Humanitext Reader

Ovid · The Art of Love §1.77-1.153

Meeting Women at Theatres and the Circus

Passage 2 of 30 · Latin

Summary

The author lists specific places in Rome to meet women, such as the temple of Isis, the forums, and especially the theatres (evoking the rape of the Sabine women) and the Circus, offering practical advice on how to approach them.

§1.77Nec fuge linigerae Memphitica templa iuvencae: §1.78Multas illa facit, quod fuit ipsa Iovi.
Nor flee the Memphian temples of the linen-clad heifer: she makes many a girl what she herself was to Jove.
§1.79Et fora conveniunt (quis credere possit?) amori: §1.80Flammaque in arguto saepe reperta foro: §1.81Subdita qua Veneris facto de marmore templo §1.82Appias expressis aëra pulsat aquis,
And the forums (who could believe it?) are suited to love, and passion is often found in the talkative forum: where, situated below the temple of Venus made of marble, the Appian nymph strikes the air with her jetting waters.
§1.83Illo saepe loco capitur consultus Amori, §1.84Quique aliis cavit, non cavet ipse sibi: §1.85Illo saepe loco desunt sua verba diserto, §1.86Resque novae veniunt, causaque agenda sua est.
In that place often the lawyer is captured by Love, and he who took precautions for others does not take precautions for himself: in that place often words fail the eloquent man, and new matters arise, and his own case must be pleaded.
§1.87Hunc Venus e templis, quae sunt confinia, ridet: §1.88Qui modo patronus, nunc cupit esse cliens.
Venus laughs at him from her temples, which are nearby: he who was just now a patron now desires to be a client.
§1.89Sed tu praecipue curvis venare theatris: §1.90Haec loca sunt voto fertiliora tuo.
But do you hunt especially in the curved theatres: these places are more fertile for your wish.
§1.91Illic invenies quod ames, quod ludere possis, §1.92Quodque semel tangas, quodque tenere velis.
There you will find what you may love, what you may play with, and what you may touch once, and what you may wish to hold.
§1.93Ut redit itque frequens longum formica per agmen, §1.94Granifero solitum cum vehit ore cibum, §1.95Aut ut apes saltusque suos et olentia nactae §1.96Pascua per flores et thyma summa volant, §1.97Sic ruit ad celebres cultissima femina ludos: §1.98Copia iudicium saepe morata meum est.
As the busy ant goes and returns in a long line, when she carries her customary food in her grain-bearing mouth, or as the bees, having found their glades and fragrant pastures, fly through the flowers and the tops of thyme, so the most elegant woman rushes to the famous games: their abundance has often delayed my judgment.
§1.99Spectatum veniunt, veniunt spectentur ut ipsae: §1.100Ille locus casti damna pudoris habet.
They come to watch, they come that they themselves may be watched: that place holds the loss of chaste modesty.
§1.101Primus sollicitos fecisti, Romule, ludos, §1.102Cum iuvit viduos rapta Sabina viros.
You, Romulus, first made the games troublesome, when the abducted Sabine women delighted the wifeless men.
§1.103Tunc neque marmoreo pendebant vela theatro, §1.104Nec fuerant liquido pulpita rubra croco; §1.105Illic quas tulerant nemorosa Palatia, frondes §1.106Simpliciter positae, scena sine arte fuit; §1.107In gradibus sedit populus de caespite factis, §1.108Qualibet hirsutas fronde tegente comas.
Then no awnings hung from a marble theatre, nor had the stages been red with liquid saffron; there, the leaves which the wooded Palatine had produced, simply placed, the stage was without art; the people sat on steps made of turf, with any leaf covering their shaggy hair.
§1.109Respiciunt, oculisque notant sibi quisque puellam §1.110Quam velit, et tacito pectore multa movent.
They look back, and each marks with his eyes for himself the girl whom he wants, and they revolve many things in their silent heart.
§1.111Dumque, rudem praebente modum tibicine Tusco, §1.112Ludius aequatam ter pede pulsat humum, §1.113In medio plausu (plausus tunc arte carebant) §1.114Rex populo praedae signa petita dedit.
And while, with a Tuscan flute-player providing a rude rhythm, the dancer beats the leveled ground thrice with his foot, in the midst of the applause (applause then lacked art) the king gave the people the desired signal for the plunder.
§1.115Protinus exiliunt, animum clamore fatentes, §1.116Virginibus cupidas iniciuntque manus.
Immediately they leap up, betraying their intent with a shout, and lay eager hands upon the maidens.
§1.117Ut fugiunt aquilas, timidissima turba, columbae, §1.118Ut fugit invisos agna novella lupos: §1.119Sic illae timuere viros sine more ruentes; §1.120Constitit in nulla qui fuit ante color.
As doves, a most timid flock, flee the eagles, as the young lamb flees the hated wolves: so did those girls fear the men rushing without restraint; the color which was there before remained in none of them.
§1.121Nam timor unus erat, facies non una timoris: §1.122Pars laniat crines, pars sine mente sedet; §1.123Altera maesta silet, frustra vocat altera matrem: §1.124Haec queritur, stupet haec; haec manet, illa fugit; §1.125Ducuntur raptae, genialis praeda, puellae, §1.126Et potuit multas ipse decere timor.
For the fear was one, but the appearance of fear was not one: part tear their hair, part sit out of their minds; one silent and sad, another calls her mother in vain; this one complains, this one is dazed; this one stays, that one flees; the abducted girls are led away, a nuptial prey, and fear itself could become many of them.
§1.127Siqua repugnarat nimium comitemque negabat, §1.128Sublatam cupido vir tulit ipse sinu, §1.129Atque ita 'quid teneros lacrimis corrumpis ocellos?
If any had resisted too much and refused her companion, the man himself carried her, lifted up, in his eager bosom, and said thus: "Why do you ruin your tender eyes with tears?
§1.130Quod matri pater est, hoc tibi' dixit 'ero. ' §1.131Romule, militibus scisti dare commoda solus: §1.132Haec mihi si dederis commoda, miles ero.
What your father is to your mother, this I shall be to you." Romulus, you alone knew how to give rewards to your soldiers: if you give me these rewards, I will be a soldier.
§1.133Scilicet ex illo sollemnia more theatra §1.134Nunc quoque formosis insidiosa manent.
Indeed, from that custom, the festive theatres now too remain treacherous for the beautiful.
§1.135Nec te nobilium fugiat certamen equorum; §1.136Multa capax populi commoda Circus habet.
Nor let the contest of noble horses escape you; the Circus, capable of holding many people, has many advantages.
§1.137Nil opus est digitis, per quos arcana loquaris, §1.138Nec tibi per nutus accipienda nota est: §1.139Proximus a domina, nullo prohibente, sedeto, §1.140Iunge tuum lateri qua potes usque latus; §1.141Et bene, quod cogit, si nolis, linea iungi, §1.142Quod tibi tangenda est lege puella loci.
There is no need of fingers, through which you may speak secrets, nor must a sign be received by you through nods: sit closest to your mistress, with no one forbidding, join your side to her side as far as you can; and it is well that the partition line forces you to be joined, even if you are unwilling, because the girl must be touched by you by the law of the place.
§1.143Hic tibi quaeratur socii sermonis origo, §1.144Et moveant primos publica verba sonos.
Here let the beginning of a friendly conversation be sought by you, and let common words set the first sounds in motion.
§1.145Cuius equi veniant, facito, studiose, requiras: §1.146Nec mora, quisquis erit, cui favet illa, fave.
Mind that you ask, eagerly, whose horses are coming: and without delay, whoever it is whom she favors, do you favor too.
§1.147At cum pompa frequens caelestibus ibit eburnis, §1.148Tu Veneri dominae plaude favente manu; §1.149Utque fit, in gremium pulvis si forte puellae §1.150Deciderit, digitis excutiendus erit: §1.151Etsi nullus erit pulvis, tamen excute nullum: §1.152Quaelibet officio causa sit apta tuo.
But when the crowded procession goes with ivory gods, do you applaud mistress Venus with a favoring hand; and, as happens, if by chance dust has fallen into the lap of the girl, it will have to be brushed off with your fingers: even if there is no dust, still brush off that nothing: let any reason be fit for your service.
§1.153Pallia si terra nimium demissa iacebunt,
If her cloak lies hanging too low on the ground,

