Some Thoughts in Favor of Erotic Poetry

2017 ◽  
Vol 38 (6) ◽  
pp. 11-12
Author(s):  
Amanda Smeltz
Keyword(s):  
Erotic Poetry

Wild Horses and Beasts of Burden

2018 ◽  
Author(s):  
Katherine Wasdin
Keyword(s):  
Erotic Poetry ◽  
As Species ◽  
Interactive Dynamics ◽  
Endangered Animals

This chapter analyzes ancient animal metaphors according to interactive dynamics as well as species. Erotic praise of elite maidens presents them as proud racehorses and should be distinguished from metaphors of tamed or yoked hetairai that focus on the lover’s desired role as rider or driver. The marital yoke is a common metaphor in some genres, but yoking language found in the wedding discourse focuses on the unity of the couple rather than the control of the bride by the groom. Hunting metaphors that feature fearful or endangered animals are more common in erotic poetry or in tragic weddings, rather than in the wedding song. The chapter concludes with a series of Horatian odes that purposefully blur the lines between nuptial and erotic animals.

Diiudicatio locorum: Gellius and the history of a mode in ancient comparative criticism

1996 ◽  
Vol 46 (2) ◽  
pp. 492-514 ◽  
Author(s):  
Amiel D. Vardi
Keyword(s):  
Main Theme ◽  
Erotic Poetry ◽  
History Of

Comparison of literary passages is a critical procedure much favoured by Gellius, and is the main theme in several chapters of his Noctes Atticae: ch. 2.23 is dedicated to a comparison of Menander's and Caecilius′ versions of the Plocium; 2.27 to a confrontation of passages from Demosthenes and Sallust; in 9.9 Vergilian verses are compared with their originals in Theocritus and Homer; parts of speeches by the elder Cato, C. Gracchus and Cicero are contrasted in 10.3; two of Vergil's verses are again compared with their supposed models in ch. 11.4; a segment of Ennius′ Hecuba is contrasted with its Euripidean original in 13.27; Cato's and Musonius′ formulations of a similar sententia are confronted in 16.1; in 17.10 Vergil's description of Etna is compared to Pindar's; the value of Latin erotic poetry is weighed against the Greek in ch. 19.9, in which an Anacreontean poem and four Latin epigrams are cited; and finally in 19.11 a ‘Platonic' distich is set side by side with its Latin adaptation, composed by an anonymous friend of Gellius, though in this case no comparison of the poems is attempted.

scholarly journals Escrito en el lienzo: Ovidio y el Billete de Amor en La Enferma de Amor de Jan Steen, pintor holandés del Siglo de Oro = Written on the Canvas: Ovid and the Billet-Doux in The Lovesick Maiden by Jan Steen, Golden Age Dutch Painter

2020 ◽  
pp. 417
Author(s):  
Manuel Antonio Díaz Gito
Keyword(s):  
Golden Age ◽  
Siglo De Oro ◽  
Traditional Concept ◽  
Erotic Poetry ◽  
Incurable Illness ◽  
Dutch Painter

Se analiza la impronta de la poesía erótica de Ovidio sobre un tema favorito del pintor barroco de Leiden Jan Steen (1626-1679), La enferma de amor o La visita del médico, con especial atención a la presencia en el cuadro de un billete de amor con una máxima escrita de origen ovidiano sobre el tradicional concepto del amor como una enfermedad incurable:… amor non est medicabilis herbis (epist. 5.149).Abstract Analysis of the influence of Ovid’s erotic poetry on a favourite theme to the Leiden Baroque painter Jan Steen (1626-1679), The lovesick maiden or The doctor’s visit, especially focalised on the presence of a billet-doux with an Ovidian written refrain on the traditional concept of love as an incurable illness: … amor non est medicabilis herbis (epist. 5.149).

scholarly journals Poems From/de Infernal: Romantic

2008 ◽  
Vol 5 (2) ◽  
Author(s):  
Vek Lewis
Keyword(s):  
First Language ◽  
Collaborative Project ◽  
Erotic Poetry

These poems came about when, living in a house in Xalapa, Mexico, without a stereo and no guitar or piano to speak of, I had to invent my own music. Love is infernal, not eternal. The image of the beloved that betrays you, always an image that is both iconic and sacrilegious, an internal and infernal ecstasy that the bolero gives life to. I only realised afterwards that I had written an update of this Caribbean-Mexican genre, a mi manera. So it seemed suitable that they should be in Spanish and English (the latter my first language), exorcising both los demonios de la mirada amada y los demonios de la lengua. These pieces come from a collection of erotic poetry accompanied by interpretive images that will be released by an art press in Spain in 2009. Infernal/romantic is one half of a collaborative project between myself, the Madrid-based Chilean poet, Violeta Medina, and several artists. The collection speaks to desires that are clearly other and demonic.

