I hope all is well with you all.
Too late to say anything else. See you tomorrow.
Update. What I had to say I have posted over at the Manius Papirius Lentulus blog dialogue section. Here it is.
Latin Poets of the Golden Age
Regarding this painting by Lawrence Alma-Tadema (1836–1912) Jenny had asked :
“I need to know which (favorite) poet the Roman women are reading in that painting. I just ordered Slavitt’s translation of Ovid’s Love Poems, Letters and Remedies. Looks great.”
MoR: “According to Rosemary J. Barrow (*L. Alma-Tadema*, Phaidon 2001) the poet is divine *Horace* – I add links for the sake of new readers, and basically am a pedantic teacher to the marrow -, who was from *Venusia*, South Italy, today’s Venosa in Mezzogiorno’s Lucania also called Basilicata.
[Incidentally, Rosaria's personal account on his town, with Orazio's statue in the main piazza, and the bay-leaves crown the best school students received, similar to the one Orazio's statue wears, is so compelling]
The bronze wall panel behind the 2 Roman women in Tadema’s gorgeous painting has inscribed a few words by Horace. The title of my Manius soap (Misce stultitiam consiliis: Add Folly to Wisdom) is taken from Horace (4 Odes, xii. 28), and the ‘act’ the buddies in the plot perform in the taberna (read Chanting in an Ænglisc taberna) is one of Horace most perfect choral songs from the *Carmen Saeculare* (Song of the Ages!), probably his most perfect (and classical in the real-deal sense of the term) poem.
Horace (together with Vergil) is Rome’s bard and his poems were sacred to the Romans – no easy stuff, Horace; Lord Byron confessed he couldn’t understand Horatius Flaccus; but I believe every minute spent on Horace’s lines is worthwhile – although sacred, I don’t mean it in the sense of the Judeo-Christian ‘Revealed Writ’ of course. For that – revealed-by-god(s) words – you have to turn, outside the Jewish tradition, to the amazing Orphic Greek literature, for example, which I’m sipping here and there and find terribly inspiring.
True Romans & Celts.
A different temperament?
Horace was the most loved ancient poet in 19th century England. His tone befitted the Victorians who kinda felt like the spirituals heirs of the Romans. He was also fun like most Roman writers (he for ex. preferred the liberty of loving slaves or unintelligent women, since Roman matrons were a headache to him, a tad too matriarchal perhaps, but basically I think he didn’t find a long-for-life love (Vergil did, probably, but I guess it was a man) and most of all Horace is the real classical thing more than Vergil in some way, while Tibullus and Catullus (and Vergil) were a bit more … romantic since – so darn interesting for the Manius’ blog – they were Italian Celts from North Italy, id est continental Celts, id est cousins to insular, British-Isles, Celts.
I absolutely adore Tibullus and his elegies, so beautiful & melancholic, and Clelia (Tibullus’ true love – see a painting below- : differently from Horace he was more or less monogamous: Clelia not by chance is Manius’s lost love too.
[Tadema painted Tibullus at Clelia's, and Catullus at Lesbia's - see above and below. How could he not ;-) ]
But Manius is not monogamous. Massimo, the positive hero, is.
Ovid is a sparkling choice Jenny. His verses are peculiar, naturally flowing, and possibly much more fun than all the poets I’ve mentioned.
All the best Rome could give
ALL these poets are the best Rome could give and were much deeper than the coeval Greek literature, that was extremely refined but void and spineless. Catullus was another first class Italian Celtic poet, very romantic as well. He was in love with the sluttish Clodia he calls Lesbia.
True Romans from Rome were – and still are – not much romantic (in both the arts and common sense of the term); Manius, Massimo, Giorgio (and myself) are partly true Romans, partly North Italian Celtic, so they are a tad romantic too (I guess it takes also bad weather to be ‘romantic’ lol).
I mean, it all fits together perhaps – or so it seems to the Man of Roma (now Manius) ;)
Then Paul Costopoulos had said:
“Now, Manius, I have a throwing dagger but what tells you how I will use it the only time I will be able to throw it because retrieving it once thrown is rather problematic.
Not being a Roman and being a merchant why would I hurt potential costumers?
Of course you are my friend and that could cause me some scruples and those guys do seem to be cutthroats so they could also be out to cut mine, they seem to be somewhat xenophobic.
All considered, I will side with you after all.”
MoR: ” Being a merchant why would I hurt potential costumers?
Right Paul, you got into the Pavlos character as I see it at least, probably because it’s part of you despite what you may think who knows.
Ulysses, ie the Mediterranean Man
To me Pavols is a symbol par excellence of the Mediterranean Man ready to survive in every circumstance and to exchange knowledge goods symbols experiences with a wonderful good nature – given to him by Helios ok – but with an admirable life balance reached tho thru horrible toil it must be said:
the Med, one often forgets, is a ruthless stepmother and no fertile area as the Nordic European lands.
One reason why the Germans are so big compared to the Greco-Romans and successive Mediterranean people: their climate may be horrible but they got BEEFY in the course of the centuries from the beefy cattle that got (and still gets) BIG – as them – from the fat-and-so-green-from-rain darn grass)
« La rareté en Mediterranée – Fernand Braudel écrit – des vrais pâturage. Elle entraîne le petit nombre des bovin … pour l’homme du Nord le bétail de la Méditerranée semble déficient. La Méditerranée, II, pp. 290-291, Livre de Poche »
You add, Paul:
Now, Manius, I have a throwing dagger but what tells you how I will use it the only time I will be able to throw it because retrieving it once thrown is rather problematic.
Well well, I don’t think this to be a problem. I had added the following italic text (but had to prune this and other stuff, it was too verbose:
“Pavlos pulled out an inlaid-with-gold throwing dagger that he always carried with him (even in bed?). He had already shown his ability to use it with deadly precision..
If you have even a colossus before you – Ulysses had one-eyed Polyphemus – you can dispatch him in a second by throwing dagger hurled into the left or right eye (your choice).
But, true, both the Romans & their Greek copain then would all be slaughtered by the rest of the Angles. So yes, Pavols waits for the events to unfold.
Nikos Kazantzakis: Odyssey, a Sequel
MoR: “A side note à propos de Ulysess. In the winter of 1938, at the age of 45, your father’s countryman Nikos Kazantzakis from Crete (1883 – 1957) published his “Odyssey” (a modern Sequel) in Athens. A huge tome of 835 pages in 24 books with 33,333 verses!
[visit Nikos Kazantzakis' virtual museum]
There’s a good English translation by a Greek American, Kimon Friar (Simon & Schuster, NY 1958).
The two worked together for a long time in order to achieve a good translation. I, being a book maniac, have it on my shelves but have sipped only here and there.
It is as BEEFY as the Germans mamma mia!!”