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Assignment:
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Name: Staci McGill Date: 12/17/2008 08:26:47 AM ET
Poem 2 Catullus expresses jealousy of a bird as the bird gets more attention than he does. "incitare morsus" Resent toward the sparrow and contempt as she allows the sparrow to bite her and injure her. Poem 5 Catullus mentions her name which shows his intense feelings toward her Line 1 Speaks of many kisses Line 7-10 Poem 70 Catullus is upset that Lesbia refuses to marry him who she preferred even over Jupiter (Lines 1&2) Doesn't hesitate to express his many emotions Poem 77 Catullus is upset at M. Caecilius Rufus who is also having an affair with Lesbia. Discusses how their friendship and relationship is over and how he is done with her because of her betrayal ("eheu nostrae pestits amicitiae" Line 6) Horace, unlike Catullus, uses many metaphors to discuss love leaving much to the reader to interpret and make connections to their life. His poems are more elaborate in style and technique as he employs them to create his metaphors and imagery of love. Ode 1.5 Horace uses the construction of the stanzas to help with the purpose which is how he creates his imagery of love. Stanza 1&3 are calm "qui simper vacuam" Line 10 Stanzas 2&4 are turmoil ridden "nigris aequora" Line 7 Ode 1.11 Horace utilizes philosophy and Epicurean values to justify love Discusses the fact that tomorrow might not come so instead live for today in all areas of your life including love. "carpe diem" Line 8 Ode 1.13 Horace also deals with a love gone bad Tries to persuade Lydia to turn to him Lines 13-16 "non, si me satis audias speres peretuum dulcia barbare” Uses the blemishes she has to prove his point which is she needs to come back to him instead of staying with Telephus Ode 1.23 Horace uses metaphor of a fawn to represent a girl coming of age Tries to persuade her to accept her desires and not to run back to her mother "tandem desine matrem tempestiva sequi viro" Lines 11-12
Name: Morgan Ashley Davenport
Catullus 5: Hundreds of Kisses The notion of subtlety seems to be lost upon Catullus in this poem, he is begging Lesbia to ignore the whispers of "senum" (line 2) and to lavish upon him "basia mille" (line 7) and then even more. His flippant attitude towards societ y's notion of right and wrong is evident, and he is still in the stage of love where he sees no faults in Lesbia. Catullus 7: How many Kisses? In this poem, Catullus presents unending imagery, invoking the picture of "Libyssae narenae" (line 3), and "sidera" in the sky (line 7). Based on this imagery, he is still in the beginning of the relationship with Lesbia, before and d eceit has taken it's toll on them. The attitude he holds is a continuation of poem 2, as he denounces "curiosi" (line 11) eyes and tells Lesbia that their love will be infinite, and he seems to truly believe that it will be a lasting, perfect thing. Catullus 43: Comparative Beauty Catullus expresses outrage and indignation at the idea that this woman could be compared with his Lesbia. Mockingly, he denounces her, saying she has "nec minimo naso" (line 1) nor "bello pede" (line 2), and he continues on and on. In this way, he paints a picture of Lesbia by not painting a picture of this woman. His critical attitude of other women when compared with Lesbia, and simultaneously his placing of Lesbia on a pedastal shine through, and he obviously is in love with Lesbia. Catullus 45: In this poem, Catullus paints the most lovely picture of two lovers yet. Acmen and Septimius prefering each other "unam" (line 21) to all "Syrias Britaniasque" (line 22). He creates a scene that plays out almost like a movie, for exam ple, "Acme leviter c aput flectens at [...] illo purpureo ora saviata" (lines 10-12). He seems to have captured the essence of true love, yet it almost seems too good to be true. Horace 1.5: In this first poem, already Horace distinguishes himself from Catullus. He utilizes the structure of the stanzas and the word orders to create a wave-like rhythm, representing how love can be calm and soothing (stanzas 1 and 3) or tumultous ( stanzas 2 and 4). He presents alternating fire and water imagery "favem" (line 4), "aequora" (line 7), "aurea" (line 9), and "maris" (line 16) to further his point. He also is critical and disdainful of Pyrrha's n ew relationship, claiming that he gave h is "uvida [...] vestimenta" (lines 14, 16) as a sacrifice to the "maris deo" (line 16), and so he is grateful to have escaped. Horace 1.11: Although both Catullus and Horace seem to have lax morals, Horace justifies himself with Epicurean philosophy, a "carpe diem" (line 7) mentality. Throughout this poem, he is trying to convince Lyuconoe to be with him now, by telli ng her tha t the future is not to be decided upon by "Babylonios" (line 2), but to take the most of "spatio" (line 6) before it "fugerit" (line 7). Despite his best intentions, no true emotion (other than lust) comes out in this poem.