self in his chagrin into the river Evenus, which was so named from him. Near the river Phoebus fell in with Idas and took Marpessa from him; but according to one account she was afterwards restored. litoribus, litus for ripa as in Aen. 8. 83 and elsewhere. So in Greek Pind. N. 9. 40 παρ ̓ ἀκταῖς Ελώρου. 19. Phrygium maritum, Pelops; who according to one tradition was expelled by Ilus from his native town Sipylus in Phrygia and emigrated to Pisa: and according to the wellknown legend won Hippodamia for his wife by conquering her father Oenomaus in the chariot race. falso candore. Cf. iv. 24. 8 quaesitus candor where see note. traxit, drew his affections to herself.' So of spells, Iv. 5 (6). 27, 28 illum turgentis ranae portenta rubetae et lecta exectis anguibus ossa trahunt. 20. externis rotis. On the car which had just been victorious (curru uictore Ov. infr.). I do not understand what P. means by saying 'by the stranger Pelops in the chariot race' (the italics are mine). Hippodamia was the prize and not a passenger in the chariot race: and the Lat. could not possibly mean through the victory of a stranger's car.' The epithet externis is softened down by Ovid in his imitation A. A. 2. 7, 8 talis erat qui te curru uictore ferebat, uecta peregrinis Hippodamia rotis. 21-24. 'No! their helper was beauty that owed no debt to jewels, like the hues in the paintings of Apelles. It was not their one aim to hunt for lovers through the town. Chastity, a wealth of beauty, was theirs.' aderat,' was 21. facies, 'beauty,' as in III. 32 (26). 1. present to help them.' obnoxia, probably from Virg. G. 1. 396 fratris radiis obnoxia luna. Im. by Seneca 1. c. on v. 5. obnoxius is literally exposed to a penalty (noxa)' ¿æeúðvros, and with a dat. 'at the mercy of.' 22. qualis, a loose connexion of sentences not uncommon in Prop.; cf. el. 16. 38, and Introduction. Apelleis. Apelles of Cos, the chief painter of antiquity and the perfecter of the technical part of his art. He invented a process of varnishing his pictures, which not only preserved them, but made the colours richer and more subdued. He generally painted on panels (tabulae), and his subjects were usually taken from the nude. Hence the point of the comparison. tabulis. For the trisyllabic ending see Introduction. stu 23. Hunting for lovers was not their life's aim.' dium conquirere. Prop. is very bold in this use of the inf. as the nom. to a sentence. Cf. Iv. 12 (13). 38 nec fuerat nudas poena uidere deas and Introduction. uolgo, cf. Ter. Heaut. 3. 1. 38 uictum uolgo quaerere in a similar connexion. 24. See Seneca quoted on v. 5. 25-32. "I fear not now that thou should'st hold me cheaper than those heroines of thine.' Whosoever finds favour in one lover's eyes, that maiden is decked enough; and thou especially, since to thee beyond all others Phoebus grants his power of song and Calliope her Aonian lyre with hearty will, and on thy pleasant talk there waits a matchless charm, yea all that Venus and all that Minerva commends. These gifts will make thee ever the darling of my life, if thou wilt but scorn the wretched ways of fashion." 25. I have punctuated this line so as to mark that it is an interruption of Cynthia's. She is supposed to say 'I am not afraid of your preferring your heroines to me. I am sure of you. I dress for others.' Prop. replies 'A maid is adorned enough if she find favour in one lover's eyes.' For a similar dialogue between Propertius and Cynthia see bk. III. 20 (17). non ego nunc uereor is a favourite phrase with Prop. See 1. 6. 1, 1. 19. 1, &c., and cf. Introduction. uilior, with dat. as in Ov. Her. 12. 187 si tibi sum uilis. istis, with a cer tain contempt. 