The Amores; or, Amours

ELEGY XII

He complains that he has rendered his mistress so celebrated by his verses, as to have thereby raised for himself many rivals.

What day was that, on which, ye birds of no white hue, you sent forth your ominous notes, ever sad to me in my loves? Or what star must I consider to be the enemy of my destiny? Or what Deities am I to complain of, as waging war against me? She, who but lately 647 was called my own, whom I commenced alone to love, I fear that with many she must be shared by me.

Am I mistaken? Or has she gained fame by my poems? 'Tis so; by my genius has she been made public. And justly; for why have I made proclamation 648 of her charms? Through my fault has the fair been put up for sale. She pleases, and I the procurer; by my guidance is the lover introduced; by my hands has her door been opened. Whether verses are of any use, is matter of doubt; at all events, they have injured me; they have been envious of my happiness. While Thebes, 649 while Troy, while the exploits of Caesar existed; Corinna alone warmed my genius. Would that I had meddled with verses against the will of the Muses; and that Phoebus had deserted the work commenced! And yet, it is not the custom to listen to Poets as witnesses; 650 I would have preferred all weight to be wanting to my words.

Through us, Scylla, who robbed her father of his white hair, bears the raging dogs 651 beneath her thigh and loins. We have given wings to the feet, serpents to the hair; the victorious descendant of Abas 652 is borne upon the winged steed. We, too, have extended Tityus 653 over the vast space, and have formed the three mouths for the dog bristling -with snakes. We have described Enceladus, 654 hurling with his thousand arms; and the heroes captivated by the voice of the two-shaped damsels. 655 In the Ithacan bags 656 have we enclosed the winds of Æolus; the treacherous Tantalus thirsts in the middle of the stream. Of Niobe we have made the rock, of the damsel, the she-bear; the Cecropian 657 bird sings of Odrysian Itys. Jupiter transforms himself, either into a bird, or into gold 658 or, as a bull, with the virgin placed upon him, he cleaves the waves. Why mention Proteus, and the Theban seed, 659 the teeth? Why that there were bulls, which vomited flames from their mouths? Why, charioteer, that thy sisters distil amber tears? 660 Why that they are now Goddesses of the sea, who once were ships? 661 Why that the light of day fled from the hellish banquet 662 of Atreus? And why that the hard stones followed the lyre 663 as it was struck?

The fertile license of the Poets ranges over an immense space; and it ties not its words to the accuracy of history. So, too, ought my mistress to have been deemed to be falsely praised; now is your credulity a mischief to me.

ELEGY XIII

He describes the Festival of Juno, as celebrated at Falisci, the native place of his wife.

A s my wife was born at Falisci, so fruitful in apples, we repaired to the walls that were conquered, Camillus, by thee. 664 The priestesses were preparing the chaste festival of Juno, with distinguished games, and the heifer of the country. 'Twas a great remuneration for my stay, to be acquainted with the ceremony; although a path, difficult from the ascent, leads the way thither. There stands a grove, ancient, and shaded with numberless trees; look at it, you must confess that a Divinity exists in the spot. An altar receives the prayers, and the votive incense of the pious; an altar made without skill, by ancient hands.

When, from this spot, the pipe has given the signal with its usual note, the yearly procession moves along the covered paths. 665 Snow-white heifers 666 are led, as the crowd applauds, which the Faliscan grass has fed on its own plains; calves, too, not yet threatening with the forehead to inspire fear; and the pig, a smaller victim, from its lowly sty; the leader too, of the flock, with his horns bending back over his hardy temples; the goat alone is odious to the Goddess queen. By her betrayal, discovered in the lofty woods, 667 she is said to have desisted from the flight she had commenced. Even now, by the boys, is she aimed at as a mark; 668 and she is given, as a prize, to the author of her wound. Where the Goddess is to come, the youths and bashful girls sweep the roads before her, with garments 669 as they lie. Their virgin hair is adorned with gold and gems; and the proud mantle conceals their feet, bedecked with gold. After the Grecian manner 670 of their ancestors, clad in white garments, they bear the sacred vessels entrusted to them on their heads, placed beneath. The people hold religious silence, 671 at the moment when the resplendent procession comes up; and she herself follows after her priestesses.