< br /> Horace 1.13: Pure jealousy and indignation leaps of the page when this poem is read. Horace is appalled at Lydia's behavior with Telephi, especially how she praises him to Horace, his "cervicem roseam" (line 2) and "cerea bracchia" (lines 2-3). Bu t what Horace most t akes offense at is how Telephi "turpanint umeros" (line 10). Horace uses several fire, burning words within this poem, "fervens" (line 4), "igubis" (line 8), and "candidos" (line 9), and invokes the image of an &qu ot;inrupta copula" (line 18). He doesn't seem to truly love Lydia, but just to be upset that he doesn't have possesion of her. Horace 1.23: Horace uses a metaphor to sustain the entire poem, that Chloe is a "hinnuleo" (line 1) coming of age, "tremit" (line 8) and afraid of him, clingling to her "matrem" (line 3). Despite his intentions to seem harmless, Horace u ses violent bestial imagery in the last stanza, "tigris" (line 9), "leo" (line 10), and "persequor" (line 10). A prevailing attitude seems to be a desire to conquer women, like a predatory animal. Horace doesn't seem to express true love, but a carnivorous desire to own many women, as compared to Catullus' near-pathetic infatuation with one woman; though both express the extreme emotions assiociated with love gone wrong. Horace is more complex in his structure and his subtlety, and compared to Catullus' blunt imagery and emotions.
Name: Daniel Rasch
Catullus: 5) Vivamus, mea Lesbia, atque amemus 8) Miser Catulle desinas ineptire 45) Acmen Septims suos amores 85) Odi et amo Horace: 1.5) Quis...puer 1.13) Cum tu, Lydia, Telephi 1.22) Integer vitae 1.25) Parcius iunctas quatiunt fenestras Catullus' love poems, as I said, possess a raw intensity and passion, whether he is describing his feelings (5 & 85), addressing himself about them (8), or telling a story about the feelings of others (45). His first-person narratives are intense because they are incredibly personal: his address to Lesbia in poem 5 just oozes with love, notably in the three lines of kissing that (da mi basia mille... 7-9), he says, would certainly be frowned upon by stern elders (senum severiorum, 2). The first half of the poem serves as encouragement: "Let us live and love...suns can set and return, but when our brief light falls once, one perpetual night must be slept" (vivamus, mea Lesbia atque amemus (1)... soles occidere et redire possunt, nobis, cum sem el occidit brevis lux, nox est perpetua una dormienda... (4-6)). The Epicurean values lauded by Horace come to mind. Poem 85, simply and elegantly and yet with just as much feeling as poem 5 (in only two lines!), also manages to express the passion in Catullus' heart. This passion is more difficult, however, as can be inferred from the first three words: "odi et amo." "I hate and I love." This sums up Catullus' position; two strong feelings, contrary to each other, felt simultan eously. But that isn't all Catullus feels: he feels that it (his simultaneous hate and love) is done and is tortured (sed fieri sentio et excrucior, 2). Not only does he hate and love at the same time, he feels that he is feeling these things, and it f eels very very painful. This is a poem full of feeling, and is an excellent example of the passion found in his poetry. This intensity can also be found, as I said, in his more objective poems. Poem 8, in which Catullus addresses himself, ordering himself to stop whining and man up, contains just as much feeling as his more personal expressions of his feelings. Catullus u ses only one first-person verb in the whole poem (amabitur, 5; how fitting), and the rest can be categorized into two types: self-given, self-targeting commands to move on, and relentless questioning of Lesbia as to how she will survive without Catullus to love her. The orders are blunt and straightforward (desinas ineptere (1), noli (9), nec quae fugit sectare (10), nec miser vive (10), perfer (11), obdura (11); the list goes on); the questions no less so. The string of interrogations is biting, hars h, and backed by all of Catullus' jealousy, sadness, and love. After his orders to himself to man up, he turns to Lesbia with a harsh and abrupt goodbye: vale, puella (12)! Then come the questions, all in future tense: "quis nunc adibit? cui vide beris bella? quem nunc amabis? cuius esse diceris? quem basiabis? cui labella mordebis? (16-8)." This barrage of questions, rather than to get an answer out of Lesbia, are rhetorical; they are Catullus' only weapon left against her. This combi nation of orders and interrogation illustrates, again, the intense passion found in Catullus' poetry, even when the poems are not in the first person. A final example of Catullus' masterful expression of his feelings in non-first-person poetry exists in poem 45. His narration of Acmen and Septimius is optimistic, romantic, idealistic, and near-perfect. Even Cupid sneezes his approval of the lovers' vow s to each other (Amor...steruit, 8-9). But Catullus' own voice enters the narrative in the last two lines: "who has seen any more blessed men, who more blessed Love?" (quis ullos homines beatiores/vidit quis venerem auspicatiorem? (25-6)). Catu llus' implication is that there was indeed a couple as happy as this, once, and it existed in Lesbia and he. The whole poem is then thrown into perspective for the reader; what seemed to be merely a love story now is re-read, substituting Catullus and L esbia for Septimius and Acme. All the emotions and feelings are no longer felt by the characters; they are the author's feelings. Horace's poetry, along with his style and attitude, is more complex and less intense than Catullus'. Firstly, his poems deal with love for multiple women rather than for a single woman, like Catullus' Lesbia. He mentions Pyrrha, Leucone, Chloe, Lydia, La lagen, among others. His feelings for these women are going to be intense and varied, surely, but whereas Catullus' love poetry contains one underlying, universal story, Horace's is more scattered among the various women, and thus is less likely to focu s all of his feelings on that one woman. Ode 1.5 describes a case where Horace avoided a dangerous love. The first three stanzas describe the actions and stories of the many other miserable (miseri, 12) boys that pursue Pyrrha; the final one offers a cryptic metaphor, describing Catullus' escap e from the figurative storm that would be a relationship with her. Rather than flat-out saying that he has avoided a metaphorical storm (as Catullus would do), Horace relates how a sacred wall, with a tablet vowed to the sea god, points out that he has hung up wet clothing, as one would after a storm (me tabula sacer votiva paries indicat urida suspendisse potenti vestimenta maris deo, 13-6). This indirect, complex statement certainly does not contain the raw passion found in Catullus, and furthermore demonstrates Horace's apparent detachment from the women he writes about. This detachment can be found in Odes 1.22 and 1.25 as well. Ode 1.22, while it describes the invincibility of Horace's love for Lalagen (even as he wanders through forests with fierce beasts, the animals flee from confident and unarmed him (lines 9-16)), does not describe what he is feeling; rather, it objectively and exaggeratedly states what happens when one is in love. Ode 1.25 also feels detached, in its description of the waning of Lydia's romantic youth. Even as he informs Lydia of the absence of her lustful youths, Horace's position is neutral throughout; whereas Catullus, even in his narrative of two unrelated people (carmen 45), could not help but connect the story to his own. The one poem where Horace shows his own emotions clearly is Ode 1.13. The description of his own painful, deeply physical reactions to Lydia's love of Telephus illustrates a passion unseen in the other love poems: he coughs up bile (meum fervens difficil i bile tumet lecur, 3-4), his mind and color leave their usual seats (nec mens mihi nec color certa sede manet, 5-6), and his cheeks flush (umor et in genas furtim labitur arguens, 6-7). He even uses a very Catullian verb to describe his passion: "u ror" (9), or "I am burned. But the word order, construction, and vagueness of the last four lines are what make this poem different from those of Catullus. The statement, "felices ter amplius quos inrupta tenet copula nec malis divolsus querimoniis suprema citius solvet amor die" (17-20), contains extreme hyperbation, and lends a confusing feeling to feelings that Catullus would state quite plainly. This is the main difference between our poets: Catullus says what he means, carefully choosing the exact words to perfectly convey his feelings, while Horace hides behind rhetoric and objectivity, choosing to keep his poetry more constructed and less raw .