27. cum tibi. A step in the argument is omitted. Cf. the trans. and argument and compare Introduction. carmina, 'power of song,' a thoroughly Latin brachylogy: cf. Pott's Lat. Prose, p. 32. For a somewhat similar expression see v. 1. 133 tum tibi pauca suo de carmine dictat Apollo. For Cynthia's accomplishments see Introduction. 28. Aoniam lyram, imitated Ov. Am. 1. 1. 12 Aoniam Marte mouente lyram. 29. nec desit. For this use of a double negative where the other portions of the sentence, as here iucundis, require a positive conception-a use foreign to our idiom-see Introduction. gratia, xápis; compare Phocylides Anal. Br. 1. p. 78 ols our ἐν μύθοις ἕπεται χάρις οὔτ ̓ ἐνὶ βουλῇ and Meleag. Anth. Gr. 5. 195 αἱ τρισσαὶ Χάριτες τρισσὸν στεφάνωμα συνεῖναι Ζηνοφίλᾳ, τρισσᾶς σύμβολα καλλοσύνας, ἃ μὲν ἐπὶ χρωτὸς θεμένα πόθον, ὁ δ ̓ ἐπὶ μορφᾶς ἵμερον, ὁ δὲ λόγοις τὸ γλυκύμυθον ἔπος. Compare for the whole passage Meleager Anth. 5. 140. uerbis. The weight of Ms. authority is in favour of uerbis, not dictis, and in the only other passage where dictis occurs in Prop. (v. 1. 61) it is used of written composition, Ennius hirsuta cingat sua dicta corona (cf. note on el. 9. 9). On the other hand the palpable imitation in Ov. M. 13. 127 neque abest facundis gratia dictis slightly favours the latter word. For Propertius' fondness for uerba cf. el. 8. 22 n. 30. Compare for the displacement of que 1. 20. 26. It produces a Greek rhythmical effect of which Prop. is fond. See Introduction. quae probat, i. e. all the charms which these goddesses naturally regard with satisfaction; in less vague language the attractions they typify, Venus representing the softer, Minerva the severer ones. For the expression compare an epigr. attributed to Virgil, Catal. 13. 5, cui Venus ante alios, diui diuomque sorores cuncta neque indigno, Musa, dedere bona, cuncta quibus gaudet Phoebus, chorus ipseque Phoebi, and Anal. Br. III. n. 743, μορφᾶς ᾧ πρωτεῖον ἔχειν δωρήσατο Κύπρις, Μοῦσα δὲ καὶ σοφίαν καὶ πακτίδα τὰν φιλέραστον σύμφωνον ἐρατοῖς μιξαμένα μέλεσι. 31. his, the foregoing recommendations. Cf. el. 20. 51. nostrae uitae. For this expression, which nearly nobis dum uiuimus, compare iv. 10 (11). 1 quid mirare meam si uersat femina uitam? Cf. Introduction. 32. miserae luxuriae 'wretched frivolity': contemptuous like Gr. dúornvos. It is loosely translated by P. 'finery that brings no happiness.' luxuriae is probably the gen. sing. I. v. INTRODUCTION. ADDRESSED to Gallus, a friend of the poet's (see Introduction), expostulating with him for endeavouring to supplant him in Cynthia's affections and pointing out the miseries of his attachment. ARGUMENT. Cease from sowing dissension between two lovers (1, 2). You are mad to tempt the miseries of a love like mine (3—8) or the anger of my mistress (9, 10). Even if she consents, what wretchedness awaits you (11-20). You will then under stand too well why I am pale and emaciated (21, 22). Your rank will be of no avail (23, 24) and, if you betray your secret, you will be the common talk of the town (25, 26). I shall not be able to help you: I can only share your wretchedness (2730). Therefore beware (31, 32). 1-6. 'Enough, thou envious man. Restrain thy unwelcome speech and let us travel on our course, as now, hand in hand. What does thy heart desire, madman? To feel a frenzy like mine? Ah, hapless man, thou hurriest to a knowledge of the direst woe, to tread in misery over fires thou knowest not, to quaff all the poisons that Thessaly can brew.' 2. cursu quo sumus, for the phr. cf. Cic. Att. 1. 1. fin. uidc in quo cursu simus. quo for in quo is partly to be explained as a loose use of the simple abl. such as prevails in the earlier writers-cf. Plaut. Most. 254 suo quidque locost?, Ennius quo loco, curru quadriiugo-partly as a sacrifice to grammatical symmetry. Prop. not unfrequently prefers correspondence in syntax to correspondence in thought. A striking instance is 11. 