Humanitext Reader

Ovid · The Loves §2.18.1-2.18.40

Address to Macer on Tragic Ambition and Love Poetry

Passage 36 of 53 · Latin

Summary

The poet addresses his epic-writing friend Macer, explaining how his own attempts at tragedy were thwarted by Love, leading him to write elegiac love poetry and letters of mythological heroines (Heroides). He notes that even in Macer's epic works, Love is present, predicting that Macer will eventually join his camp.

§2.18.1Carmen ad iratum dum tu perducis Achillen §2.18.2Primaque iuratis induis arma viris, §2.18.3Nos, Macer, ignava Veneris cessamus in umbra, §2.18.4Et tener ausuros grandia frangit Amor.
While you conduct your poem to angry Achilles, and put the first armor on the sworn men, We, Macer, idle in the lazy shade of Venus, and tender Love breaks those who would dare grand things.
§2.18.5Saepe meae 'tandem' dixi 'discede' puellae — §2.18.6In gremio sedit protinus illa meo.
Often I said to my girl, "Depart at last!" — immediately she sat in my lap.
§2.18.7Saepe 'pudet!' dixi — lacrimis vix illa retentis §2.18.8'Me miseram! iam te' dixit 'amare pudet?'
Often I said, "It is shameful!" — she, with tears scarcely held back, said, "Wretched me!
§2.18.9Inplicuitque suos circum mea colla lacertos §2.18.10Et, quae me perdunt, oscula mille dedit.
Is it now a shame for you to love?" And she entwined her arms around my neck and gave a thousand kisses, which are my ruin.
§2.18.11Vincor, et ingenium sumptis revocatur ab armis, §2.18.12Resque domi gestas et mea bella cano.
I am conquered, and my genius is recalled from the arms it had taken up, and I sing of deeds done at home and of my own wars.
§2.18.13Sceptra tamen sumpsi, curaque tragoedia nostra §2.18.14Crevit, et huic operi quamlibet aptus eram.
Yet I did take up the sceptre, and through my care tragedy grew, and I was as suited to this work as could be.
§2.18.15Risit Amor pallamque meam pictosque cothurnos §2.18.16Sceptraque privata tam cito sumpta manu.
Love laughed at my cloak and my painted buskins, and the sceptre taken up so quickly by a private hand.
§2.18.17Hinc quoque me dominae numen deduxit iniquae, §2.18.18Deque cothurnato vate triumphat Amor.
From this too the divine power of an unfair mistress drew me away, and Love triumphs over the buskined bard.
§2.18.19Quod licet, aut artes teneri profitemur Amoris — §2.18.20Ei mihi, praeceptis urgeor ipse meis! — §2.18.21Aut, quod Penelopes verbis reddatur Ulixi, §2.18.22Scribimus et lacrimas, Phylli relicta, tuas, §2.18.23Quod Paris et Macareus et quod male gratus Iason §2.18.24Hippolytique parens Hippolytusque legant, §2.18.25Quodque tenens strictum Dido miserabilis ensem §2.18.26Dicat et Aoniae Lesbis amata lyrae.
What is allowed, either I profess the arts of tender Love — ah me, I am pressed hard by my own precepts! — or what may be delivered to Ulysses in the words of Penelope, I write, and your tears, abandoned Phyllis, what Paris and Macareus, and what ungrateful Jason, and Hippolytus' parent and Hippolytus himself might read, and what wretched Dido, holding a drawn sword, might say, and the Lesbian woman loved by the Aonian lyre.
§2.18.27Quam cito de toto rediit meus orbe Sabinus §2.18.28Scriptaque diversis rettulit ille locis!
How quickly my Sabinus returned from the whole world, and brought back writings from diverse places!
§2.18.29Candida Penelope signum cognovit Ulixis; §2.18.30Legit ab Hippolyto scripta noverca suo.
Fair Penelope recognized the seal of Ulysses; the stepmother read what was written by her Hippolytus.
§2.18.31Iam pius Aeneas miserae rescripsit Elissae, §2.18.32Quodque legat Phyllis, si modo vivit, adest.
Already pious Aeneas has written back to wretched Elissa, and what Phyllis may read, if only she lives, is here.
§2.18.33Tristis ad Hypsipylen ab Iasone littera venit; §2.18.34Det votam Phoebo Lesbis amata lyram.
A sad letter has come to Hypsipyle from Jason; let the loved Lesbian woman give her vowed lyre to Phoebus.
§2.18.35Nec tibi, qua tutum vati, Macer, arma canenti §2.18.36Aureus in medio Marte tacetur Amor.
Nor by you, Macer, singing of arms, as far as is safe for a bard, is golden Love kept silent in the midst of Mars.
§2.18.37Et Paris est illic et adultera, nobile crimen, §2.18.38Et comes extincto Laodamia viro.
There too is Paris, and the adulteress, a famous crime, and Laodamia, companion to her dead husband.
§2.18.39Si bene te novi, non bella libentius istis §2.18.40Dicis, et a vestris in mea castra venis.
If I know you well, you do not speak of wars more willingly than of those, and you come from your camp into mine.

Notes

  1. §2.18.4ausuros — The future active participle accusative plural of audeo (to dare). Here used substantively, referring to 'those who would dare grand (epic) themes' or 'our spirits as they dare grand things,' serving as the direct object of the transitive verb frangit.
  2. §2.18.8pudet — Syntax of the impersonal verb pudet (it shames). It takes the person who feels shame in the accusative (te, from 'iam te') and the cause of shame as an infinitive (amare), meaning 'does it shame you to love?'
  3. §2.18.35tibi — Dative singular of the second-person pronoun. Used with the passive verb tacetur as a dative of agent, meaning 'is not kept silent by you' (i.e., you cannot help but sing of it).

Cite this passage

Ovid, The Loves §2.18.1-2.18.40. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:latinLit:phi0959.phi001.humanitext-lat2:2.18.1-2.18.40

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