Page 55, Question 2

Question 2: In what ways do the story's closing lines aptly conclude the darkness/death imagery which Ovid has developed throughout the narrative?



Probably the most well-known instance where Ovid portrays imagery of the darkness, is in the color of the mulberry fruit. In the last line of Pyramus and Thisbe, Ovid writes, "nam color in pomo est, ubi permaturuit" meaning for the color of the fruit is dark, when it has fully matured. Ovid relates darkness and death to each other, and it is only fitting that after this line, he says "quodque rogis superest, una requiescit in urna," and that which remains of the funeral pyres (the ashes) rests in one urn, speaking about Pyramus and Thisbe's death. Furthermore, it is important to note that Ovid previously also mentioned darkness and death together. In line 108, he has Pyramus say, "una duos" inquit "nox perdet amantes." However, Ovid does not always reference darkness as negative imagery.

Thisbe is able to escape the walls of the city, through the In lines 88-89, "lateantque sub umbra arboris" meaning, the shadow of the tree allowed for a particular, common meeting place, and also shadow for Pyramus and Thisbe to hide under. Furthermore, in line 93, "Callida Thisbe egreditur per tenebras," once again the darkness of night, allows Thisbe to leave the walls of the city, and meet with Pyramus. Furthermore, when Thisbe "fugit obscurum in antrum", the darkness of the cave is providing protection for Thisbe from the lion, as the tree can be considered to be doing for both Pyrams and Thisbe. On the contrary, though, it is darkness that protects Thisbe from the lion, but prevents Pyramus from seeing Thisbe, leading to the death of Pyramus, and therefore the death of Thisbe, as well.

The closing lines of Pyramus and Thisbe conclude the darkness/death imagery, because they relate the two to each other, as Ovid has been doing the entire narrative. The fruit of the mulberry becomes dark, once it has matured, as the ashes of both unfortunate lovers, rest in one urn. Pyramus and Thisbe, as a poem, embodies the cycle of life after death, providing comfort for some, in the fact that once death has passed, things will proceed and move on. In this case, the fruit of the tree, the mulberry, is the product of reproduction, of the tree. It symbolizes life, after death, and therefore, one can conclude that the mulberry also symbolizes life occurring, after Pyramus and Thisbe's death, and that the fruit of the mulberry and the two lovers are connected. Ovid even utilizes the word "fetus" for the fruit in line 125, instead of pomo, which he has used previously to represent the mulberry. By using the word fetus, he connotates the idea of birth/life/offspring, even though the fruit has matured, with the dark color, provided by the deaths of Pyramus and Thisbe. In this way, Ovid portrays the theme life after death, or the occurance of life originating from death.

Page 49, Question 1

How is Ovid's graphic depiction of Pyramus's suicide quite essential to the story line?



Ovid's graphic depcition of Pyramus's suicide demonstrates the irony of the whole situation. The reason why Pyramus and Thisbe fled the city and its restricting walls, were to be able to unite and be together. However, as soon as they escaped the physical city walls, they encountered other metaphorical 'walls' that we have discussed in class, which continue to prevent them from being together. The situation is ironic because by fleeing the city in search of freedom to love, Pyramus recklessly commits suicide. Also, Ovid specifically has Pyramus stab himself in the groin/genitals for a purpose. The groin area is where real intimacy occurs between two lovers, and it is, further even more ironic, that Pyramus stabs himself there as opposed to his chest, heart, or throat. Another reason why Pyramus may have stabbed himself in the groin is because the sensitivity of the area causes tremendous pain and suffering, which Pyramus desired due to the guilt and responsibility he felt for Thisbe's unfortunate "death."

Limerick: Pyramus and Thisbe

There once was Thisbe of Babylonia
Her desired marriage forbidden by Papa
Burning passion caused rebellion
Ill-timing causing destruction
Unfortunate death is always the saga

Figures Of Speech (105-127)

• In line 114, Ovid utilizes an apostrophe, when he has Pyramus say "O quicumque sub hac habitatis rupe leones!" meaning, "Oh! Whatever lions that live under this rock!" An apostrophe is demonstrated by line 114 because Pyramus is speaking to the lions that are not actually present at the time and place where he is, himself. An apostrophe can also occur when one is speaking to an inanimate object, instead of an object that is not present at the time.
• A synechdoce is demonstrated by Ovid in line 119 "Quoque erat accintus, demisit in ilia ferrum." This can be considered a synechdoce, when a whole is represented by naming one of its parts, because the word ferrum means iron. Ovid did not mean to say Pyramus literally stabbed himself in the groin with a piece of iron, but rather, with a sword. Therefore, iron is the word representing the sword: the part representing the whole.
• In line 117, Ovid uses an anaphora by repetition of the word "dedit." He writes "utque dedit notae lacrimas, dedit oscula vesti" meaning he gave tears and gave kisses to the familiar veil. An anaphora is the repetition of the same word, at the beginning of successive clauses, so evidently, Ovid successfully utilizes an anaphora to evoke sympathy from the audience, for Pyramus.