5. 28 where see note. pares, 'well mated, pulling well together'; properly of animals at the plough. Cf. el. 1. 32 and IV. 25. 8 tu bene conueniens non sinis ire iugum. Theocr. 12. 15 ἀλλήλους ἐφίλησαν ἴσῳ ζυγῷ. 3. quid tibi uis, insane, word for word in a passage quoted from C. Gracchus by Cic. De Orat. 2. 67. 269. The tibi makes the question more incisive. meos furores, 'paroxysms like mine,' 'my frenzy with all its outbreaks'; whereas furor el. 1. 7 is the course of mad love as a whole. Some read meae referring to Cynthia's passionate outbreaks (el. 1. 33 n.), an alteration which is not necessary, though it lends more point to quod si v. 9. sentire, cf. 1. 9. 21. 4. properas, with inf. as Sall. Cat. 13. 2 quippe quas (sc. diuitias) honeste habere licebat, abuti per turpitudinem properabant, was eager to'; comp. Roby 1344. = Soph. Phil. 65 ἔσχατ ̓ ἐσχάτων κακά. ultima mala 5. ignotos dwells on the note struck in nosse. With Propertius the strange or unknown seems to have excited an instinctive repulsion: cf. his uses of nouus, externus, ignotus and compare Introduction. To translate ignotos 'hidden,' as P. and others, gives a wrong sense, (since Prop. is speaking of pain, not of danger), and also an unexampled meaning to ignotos. = 6. toxica Točkά and properly 'arrow poison,' a word which, like many other Latin borrowings, is strange to Greek literature. Thessalia, the land of witches and poisonous vegetation; cf. Tib. 2. 4. 56 quicquid et herbarum Thessala terra gerit and iv. 24. 10 Thessala saga, Observe the imposing vagueness of the line, an effect frequent in Propertius. 6 7-12. Set giddy girls beside her, they cannot shew her like. Her anger, I warn thee, is not wont to be mild. But if perchance she is not adverse to thy hopes, yet what thousand thousand cares will she bring thee! She will not even leave thee thy sleep free or thine own eyes. She enchains the men of proud spirit as none else can.' 7. uagis metaphorically 'giddy, light'; cf. Mart. 2. 90. 1 Quintiliane uagae moderator summe iuuentae. Not literally as though a γύνη περίδρομος Theogn. 581. similis conlata, for this bracketing of words cf. Introduction. 8. solet. The Cuiacianus has sciet, a reading worth attention. With it, tibi belongs to irasci: if solet is read, it is the dat. of personal reference, 'of the person interested in a statement' Roby 1150. For Cynthia's temper see Introduction. 9. est, like est in v. 7, a true present, if her present disposition is what you desire'; it might however be for erit. Cf. Livy 5. 4. 10 perficietur bellum si urgemus obsessos and Hor. Ep. 1. 20. 7 dices ubi quid te laeserit et scis in breue te cogi. On the consecution of tenses in Prop. see Introduction. 10. at άλλá, a more vivid tamen: see exx, in Madv. Lat. Gr. § 437 (c). milia quanta, an illogical expression in which size and number are confused. Its germ may be seen in 1. 12. 4 tam multa illa meo diuisa est milia lecto quantum Hypanis Veneto dissidet Eridano, so Claud. Stil. 1. 171 tantis milibus. Cf. Val. Fl. 5. 273 magna milia and 111. 5. 3 n. 11. iam, i.e. a point will be reached at which she will not leave; cf. v. 21. ocellos. Compare Apoll. Rhod. 3. 1018 στράπτεν Ἔρως ἡδεῖαν ἀπὸ φλόγα, τῆς δ ̓ ἀμαρυγὰς ὀφθαλμῶν prašev, and cf. notes on el. 9. 27 and el. 1. 3. 12. alligat, 'ties down' to an obstacle, makes a helpless prisoner of: frequently metaphorical, though not in precisely the same connexion. una unice: and so nearly in v. 6. 28 n. Cf. III. 8 (7). 12 semper amatorum ponderat una sinus (Palmer, with мss.). 13-18. 'Ah, how oft under her scorn wilt thou hie thee to my threshold. Then thy brave words will falter into sobs: |