Argive is the appearance of the procession; Agamemnon slain, Halesus 672 fled from both his crime and his father's wealth. And now, an exile, having wandered over both land and sea, he erected lofty walls with prospering hand. He taught his own Falisci the rites of Juno. May they be ever propitious to myself, may they be ever so to her own people.

ELEGY XIV

He entreats his mistress, if she will not be constant, at least, to conceal her intrigues from him.

Beauteous since you are, I do not forbid your being frail; but let it not be a matter of course, that wretched I should know it. Nor does any severity of mine command you to be quite correct; but it only entreats you to try to conceal the truth. She is not culpable, whoever can deny that she has been culpable; and 'tis only the confession of error that makes a woman disgraced. What madness is it to confess in light of day what lies concealed in night? And what you do in secret, to say openly that it is done? The strumpet about to entertain some obscure Roman, first keeps out the public by fastening up the bar. And will you make known your frailties to malicious report? And will you make proof of your own criminality? May your mind be more sound, or, at least, may you imitate the chaste; and although you are not, let me suppose that you are chaste. What you do, still do the same; only deny that you do so; and be not ashamed in public to speak the language of chastity. There is the occasion which demands wantonness; sate it with every delight; far thence be all modesty. Soon as you take your departure thence; away at once with all lasciviousness, and leave your frailties in your chamber

With your garments put on looks that dread accusation; and let modesty disavow improper pursuits. Deceive the public, deceive me, too; in my ignorance, let me be mistaken, and allow me to enjoy my silly credulity.

Why do I so often espy letters sent and received? Why one side and the other 673 tumbled, of your couch? Why do I see your hair disarranged more than happens in sleep, and your neck bearing the marks of teeth? The fading itself alone you do not bring before my eyes; if you hesitate consulting your own reputation, still, spare me. My senses fail me, and I am expiring, oft as you confess your failings; and the drops flow, chilled throughout my limbs. Then do I love you; then, in vain, do I hate what I am forced to love; 673* then I could wish myself to be dead, but together with you.

No enquiries, for my part, will I make, nor will I try to know what you shall attempt to conceal; and to me it shall be the same as a false charge. If, however, you shall be found detected in the midst of your guilt, and if criminality shall be beheld by my eyes; what has been plainly seen, do you deny to have been plainly seen; my own eyes shall give way to your assertions.'Tis an easy conquest for you to vanquish me, who desire to be vanquished. Let your tongue only be mindful to say—"I did not do it!" since it is your lot to conquer with two words; although not by the merit of your cause, still conquer through your judge.

ELEGY X

He tells Venus that he now ceases to write Elegies.

Seek a new Poet, mother of the tender Loves; here the extreme turning-place is grazed 674 by my Elegies, which I, a foster-child of the Pelignian fields, have composed; nor have my sportive lays disgraced me. Me, I say, who, if that is aught, am the heir to my rank, 675 even through a long line of ancestors, and not lately made a Knight in the hurly-burly of warfare. Mantua delights in Virgil, Verona in Catullus; I shall be called the glory of the Pelignian race; which its own liberties summon to glorious arms, 676 when trembling Rome dreaded 677 the allied bands. And some stranger will say, as he looks on the walls of the watery Sulmo, which occupy but a few acres of land, "Small as you are, I will call you great, who were able to produce a Poet so great." Beauteous boy, and thou, Amathusian parent 678 of the beauteous boy, raise your golden standard from my fields. The horned 679 Lyæus 680 has struck me with a thyrsus more potent; with mighty steeds must a more extended plain be paced. Unwarlike Elegies, my sportive 681 Muse, farewell; a work destined to survive long after I am dead and gone.–

FOOTNOTES BOOK ONE:

001 (return)

[ Were five books.—Ver. 1. From this it is clear, that the first edition which Ovid gave to the public of his 'Amores' was in five Books; but that on revising his work, he preferred (praetulit) these three books to the former five. It is supposed that he rejected many of those Elegies which were of too free a nature and were likely to embroil him with the authorities, by reason of their licentiousness.]