Pyramus and Thisbe: Walls

The walls in Pyramus and Thisbe can be interpreted both literally and metaphorically. In the literal sense, the wall is the brick structure separating Pyramus's house from Thisbe's. The tiny hole in the wall allows Thisbe and Pyramus to murmur quietly to each other, but never speak or hold or kiss each other. For this reason, the two lovers become immensely frustrated with the wall, because it is preventing them from coming together. In line 73, Ovid writes "Invide paries quid amantibus obstas" which means: "Jealous wall, why do you stand in the way of lovers?" Through this line, the audience can feel the amount of frustration and bitterness from Pyramus and Thisbe, becasue of the fact that they are scolding a wall. Ironically, though, the wall provides the only means of communication between the two lovers.
Metaphorically, the wall represents the separation between Pyramus and Thisbe, according to their parent's refusal to their marriage. In line 60 Ovid writes "Tadae quoque iure coissent sed vetuere patres" meaning "They would have met in the bond of marriage, but the fathers forbade it." The fact that Pyramus and Thisbe's parents refuse to allow them to get married, for whatever reason, is preventing them from uniting, just as the literal wall in the poem is.
Another metaphorical interpretation of the wall can be the lioness that the two encounter, after they sneak out of the city. The lion is what separates the two lovers from uniting, though they schemed an elaborate plan to finally see each other.

Ovid: Lines 55-77

Ovid utilizes numerous figures of speech to enhance his poetry, in Pyramus and Thisbe. For example in line 64, Ovid writes: quoque magis tegitur, tectus magis aestuat ignis, meaning the more the fire is covered, the more, the fire burns, having been covered. Here, Ovid is using a chiasmus, the ABBA pattern. "A" refers to the adverb, magis meaning more, while tegitur is "B" is the verb meanging covered. A chiasmus reverses the order of modifiers to add interest to the sentence, as Ovid has done.
A second figure of speech can be viewed in line 68, when Ovid writes "primi vidistis amantes et vocis fecistis iter." The line means "You first saw lovers, and you made a pathway for speech." Here, Ovid is referring to the wall as "you." Therefore, since he is giving an inanimate object, the wall, a human characterstic, he is using personification. The wall "saw" lovers and "made a pathway" for speech. Since the wall is an inanimate object, it cannot complete the verbs Ovid describes above.
A last figure of speech Ovid uses is a rhetorical question. In line 66, Ovid writes "quid non sentit amor" meaning, "what doesn't love feel?" Since Ovid is not expecting an answer back to the question, he is using a rhetorical question.
Through only these three examples of figures of speech, it is clear that Ovid is a very talented writer, utilizing different strategies and figures of speech to enrich his poetry.

Poem 8

Catullus's tone can be categorized by two different words: the first half of the poem is filled with a condescending tone and one of realization. Within the first line Catullus writes "Miser Catulle, desinas ineptire" as if he is talking down to himself "Poor Catullus, stop being a fool." Realization can also be applied, because by the end of the first half of the poem, Catullus sees that he was the only one in the relationship who truly desired the memories and goodtimes made. Lesbia was simply along for the ride, she didn't not want the good times: "quae tu volebas nec puella nolebat."
However, the second half of the poem's tone, changes to one of determination and persistence. Through the use of imperatives, Catullus demands actions of himself which will help him overcome the loss of the wicked "witch" whom he was so in love with. He writes, "Sed obstinata mente perfer, obdura," meaning, "But endure with a determined mind, persist." Also Catullus uses multiple rhetorical questions, in order to make himself seem as if he is in the better position, as opposed to Lesbia. He says, "Quem nunc amabis? Cuius esse diceris?" asking who she will love now, or whose she will be said to be.
It is also ironic, that though this entire poem is directly pointed toward Lesbia, Catullus does not mention her name once. He refers to her as "the girl," or the "wicked (witch)" showing that sooner or later he will reach that fifth stage of overcoming grief, known as acceptance.

