor Robert Maltby, the supervisor of my work, who has always been an unfailing source of inspiration, criticism and encouragement. Words fail me as I express my gratitude to him, whose example of generous, fair-minded, and dedicated scholarship I have tried to keep before me. I consider myself extremely fortunate to have studied under his supervision and I will always be indebted to him for his help, patience and moral support so generously given to me during the preparation of my thesis. My deepest gratitude also goes to Dr. Ken Belcher for putting his trust in me and my work from the early days of my postgraduate studies as an MA student. I am obliged to him for being most generous and helpful throughout my stay at Leeds and for offering me his incisive comments, his moral support and above all his friendship. He has been a constant source of encouragement in difficult times and a calm mediator of grace and rare intellectual wit. I will always be indebted to both of them for their hospitality, which I know that I will never manage to reciprocate fully. I am also indebted to Professor Barry Hall, who generously shared with me his prodigious knowledge and offered me his learned advice and valuable guidance on issues of textual criticism. I also thank him for letting me consult his own copy of the Burman (1727) edition of the Heroides. I would also like to thank the members of staff of the Classics Department in Leeds University for making Leeds such a pleasant and enjoyable place to work in. Thanks also go to the members of staff at the University Library of Leeds with whom I had the pleasure to work for a whole year and who made every possible effort to satisfy my bibliographical needs. I would also like to thank my friend and colleague Mr. Marios Skempis who, while preparing his thesis on Callimachus' Hecaie, never failed to provide his 'raKEI to my bibliographical requests and to my queries on issues of modem literary theory. Special thanks are owed to my colleague Miss Maria Georganta for her love, care and untiring emotional and moral support, which lightened the burden of my work and provided me with much needed encouragement.

My warmest thanks go to

my brother, Dr. Andreas N. Michalopoulos, who has been a model of industrious devotion for me and whose constant moral encouragement, untiring support and unfailing academic guidance helped me surpass several hardships in times of troubled anxiety. I have benefited greatly from his stimulating comments and thOUght-provoking observations, which have saved me from many infelicities. My commentary owes much to his most recent work on Ovid's Heroides 16 and 17 (Ovid Heroides 16 and 17. Introduction, Text and Commentary (2006». Above all, I am grateful to him for his belief in my work, which always kept me going. -m .. My heartfelt debt is to my parents and my aunt Domna, whose unfailing love and faith supported me and made all this possible for me. I would like to express in print what words can hardly describe, even though I know that this lame expression of gratitude could not ever match their magnanimity and the sacrifices that they have gone through all these years. I will always cherish their broad and deep understanding, their patience and their warmest support throughout these years. The dedication of my thesis to them for everything they have done for me is a totally insufficient way of acknowledging their contribution. Obviously, for remaining errors and inadequacies I alone am responsible. Leeds

08.10.06 Charilaos Michalopoulos

-IV-

Abstract

Ovid's Heroides in the form they have come down to us are a diverse group comprising fourteen verse letters supposedly addressed by heroines of Greek mythology to their absent loved ones (Her. 1-14), one further similar letter by the Greek poet

Sappho (Her. 15), and the so-called

"double (Her. 16-21), which consist of three pairs of letters exchanged between famous couples of myth and literature. Despite the recent revival in the study of this Ovidian work, this thesis is the first full-length comprehensive commentary on Phaedra's letter to Hippolytus (Her.

4) and Hermione's letter to Orestes (Her. 8) since 1898. In the main commentary

my investigation treats issues of language, style, versification and structure in the light of possible intertextual exchanges with prior works of Greek and Roman literature (esp. Greek epic,

Euripidean tragedy and Roman elegy). A wide range

of literary, inscriptional and archaeological material is used to illuminate and contextualize this many-sided poetry. The introduction concentrates primarily on issues of characterization mainly from a post-feminist and intertextual perspective with emphasis on the representation of (fe)male voice and desire, and the mechanics of the generic assimilation of prior literary material to the elegiac context. In addition, the introduction also provides a detailed examination of the (mis)application of mythological exempla in terms of rhetorical effectiveness and relevance to the overall structure of both letters. The aim

of this explorative study, besides including a detailed stylistic and linguistic analysis, is to offer

an in-depth and multi-faceted critical examination of the poetic quality of these two poems and with the help of modern, up-to-date literary theories on genre, gender and writing to contribute further to the critical reassessment of the Heroides as a whole. -v-

Contents

Acknowledgements ........................................................................ ........... 11 Abstract ........................................................................ ......................... iv I n trod uction ......... ........................................................................ ....... 3

1. Content of Her. 4 and 8 ........................................................................

. 3

2. Characterization ........................................................................

............ 4

2.1.Phaedra .................................................. , .................................... 6

2.2. Hippolytus

......... 32

2.3 Hennione

......... 49

3. The (mis)application of mythological exempla in Heroides 4 and 8 ..•........•... 60

3.1.1 Her. 4.53-66 ........................................................................

.... 61

3.1.2. Her. 4.93-104 ........................................................................

.. 77

3.2. Her. 8.65-82 ........................................................................

...... 98

4. Text and Transmission ........................................................................

112
5.

