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