Poem 75

Your infidelity dissapoints me
Devotion and admiration, the key
Respect has been lost,
Hurt is now the cost,
For i can't stop myself from loving she

Poem 85

Torn by hate and love
Unable to be faithful,
His heart is tortured

Poem 72

Catullus's tone in this poem has drastically changed from previous poems. From his critical tone in Poem 43 of the girl with not so small a nose, or his passionate tone in Poem 5, asking how many kisses are enough, Poem 72 is filled with a new tone, that did not fail to shock me. The tone in Poem 72 is one filled with disappointment at such an intense level, that you could not pay me a million dollars to take Lesbia's place right now. Catullus's previous poems have all centered around his passion and adoration for Lesbia, and now one can only wonder what dramatic event could cause the change of his perspective. The disappointment reaches another level, when Catullus expresses how much he truly loved Lesbia: "Dilexi tum te non tanum ut vulgus amicam, sed pater ut gnatos diligit et generos." Catullus's love is comparable to that of an average man loving his girlfriend, but also the respectable love a man has for sons/step-sons. You would think that the level of respectable love for Lesbia would decrease, which is true, but the raw, passionate love he had for Lesbia has grown, even more.
Catullus executes his message through balancing two ideas: Catullus's compares himself to Jupiter when speaking about Lesbia's compassion for him. Catullus also, in the last line admits and compares his feelings of less respect for Lesbia, but more passionate love for her. Also, in the beginning, he says that Lesbia used to say she knew him, but in line five, Catullus contrasts with "now I know you," comparing him truly realizing Lesbia's character, with her used to knowing who Catullus was. Through balancing two ideas, Catullus juxtaposes his realizations about Lesbia now.

Poem 86

At first glance, reading Poem 86, I learn alot more about Catullus and the qualities/characteristics he values. Within the first one to two lines of the poem, he expresses which qualities in Quintia he sees as beautiful: "Mihi candida, longa, recta." Quintia is fair-skinned, tall, and stately. It kind of disappoints me, though, seeing that Catullus views Quintia as being beautiful because she is wealthy enough to sit inside all day, allowing her slaves to do all the work, presevering her fair skinned-ness. Prior to this, I thought Catullus would have more depth to his values, and perhaps not classify beauty by wealth. However, after continuing to read the poem, I see that he acknowledges these qualities as beautiful, individually. He does not consider Quintia a beautiful woman, altogether, as he does with Lesbia. Lesbia is completely beautiful, "the entire package" if you will; inside and out. Lesbia attains wit and humor: ""nam nulla venustas, nulla in tam magno est corpore mica salis," which he sees compulsory to be beautiful. Poem 86 reminds me of Poem 43, because he does not view a woman, whom the entire province deems beautiful, as being pretty. Though he critiques mainly her physical features, I can bet that woman did not obtain humor, charm, or wit: characteristics especially important to Catullus.

Poems 69 & 43

In Poems 69 and 43, Catullus takes on an a tone of someone superior to others, very wise and well-traveled. He sees himself higher than others, to the point in which he can criticize, Rufus, a poor guy who smells, and isn't even aware of the fact, and a girl, who he does not consider to be beautiful. Who is he to judge her so harshly, and matter-of-factly. "Beauty is in the eye of the beholder," is it not? The worst part is, his biting description of the poor woman, in Poem 43, causes me to cringe simply from the unattractive, image that forms in my head. It is impressive that Catullus, so in love with Lesbia, does not have eyes for any other woman, even the one who all the province considers most beautiful. What is even more surprising, is that Catullus is able to persuade and influence his audience into believing this woman is so very unattractive. Without a doubt, it takes a skilled poet to accomplish this. Props to ya, Catullus.
Anyway, back to the point, both poems are similar in the fact that they criticize other people, by a guy who thinks he's superior to them cause he's got an amazing relationship with theee most beautiful girl. Does having a relationship with a female entitle Catullus to see himself above others?

Poem 87

Based on Poem 87, and other ones we have recently read and translated, I believe it is safe to say that the tone of Catullus's poems are slowly but progressively changing. Most of the previous poems have had bold tones of jealousy, doubt, and gossip of those curious, jealous minds. However, more recently, in the poems we have read, Catullus utilizes more of a sincere, heartfelt, tone filled with love and admiration.
Although I do not understand what makes his love for Lesbia so much more different and special than the love any other man has for his wife, Catullus is very self-confident that his love for Lesbia is unable to compared to anyone else's. Poem 87 reminds me of Poem 92, due to the fact that in both poems, Catullus is so sure that his love is greater than anyone else's he is willing to risk his life for the fact: "May I die if I do not truly love her" (Catullus 92)
However, along with infatuation and admiration, comes disappointment. I find it hard to believe that Lesbia, a woman who speaks badly of Catullus, has been previously married, and honestly, just does not seem of that good of a human being, is able to satisfy, and moreso, exceed the impossible expectations and exceptional perspective of which Catullus holds her to and views her as.