002 (return)

[ Though it should.—Ver. 3. Burmann has rightly observed, that 'ut jam,' in this line, has exactly the force of 'quamvis,' 'although.']

003 (return)

[ In serious numbers.—Ver. 1. By the 'graves numeri,' he means Heroic or Hexameter verses. It is supposed that he alludes to the battle of the Giants or the Titans, on which subject he had begun to write an heroic poem. In these lines Ovid seems to have had in view the commencement of the first Ode of Anacreon.]

004 (return)

[ Suited to the measure.—Ver. 2. The subject being of a grave character, and, as such, suited to Heroic measure.]

005 (return)

[ Abstracted one foot.—Ver. 4. He says that every second line (as is the case in Heroic verse) had as many feet as the first, namely, six : but that Cupid stole a foot from the Hexameter, and reduced it to a Pentameter, whereby the Poet was forced to recur to the Elegiac measure.]

008 (return)

[ Diminish my energies.—Ver. 18. See the Note to the fourth line.]

009 (return)

[ His quiver loosened.—Ver. 21. The 'pharetra,' or quiver, filled with arrows, was used by most of the nations that excelled in archery, among whom were the Scythians, Persians, Lycians, Thracians, and Cretans. It was made of leather, and was sometimes adorned with gold or painting. It had a lid, and was suspended by a belt from the right shoulder. Its usual position was on the left hip, and it was thus worn by the Scythians and Egyptians. The Cretans, however, wore it behind the back, and Diana, in her statues, is represented as so doing. This must have been the method in which Cupid is intended in the present instance to wear it, as he has to unloose the quiver before he takes out the arrow. Some Commentators, however, would have 'solutâ' to refer simply to the act of opening the quiver.]

010 (return)

[ In six feet.—Ver. 27. He says that he must henceforth write in Hexameters and Pentameters, or, in other words, in the Elegiac measure.]

011 (return)

[ My Muse.—Ver. 30. The Muse addressed by him would be Erato, under whose protection were those Poets whose theme was Love. He bids her wreathe her hair with myrtle, because it was sacred to Venus; while, on the other hand, laurels would be better adapted to the Heroic Muse. The myrtle is said to love the moisture and coolness of the sea-shore.]

014 (return)

[ Thy step-father.—Ver. 24. He calls Mars the step-father of Cupid, in consequence of his intrigue with Venus.]

015 (return)

[ Birds so yoked.—Ver. 26. These are the doves which were sacred to Venus and Cupid. By yoking them to the chariot of Mars, the Poe* wishes to show the skill and power of Cupid.]

016 (return)

[ Io triumphe.—Ver. 25. 'Clamare triumphum,' means 'to shout Io triumphe,' as the procession moves along. Lactantius speaks of a poem called 'the Triumph of Cupid,' in which Jupiter and the other Gods were represented as following him in the triumphal procession.]

017 (return)

[ Thyself with gold.—Ver. 42. The poet Mosehus represents Cupid as having wings of gold.]

018 (return)

[ The Gangetic land.—Ver. 47. He alludes to the Indian triumphs of Bacchus, which extended to the river Ganges.]

019 (return)

[ Thy kinsman Cæsar—Ver. 51. Because Augustus, as the adopted son of Julius Cæsar, was said to be descended from Venus, through the line of Æneas.]

020 (return)

[ Shield the conquered.—Ver. 52. Although Augustus had many faults, it must be admitted that he was, like Julius, a most merciful conqueror, and was generally averse to bloodshed.]

021 (return)

[ Founder of my family. —Ver. 8. See the Life of Ovid prefixed to the Fasti; and the Second Book of the Tristia.]

022 (return)

[ Each of my parents.—Ver. 10. From this it appears that this Elegy was composed during the life-time of both of his parents, and while, probably, he was still dependent on his father.]