Notes

  1. 1.78quod fuit ipsa Iovi — quod is a relative pronoun whose antecedent is an implied predicate noun (such as "mistress" or "beloved"). Iovi in fuit ipsa Iovi is a dative of reference or possession ("what she herself was to Jove").
  2. 1.81Subdita qua Veneris — qua is a relative adverb meaning "where". Subdita ("situated below") is an adjective modifying Appias (the Appian nymph/fountain), governing the dative templo ("situated below the temple").
  3. 1.108Qualibet hirsutas fronde tegente comas — An ablative absolute construction consisting of a noun and a present participle (fronde tegente comas, "with a leaf covering the hair"). Qualibet is the feminine singular ablative of the adjective quilibet ("any whatever" or "any handy"), modifying fronde.
  4. 1.141Et bene, quod cogit — The structure depends on an implied main clause bene est ("it is well"), followed by two quod clauses (a noun clause in line 141, cogit...iungi, and a causal clause in line 142, Quod...tangenda est). tangenda est is a passive periphrastic construction expressing necessity/obligation, with tibi as the dative of agent.

Cite this passage

Ovid, The Art of Love §1.77-1.153. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:latinLit:phi0959.phi004.humanitext-lat2:1.77-1.153

Please note the AI-draft status of the translation and the date accessed.

Translation, notes and summary are AI-generated drafts, revised through reader feedback.