Poem 92

In Poem 92, Catullus begins with an opening line, similar to lines in Poem 83, with "Lesbia saying many bad things about me." Though the poems are similar in this way, in Poem 83, Catullus refers more to another man, and Lesbia's relationship with her husband. On the other hand, Poem 92 speaks of solely Lesbia's relationship with Catullus, disregarding any other people, especially their opinions, gossip, and jealousy, which have been prevalent in many of Catullus's other poems.
Catullus is very sure of himself, when he assumes that Lesbia truly loves him; however, he does not completely convince me. Lesbia seems to me, a player, if I may, and who knows who else she acts head over heels for. Personally, I believe that Lesbia's smack-talking of Catullus is very genuine and sincere, just about as sincere as his love for her (ouch!) He only perceives it as Lesbia's lighthearted form of joking, because that is how he acts, in return. This relationship between boy and girl, reminds me of the movie 10 Things I Hate About You, where an adolescent boy is infatuated with this beautiful, playgirl, who is quite frankly, out of his league. In the movie, the girl teases the poor boy and makes fun of him, in all seriousness, and as a defense mechanism the boy reacts in the same manner. Perhaps Catullus's poetry makes it out to seem as if he is taking this all light-heartedly, and not making him seem as desparate and vulnerable as he feels: maybe a mask to fool his audiences and save his reputation (as we know that reputation and status were of great importance during the time period.)

Poem 5

Poem Five by Catullus reminds me of Poem Seven. Within the first two lines of Poem Five, Catullus mentions rumors, as he did previously, in Poem Seven, referring to the "curious eyes/evil tongues." This reoccuring theme of gossip and rumors is prevalent in two of his poems, both of which speak of the great, never-ending affection and desire he has for Lesbia. Ironically, of his two most light-hearted, sincere, loving poems, Catullus mentions gossip and rumors from other "eyes"/curious, and quite potentially, jealous people, in both poems.
Poem Five makes Catullus's audience sympathize and understand his point of view, further. We begin to not see him as such a creepy, stalker, but more of a man who is head over heels in love with this woman, who he wants nothing more than to show his affection for. However, once again, as we have seen in previous poems, Catullus's usually light-hearted, loving poems are stained by the theme of jealousy, among the last few lines. In Poem Five, Catullus makes it more clear that people are jealous of the relationship that he shares with Lesbia, however we, as the audience, are still unsure of why exactly others are jealous. Perhaps it is because Lesbia is considered one of the greatest beauties in all the providence, compared to the friend of the playboy in Poem 43, well according to Catullus.
I especially like the light/dark imagery Catullus utilizes in this poem, in lines four and five. The brief light represents the short lifespan we each obtain, and the one, everlasting night, is fast-approaching death. Catullus's use of light/dark imagery adds to his message, that take a firm grasp on love and cherish every moment of it, because it is undecided when things may end. Catullus's use of light/dark imagery reminds me of another author who was notorious for utlizing the same imagery, Nathaniel Hawthorne. Author of the Scarlet Letter, Hawthorne mainly used light/dark imagery to compare good versus evil, while Catullus uses the light to symbolize life, and the darkness to symbolize death and the speed at which opportunities are taken away from us.

Poem 7

Poem seven is the first poem in which Catullus emotionally and physically connects to Lesbia. Here, it is through the kisses they share. Though the tone is questionable, whether Lesbia is annoyed and frustrated with how many kisses Catullus desires, or the lovey-dovey tone, which is more likely, Catullus speaks of kisses: the connotation behind them cannot be misunderstood.
Catullus's deep admiration and care for Lesbia is demonstrated by the two metaphors he utilizes in the beginning of the poem. He compares the number of kisses it takes to satisfy him, to the number of grains of Libyan sand. Furthermore, Catullus compares the amount of kisses he wants to the number of stars in a clear, quiet night.
Once again, Catullus's poem takes a drastic turn near the end, as we have seen previously. He says "kisses, which neither curious eyes shasll count up nor an evil tongue bewitch." As we have guessed, the relationship between him and Lesbia is, most likely, a secret. Perhaps it is because of Lesbia's oblivious, mule-ish husband. Or, since there is a recurring them of jealousy in Catullus's poems, his sacred relationship must remain a secret, because others are jealous?