023 (return)

[ No rover in affection.—Ver. 15. 'Desuitor,' literally means 'one who leaps off.' The figure is derived from those equestrians who rode upon several horses, or guided several chariots, passing from the one to the other. This sport was very frequently exhibited in the Roman Circus. Among the Romans, the 'desuitor' generally wore a 'pileus,' or cap of felt. The Numidian, Scythian, and Armenian soldiers, were said to have been skilled in the same art.]

024 (return)

[ Of the bird.—Ver. 22. He alludes to Leda and Europa.]

026 (return)

[ The same banquet.—Ver. 1. He says that they are about to meet at 'coena,' at the house of a common friend.]

027 (return)

[ The last meal.—Ver. 2. The 'coena' of the Romans is usually translated by the word 'supper'; but as being the chief meal of the day, and being in general, (at least during the Augustan age) taken at about three o'clock, it really corresponds to our 'dinner.']

028 (return)

[ Warm the bosom of another.—Ver. 5. As each guest while reclining on the couch at the entertainment, mostly leaned on his left elbow during the meal, and as two or more persons lay on the same couch, the head of one person reached to the breast of him who lay above him, and the lower person was said to lie on the bosom of the other. Among the Romans, the usual number of persons occupying each couch was three. Sometimes, however, four occupied one couch; while, among the Greeks, only two reclined upon it. In this instance, he describes the lady as occupying the place below her husband, and consequently warming his breast with her head. For a considerable time after the fashion of reclining at meals had been introduced into Rome, the Roman ladies sat at meals while the other sex was recumbent. Indeed, it was generally considered more becoming for females to be seated, especially if it was a party where many persons were present. Juvenal, however, represents a bride as reclining at the marriage supper on the bosom of her husband. On the present occasion, it is not very likely that the ladies were particular about the more rigid rules of etiquette. It must be remembered that before lying down, the shoes or sandals were taken off.]

029 (return)

[ Damsel of Atrax.—Ver. 8. He alludes to the marriage of Hippodamia to Pirithous, and the battle between the Centaurs and the Lapithæ, described in the Twelfth-. Book of the Metamorphoses.]

031 (return)

[ Do come first.—Ver. 14. He hardly knows why he asks her to do so, but still she must come before her husband; perhaps, that he may have the pleasure of gazing upon her without the chance of detection; the more especially as she would not recline till her husband had arrived, and would, till then, probably be seated.]

032 (return)

[ Touch my foot.—Ver. 16. This would show that she had safely received his letter.]

033 (return)

[ My secret signs.—Ver. 18. See the Note in this Volume, to the 90th line of the 17th Epistle.]

034 (return)

[ By my eye-brows.—Ver. 19. See the 82nd line of the 17th Epistle.]

035 (return)

[ Traced in the wine.—Ver. 20. See the 88th line of the 17th Epistle.]

036 (return)

[ Your blooming cheeks.—Ver. 22. Probably by way of check to his want of caution.]

037 (return)

[ Twisted on your fingers.—Ver. 26. The Sabines were the first to introduce the practice of wearing rings among the Romans. The Romans generally wore one ring, at least, and mostly upon the fourth finger of the left hand. Down to the latest period of the Republic, the rings were mostly of iron, and answered the'purpose of a signet. The right of wearing a gold ring remained for several centuries the exclusive privilege of Senators, Magistrates, and Knights. The emperors were not very scrupulous on whom they conferred the privilege of wearing the gold ring, and Severus and Aurelian gave the right to all Roman soldiers. Vain persons who had the privilege, literally covered their fingers with rings, so much so, that Quintilian thinks it necessary to warn the orator not to have them above the middle joint of the fingers. The rings and the gems set in them, were often of extreme beauty and value. From Juvenal and Martial we learn that the coxcombs of the day had rings for both winter and summer wear. They were kept in 'dactyliothecæ,' or ring boxes, where they were ranged in a row.]

038 (return)

[ Who are in prayer.—Ver. 27. It was the custom to hold the altar while the suppliant was praying to the Deities; he here directs her, while she is mentally uttering imprecations against her husband, to fancy that the table is the altar, and to take hold of it accordingly.]