Table of comparative readings ........................................................................

........ 114 Text ........................................................................ .............................. 118 Commentary ........................................................................ ............. 128 Heroides 4 ........................................................................ ................ 129 Heroides 8 ........................................................................ ................. 220 Appendix ........................................................................ .................. 276 Bibliography and Abbreviations .............................................................. 289

IMAGING

Boston Spa, Wetherby

West Yorkshire,

LS23 7BQ

www.bl,uk

PAGE NUMBERING AS

ORIGINAL

3

Introduction

1. Content of Her. 4 and 8

A tabular analysis of Her. 4 and 8 is as follows:

Her. 4

1-7: letter opening, Phaedra is urging Hippolytus to read the letter

8-16: Phaedra's earlier failed attempts, divine inspiration

17-37: inexperience in love, struggle for

lama, claim to "virginity"

38-52: Phaedra in the woods

53-66: first mythological list on hereditary sexual perversion (Europa,

Pasiphae, Ariadne)

67-84: description

of Hippolytus' physical appearance and of his excellence in sports and hunting

85-104: second mythological list on

"amatory (Cephalus, Adonis, Meleager)

105-28: Theseus' multiple injustices against

Phaedra and Hippolytus

129-46:

Phaedra's morality", explicit call to adultery

147-76: supplication

For literary sources and synopses

of the myth see Shuckburgh (1885) Il3, Palmer (1898) 305, Collins and Hayes (1910) 95f., Eitrem RE 8 (1913) s. v. Hippo/ylos 1870-72., Barrett (1964) If., Jacobson (1974) 142-6, Fontenrose (1981) 160 n.I, Coffey-Mayer (1990) 5,

Spentzou

(2003) xvii-xviii, Fulkerson (2005) 123-6.

Her. 8

[1]-14: Hermione's abduction by Neoptolemus

15-26: appeal to

Orestes to imitate Menelaus and take up action

27-36: double relationship, descent from

Pelops house, Hermione's betrothal to Orestes by

Tyndareus

37-42:

Orestes paralleled to Menelaus

43-56:

Orestes compared with Neoptolemus, Orestes' bloody past

57-64: Hermione's powerless defence

ofOrestes

65-82: mythological list on hereditary abduction (Leda, Hippodamia, Helen)

83-88: Achilles' imaginary condemnation ofNeoptolemus' actions

89-100: Hermione's deprivation

of her mother

101-16: Hermione's nights with Neoptolemus

117-22: final appeal to

Orestes

4 For literary sources and synopses of the myth see Schuckburgh (1885) 156, Palmer (1898) 350f., Collins and Hayes (1910) 138f., Stein RE 8.1 (1912) s.v. Hermione 841-3,

Jacobson (1974) 43-6, Williams, Allan

(2000) 8-18, Spentzou (2003) 14, Fulkerson (2005) 88- 90.

2. Characterization

Despite pseudo-Demetrius' claims that a letter is a straightforward, unmediated reflection of reality, in which the writer can unveil his true soul, a letter is in fact the product of a process of construction.' Writing a letter actually means constructing a self, choosing a certain perspective of truth. Far from being a reflection of reality the letter is in fact a fashioned narrative adapted each time to the circumstances at hand. 2

In the case of the Hero ides, in

particular, the already complicated issue of representation is further problematized by the reversal of elegy's traditional gender hierarchy. The substitution of the female perspective for the predominant male one,3 what Rosati has called "l'elegia al feminile,,,4 has significant consequences for the status of both the sender and the addressee of each letter. The speaking "I" of the elegiac male poet is now completely usurped by the "I" of the elegiac puel/a, and the impression is given that we are at last in position to listen to elegy's otherwise silenced (with the possible exception of Sulpicia) female voice. There is, however, an important caveat, which should not be discarded. The sex-reversal of the gender-specific role of the male narrator is crucial, but it does not necessarily cause a radical turn-about of elegy's generic principles. The question at stake here is not so much the narrator's shift per se, but rather the extent to which this alternative perspective gives voicequotesdbs_dbs46.pdfusesText_46
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