Poem 43

Whaddup ugly girl
get on Lesbia's level
oh wait, you cannot

Poem 83

Poem eighty-three gives deep insight into Catullus's thoughts and feelings, about his relationship with Lesbia. I previously believed Catullus was deeply wounded and hurt, by the fact that he was not able to be with Lesbia, or the fact that she did not love him; however, this poem proves my belief to be false. Catullus actually seems a bit arrogant, or down-right cocky, if I may. He is so sure that Lesbia's criticisms and put-downs of him are just a mask for the intense, burning passion she feels for him. Catullus is so sure of himself, that he proceeds to call Lesbia's husband, who must be a rather good-looking guy, a mule, because he is so oblivious to the love she feels for Catullus.
Though I do believe Catullus is a little too sure of himself, because he thinks Lesbia is completely in love with him, there is some reason behind his mad, logic. This can best be explained through Robert Frost's poem, "Fire and Ice." In the poem, as I interpret it, Frost is comparing the difference between love, and its opposite, which is not hate, but indifference. Having strong feelings/passion (fire) can be considered very demeaning, but being indifferent, with no feeling whatsoever (ice) is much worse. Therefore, through Frost's poem, Catullus has reason to believe that since Lesbia's words are filled with so much passion and care, she has feelings for Catullus.
Another point I'd like to make, is that since Catullus's poem can be compared to the more modern Robert Frost's, it adds onto its timeless value, as it appeals to audiences from different time periods.

Poem 109

In Poem 109, Catullus's tone takes a drastic change. Instead of referring to Lesbia with great longing and desire, he refers to her as if she is his partner in a friendship. In the last couplet, Catullus speaks of this eternal contract of sacred friendship. Of course, without friendship, a meaningful, passionate love is not possible. But, why, all of a sudden is Catullus leaning toward a more platonic relationship, though he refers to her as "his life" in the first line.
Another important revelation occurs, in the first couplet where Catullus identifies that Lesbia acknowledges his existence, and more so, mutually cares about him. Lesbia promises that the love between her and Catullus will last forever, when previously, she went from not even acknowledging him, to 'talkin smack' about him. What about her husband, who we know is so oblivious, like a mule? Does Lesbia feel no guilt at all toward him? Though she has not literally "cheated" on her husband yet, per say, the supposed feelings she has toward Catullus should create some guilt on her behalf.

Poem II

In this poem, Catullus utilizes the sparrow as a metaphor for the unpredictable events and experiences associated with love. Catullus relates the sparrow, which is able to bite and create a little bit of a sting, is also beautiful and playful on the outside, to the journey love is composed of. At times it can be full of happiness and pleasure, but at the drop of a hat, it can turn around and sting you, emotionally. Just as most people desire animals as pets, to fill voids in their empty lives, people strive for love, to help themselves feel complete.
Furthermore, the end of the poem, refers to the enjoyable times due to a relationship of love. Being careless and free, all emotional pain can be deserted or relieved when one is in love. But as Catullus carefully selects his words, he uses the word "play" to explain what the woman does with the sparrow. Once one "plays" with love, emotions, and relationships, someone will, inevitably, be affected, usually hurt. As Catullus also made a point to mention, one looks to be carefree and happy in a relationship, to forget the many other emotional burdens endured. In another light, one in a relationship, would look to be carefree and refrain from becoming too attached, in the fear of getting hurt.

Poem 51

As we have discussed in class, Catullus's 52nd poem is mainly composed of his descriptions of a woman he has feelings for. Even though Catullus is not able to be close to the woman, emotionally, he envies a man that is capable of simply sitting with her. He declares that man a God, or one that may even surpass the Gods, if it possible; though all he is doing is sitting across from her, watching her laugh and listening to her speak.
The central theme of this poem, I believe, is the purity and innocence of true love. Catullus deeply desires to win the affection of the woman, but he speaks of another man. He loves this woman, though she is with another man; however, suprisingly the tone of Catullus never comes off as extremely bitter. He is able to demonstrate that if you truly, passionately love someone, though it may hurt you, you can endure them being with another. The tone of the poem is mainly just passionate, jealous, and lovestruck, but in the last stanza, there is somewhat of a drastic change. It seems as if Catullus is brought back to reality, recognizing the fact that his love belongs to another man.