By A. M. Keith
This learn examines the function of girl characters within the Roman epic poetry of Virgil, Ovid and different writers. Its 5 chapters argue that the feminized landscapes, militaristic girls, and gorgeous girl corpses of the Roman epic culture might be interpreted together with using the style via historic educators as a way of inculcating Roman codes of masculinity and femininity of their scholars. the problems addressed are of curiosity not only to classicists but in addition to scholars of later poetic traditions and to these pursuing gender experiences.
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This can be a newly revised, serious textual content of the fragments attributed to the Roman knight and mimographer Decimus Laberius, a witty and crudely satirical modern of Cicero and Caesar. Laberius is likely to be the main celebrated comedian playwright of the past due Republic, and the fragments of performs attributed to him include the overpowering majority of the extant proof for what we conventionally name 'the literary Roman mime'.
This choice of freshly commissioned essays covers the whole variety of the works of an extremely flexible and leading edge poet. The essays introduce readers to various severe techniques to Horace and to Latin poetry, in addition to a couple of diverse contexts--political, philosophical, old.
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Additional resources for Engendering Rome: Women in Latin Epic (Roman Literature and its Contexts)
Lucretius illustrates the Epicurean argument that all matter is composed of more than one type of atom by appealing to the example of Tellus (Earth), whom he anthropomorphises as the great mother of gods, beasts and men. , ), however, undermines the agency of mother earth by aligning the reproductive female body with corporeal substance: as Diskin Clay notes, ‘et nostri genetrix is radically modiﬁed by the word corporis. ’6 A favourite Lucretian wordplay deriving mater, ‘mother’, from materies, ‘matter’, and terra, ‘earth’, 5 Nugent ().
Donatus ascribes to Camilla the motivation of passionate desire not for Chloreus but for his rich clothing, and he attributes her fatal recklessness on the battleﬁeld to her sex. A traditional Roman rhetoric of gender diﬀerence informs Donatus’ interpretation of the passage and is reinforced by his paraphrase. With Camilla’s fatal ‘feminine’ weakness for Chloreus’ purple and gold ﬁnery, we may compare Euryalus’ disastrous decision to carry oﬀ the spoils of his attack on the sleeping Rutulians.
Excedunt castris, et tuta capessunt. –) They leave behind many men’s weapons made of solid silver, many drinking cups, and beautiful rugs. Euryalus snatches up Rhamnes’ boss and swordbelt with golden studs, gifts which once the fabulously wealthy Caedicus sent to Remulus of Tibur pledging friendship without a meeting . . this Euryalus ﬁts to his strong shoulders, but in vain. Then he puts on Messapus’ well-ﬁtting helmet, embellished with crests. They leave the camp, and make for safety. Although Nisus and Euryalus forego the rich booty of the camp, Euryalus despoils two Rutulian corpses, Rhamnes of his boss and gold studded sword-belt, Messapus of his spectacular crested helmet.