Name: Kendall Brooke Layton
Poem 5: "Back from Spain: to Veranius" Catullus lets it be known that he does not care what people say about his relationship with Lesbia, so long as he is with her nothing else matters (vivamus, mea Lesbia, atque amemus, rumoresque senum severiorum omnes unius aestimemus assis; 1-3). He also uses assonance in the 2nd and 3rd lines with the words 'rumores…assis,' as the 's' sound is possibly giving the imitation of the sound of people gossiping or hissing at Lesbia and Catullus. Poem 7: "How Many Kisses" Here Catullus is telling how Lesbia asks him how many kisses he would like from her (quaeris quot mihi basiationes tuae, Lesbia, sint satis superque), and he uses an alliteration in the 1st line with the words 'quaeris quot,' suggesting an inquiring, questioning sound. He also uses a personification with the word 'nox' in line 7 when he says how he would like more kisses than there are stars on a 'silent night,' (aut quam sidera multa, cum tacet nox; 7). Poem 31: "Letter to Sirmio" In this poem, Catullus writes about his love for, not Lesbia, but the destination of Sirmio, which he called the bright eye of peninsulas and islands (paene insularum, Sirmio, insularumque ocelle; 1-2). Written in Choliambics, the first six lines reflect his greeting to Sirmio and his emotions about returning home, the seventh through eleventh lines show Catullus' reflections on the hardships that he's encountered, and the twelfth through fourteenth lines discuss the resumption of the greeting and the invocation to rejoice and to laugh. Poem 85: "Odi et Amo" With only two lines, Catullus speaks immeasurable volumes. When he says that he hates and he loves, that he doesn't know why, but is in constant torment (odi et amo, quare id faciam fortasse requires nescio, sed fiery sentio et excrucior; 1-2), he speaks the hearts of not only ancient lovers but as well as couples today. Not only is this poem filled with elisions, but its consonance with the words 'faciam fortasse…fieri' in lines 1-2 resemble the tormenting emotion that Catullus is experiencing. Horace: Ode 1.5: "To Pyrrha" Here Horace talks about a fair, yellow-haired beauty named Pyrrha and the boy with whom her love can be both terrible and great (quis multa gracilis te puer in rosa perfusus liquidis urget odoribus grato, Pyrrha, sub antro, cui flavam religas comam; 1-4). His vivid use of adjectives gives us great imagery throughout the poem, particularly in lines 11-12 when he mentions the calm of the fickle winds right before a huge storm is about to break out (nescius aurae fallacies; 11-12). Ode 1.13: "Lydia and Telephus" In this poem, Horace writes about his love for a girl named Lydia, but how she is in love with a man named Telephus, who scars her white shoulders and mars her red lips with his drunken rages (uror, seu tibi candidos turparunt umeros inmodicae mero rixae sive puer furens inpressit memorem dente labris notam; 9-12). Breaking this poem down into four sections, Horace presents himself as a jealous lover in lines one through eight, as a lover angered by Lydia’s 'play' with Telephus in lines nine through twelve, as a concerned man in lines thirteen through sixteen, and as a man longing only for 'happy' love in lines seventeen through twenty. Ode 1.23: "Chloe" Although a theme of addressing issues of fear arises throughout this poem, the main theme is expressed when Horace writes about his gentle nature and how Chloe should not be frightened by him in any way. He tells her that if she fears him then her fears are pointless and empty, which he then uses a simile to compare her to that of a fawn fleeing from every bump and noise to find safety in her mother (vitas hinnueleo me similis, Chloe, quaerenti pavidam montibus avis matrem non sine vano aurarum et siluae metu; 1-4). He later uses great imagery to compare himself to a lion and a tiger when he tells her that he is like neither of the two animals (atqui non ego te tigris ut aspera Gaetulusve leo frangere persequor; 9-10). Lastly, when viewing this poem it first appears that Horace is merely teasing this young woman, but in taking a deeper look at it one realizes that he is only trying to help her get over her fears that youth and inexperience have caused, with of course ultimately ending in Horace's satisfaction should she choose to leave her mother and branch out on her own like he suggests. Ode 1.25: "Lydia's Lovers" In this poem, Horace talks about how Lydia used to be such a beautiful and lustful girl when she was in her prime youth, but that after time had passed she became an old haggardly has-been. He uses an excellent metaphor later in the poem when he describes her aging as that of old winter-withered leaves, and that young men want nothing to do with those crumpled, crunchy leaves when they can have fresh myrtle and green ivy (laeta quod pubes hedera virenti gaudeat pulla magis atque myrto, aridas frondes hiemis sodali dedicet Euro; 17-20). This seems comical that he should say this about her, sort of insinuating that she deserves the lonely, haggard life in her old age because of the adulterous life she led when in her earlier years. Finally, the emotions, attitudes, and imagery are all three ever-present in both Catullus' and Horace's works. They both have a varied use of meter and rhetorical devices that prove to only enhance their poetry. However, the main difference that I can see between the two is that in Catullus’ works he is not afraid or ashamed to tell his true feelings, regarding Lesbia, making fun of another person, or even writing about a mistake he made. It seems that he does not hide any details out of shame. On the other hand, while Horace uses wonderful imagery and figures of speech as well, he seems much more conservative in telling to the world his feelings and inner desires, rather he uses similes and metaphors to leave the reader's imagination to be put to work.
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