039 (return)

[ If you are discreet.—Ver. 29. Sapias' is put for 'si sapias,' 'if you are discreet,' 'if you would act sensibly.']

041 (return)

[ Ask the servant.—Ver. 30. This would be the slave, whose office it was to mix the wine and water to the taste of the guests. He was called [oivôxooç] by the Greeks, 'pincerna' by the Romans.]

042 (return)

[ Which you have put down.—Ver. 31. That is, which she either puts upon the table, or gives back to the servant, when she has drunk.]

043 (return)

[ Touched by his mouth.—Ver. 34. This would appear to refer to some choice morsel picked out of the husband's plate, which, as a mark of attention, he might present to her.]

044 (return)

[ On his unsightly breast.—Ver. 36. This, from her position, if she reclined below her husband, she would be almost obliged to do.]

045 (return)

[ So close at hand.—Ver. 37. A breach of these injunctions would imply either a very lax state of etiquette at the Reman parties, or, what is more probable, that the present company was not of a very select character.]

048 (return)

[ Beneath the cloth.—Ver. 48. 'Vestis' means a covering, or clothing for anything, as for a couch, or for tapestry. Let us charitably suppose it here to mean the table cloth; as the passage will not admit of further examination, and has of necessity been somewhat modified in the translation.]

049 (return)

[ The conscious covering.—Ver. 50. The 'pallia,' here mentioned, are clearly the coverlets of the couch which he has before mentioned in the 41st line; and from this it is evident, that during the repast the guests were covered with them.]

050 (return)

[ Add wine by stealth.—Ver. 52. To make him fall asleep the sooner]

051 (return)

[ 'Twas summer time.—Ver. 1. In all hot climates it is the custom to repose in the middle of the day. This the Spaniards call the 'siesta.']

053 (return)

[ A part of the window.—Ver. 3. On the 'fenestræ,' or windows of the ancients, see the Notes to the Pontic Epistles, Book iii. Ep. iii. 1. 5, and to the Metamorphoses, Book xiv. 1. 752. He means that one leaf of the window was open, and one shut.]

054 (return)

[ Corinna.—Ver. 9. In the Fourth Book of the Tristia, Elegy x. 1. GO, he says, 'Corinna, (so called by a fictitious name) the subject of song through the whole city, had imparted a stimulus to my geuius.' It has been supposed by some Commentators, that under this name he meant Julia, either the daughter or the grand-daughter of the emperor Augustus, but there seems really to be no ground for such a belief; indeed, the daughter of Augustus had passed middle age, when Ovid was still in boyhood. It is most probable that Corinna was ouly an ideal personage, existing in the imagination of the Poet; and that he intended the name to apply to his favourite mistress for the time being, as, though he occasionally denies it, still, at other times, he admits that his passion was of the roving kind. There are two females mentioned in history of the name of Coriuna. One was a Theban poetess, who excelled in Lyric composition, and was said to have vanquished Pindar himself in a Lyric contest; while the other was a native of Thespiæ, in Bceotia. 'The former, who was famous for both her personal charms and her mental endowments, is supposed to have suggested the use of the name to Ovid.]

055 (return)

[ Clothed in a tunic.—Ver. 9. 'Tunica' was the name of the under-garment with both sexes among the Romans. When the wearer was out of doors, or away from home, it was fastened round the waist with a belt or girdle, but when at home and wishing to be entirely at ease, it was, as in the present instance, loose or ungirded. Both sexes usually wore two tunics. In female dress, Varro seems to call the outer tunic 'subucula,' and the 'interior tunica' by the name also of 'indusium.' The outer tunic was also called 'stola,' and, with the 'palla' completed the female dress. The 'tunica interior,' or what is here called tunica,' was a simple shift, and in early times had no sleeves. According to Nonius, it fitted loosely on the body, and was not girded when the 'stola' or outer tunic was put on. Poor people, who could not afford to purchase a 'toga,' wore the tunic alone; whence we find the lower classes called by the name of 'tunicati.']