Erotic poetry

2006 ◽  
pp. 133-148
Author(s):  
Achsah Guibbory
Keyword(s):  
Erotic Poetry

Poetry and Matter in the English Renaissance

2019 ◽  
pp. 27-52
Author(s):  
Wendy Beth Hyman
Keyword(s):  
Early Modern Period ◽  
Theoretical Framework ◽  
Historical Background ◽  
English Renaissance ◽  
Poetic Form ◽  
Physical Practice ◽  
Erotic Poetry ◽  
The Face ◽  
Carpe Diem

Chapter 1, “Poetry and Matter in the English Renaissance” traces the crucial relationship between poetics and philosophical materialism in the early modern period, explaining why erotic verse so readily lent itself to confronting questions about the nature of being and of knowledge. This chapter shows that for Renaissance poets—informed by Lucretius’ great analogy between atoms and alphabetic letters—there is poetic form in elemental matter. The writing of poetry was therefore often understood as a physical practice, while poetry itself was understood as ontologically complex and efficacious. As terms such as “figuration” reveal, poetic making has both metaphorical and literal elements, which come especially to the fore in the ubiquitous blazons depicting the face of the beloved. Within the syntax of materialist poetics, foretelling the decay of the love object is therefore tantamount to a kind of deconstruction or unmaking—making poetry actually “do” the work of time. Multiple traditions, from Aristotelian hylomorphism to idealizing Petrarchism, had prepared the way for the female body to function as a proxy for embodied matter which poets could “figure,” “make,” or “undo.” This chapter presents the object of erotic poetry becoming just that: a fictional construct subjected to the recombinatory shaping of the godlike poet. As later chapters will develop, the paradoxical loneliness of the carpe diem invitation emerges from this troubling strategy, for it is an invitational form addressed to an entity it has forever exiled as metaphysically other. This chapter thus provides both a theoretical framework and historical background for the project’s larger claims.

Miniaturization of Earlier Poetry in Greek Epigrams

2019 ◽  
pp. 85-101
Author(s):  
Annette Harder
Keyword(s):  
Small Scale ◽  
Erotic Poetry ◽  
Didactic Poetry ◽  
Diachronic Study ◽  
Bucolic Poetry

Chapter 6 offers a diachronic study of Hellenistic epigram with a focus on the issues of thematic and generic variety and on the reception and ‘miniaturization’ of earlier poetic genres—particularly of small-scale poetry such as elegy, bucolic poetry and various kinds of erotic poetry, but also of didactic poetry—in Hellenistic epigram. The chapter finds that, although these developments are more obvious in later epigrammatists, their seeds can be found in Callimachus and other poets of his generation. The earlier generations still carried out their thematic and generic experiments largely within the framework of funeral, dedicatory, or ecphrastic and the new subgenre of erotic epigram, while later epigrammatists grew bolder and explored the possibilities of ‘miniaturization’ much further.

Lesbia, the poet, and the two faces of Sappho: ‘womanufacture’ in Catullus

2001 ◽  
Vol 46 ◽  
pp. 28-44 ◽  
Author(s):  
Niklas Holzberg
Keyword(s):  
Sign Language ◽  
Real Life ◽  
First Person ◽  
Love Elegy ◽  
Erotic Poetry ◽  
Personal Profile ◽  
The Creation ◽  
Central Characters

Our understanding of ancient erotic poetry has, in my opinion, been greatly furthered in recent years by the shift from an approach which sees the poetic world of Roman love elegy as the creation of mimesis to one which reads it as semiosis. The elegiac poet portrays neither experienced reality nor conditions at least conceivable as such, but constructs a fictional situation using certain literary motifs provided by generic tradition, and thus challenges the reader to a game of semiotics. The latter, conversant with the ‘sign language’ of the motifs – for example ofservitium amoris– will appreciate the poet's playful variations on a familiar theme and decipher the new meaning it has been given. Particularly significant here is, I find, the new perception of the two central characters in the elegiac world: the first-personpoetalamatorand hispuellaare both part of this fiction. The poet assumes the mask of an elegiac lover, playing the part as an actor would; he does not, then, re-enact his own experiences for an audience. In addition to this he designs the figureof the puella, who appears less as a character with its own personal profile and more as a typified representation, contrived in the main to reflect the poeticego'sthoughts. Women such as Cynthia, Delia, and Corinna are, to use Alison Sharrock's very apt definition, the product of ‘womanufacture’, and their names therefore cannot be read as pseudonyms for real-life women.

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