The first picture I chose is Thisbe by John Waterhouse. This picture depicts Thisbe listening to Pyramus through the wall. The picture seems to be pretty accurate as far as the style of the house and having Thisbe with her ear against it. I do, however, find a few faults with the picture. First, I would imagine Thisbe to be depicted both a bit younger and a bit prettier. Here she is depicted a bit older, more around 18 or 20 in my opinion, and is not exactly the image of youth and innocence as Thisbe is described by Ovid. Also, the fact that along the wall all we see is a crack bothers me. I understand that Thisbe's head is against the chink, but we only see a crack. I feel as though this may give the wrong impression, as a crack would not allow the interaction that Pyramus and Thisbe had because a crack is simply not wide enough to allow the sound to travel. I think this error would give the wrong impression of the story to someone who was not as familiar with the story.
Second, I chose Gregorio Pagani's Pyramus and Thisbe. This, as with many others, depicts Thisbe's death scene. The first thing I noticed in the picture is the fountain in the background. I do like that this is included, as it played such an important part in the plot. I also found it appropriate that Thisbe was stabbing herself in her lower chest, as that is how Ovid described the situation. I do find it slightly annoying, however, that Pyramus's blood pool suggest that he was stabbed in the neck and the end of the sword is placed at his stomach. This seems a bit ridiculous, as the rest of the picture is rather accurate, and then this detail is left alone. I understand that depicting or implying that someone was stabbed in the "woo-hoo" can be a bit graphic and uncomfortable, but that's the way it happened. Ovid wanted it that way, so that is the way it should be.
Lastly, I chose Pyramus und Thisbe by Niklaus Manuel Deutsch, another depiction of the Thisbe death scene. This picture I found to be the most interesting interpretation of the story. First, one of Pyramus's legs is red, which is interesting because the leg is not mutilated or destroyed in any way in the picture. This seems to be a way to communicate Pyrramus's "private" wound, which I find to be creative, but also confusing at first glance. Next, when I look at Thisbe, she seems to be pregnant. I find this to be an interesting twist on the story. We have talked about how the change in the mulberries represents what the couple was able to leave behind since they could not have children, and nowhere in Ovid's story did he describe Thisbe as being pregnant. I also would like to point out that here, Thisbe is aiming the sword at her pregnant belly. Again, an interesting twist, as it seems to symbolize that if Pyramus isn't living, Thisbe doesn't want to live, and she feels as though her child shouldn't have to live without her. Again, an interesting twist. Something else that bothers me about this picture is that we see the mulberry tree, but we do not see any mulberries. Since this is the change of the story, if you are going to include the tree, you should include the mulberries. Also, going back to the baby concept, if the mulberries are what the couple leaves behind, and there are no mulberries, and Thisbe decides to kill her unborn child, then the whole concept of the couple leaving something behind is completely destroyed. If this was Deutsch's intention, then shame on him for attempting to alter the wonderful, beautiful, deep, and symbolic story that Ovid created.
Sunday, January 8, 2012
Monday, December 19, 2011
I May Be Sick, But It's Not Because of the Blood and Gore
The blood and gore in Pyramus and Thisbe, as bloody and gore-ifying as it may be, is completely necessary to Ovid' s story.
The place where the gore becomes most necessary is in the change of the color of the mulberries. This change is caused by the pulsing of the blood high into the air, and the change of the berries causes Thisbe to become confused. (arborei fetūs... pomi color) This change of the color of the mulberry is the change that takes place in the all of Ovid's stories in his Metamorphoses. Without the blood and gore described in the story, this change would not have been able to occur because it would not have made sense.
These sometimes disturbing images are also necessary to help set the tone of this part of the story. At first, the story is light and sweet; the story of two young lovers trying to make their love a reality. But now, the tone of the story has changed to be dark and serious. The description of all of the blood and gore (i.e. "dum dubitat, tremebunda videt pulsare cruentum membra solum") helps to reset the tone of the story. Without this new tone, the serious nature of the story that Ovid is trying to convey would simply not exist.
Overall, I find Ovid's use of the dramatic gore helps to drive home the mood of Pyramus and Thisbe, and also helps the reader to understand the change taking place with the mulberry tree. As disturbing as it may be, without the blood and gore, Pyramus and Thisbe would not be the story of change that it is.
The place where the gore becomes most necessary is in the change of the color of the mulberries. This change is caused by the pulsing of the blood high into the air, and the change of the berries causes Thisbe to become confused. (arborei fetūs... pomi color) This change of the color of the mulberry is the change that takes place in the all of Ovid's stories in his Metamorphoses. Without the blood and gore described in the story, this change would not have been able to occur because it would not have made sense.
These sometimes disturbing images are also necessary to help set the tone of this part of the story. At first, the story is light and sweet; the story of two young lovers trying to make their love a reality. But now, the tone of the story has changed to be dark and serious. The description of all of the blood and gore (i.e. "dum dubitat, tremebunda videt pulsare cruentum membra solum") helps to reset the tone of the story. Without this new tone, the serious nature of the story that Ovid is trying to convey would simply not exist.
Overall, I find Ovid's use of the dramatic gore helps to drive home the mood of Pyramus and Thisbe, and also helps the reader to understand the change taking place with the mulberry tree. As disturbing as it may be, without the blood and gore, Pyramus and Thisbe would not be the story of change that it is.
Sunday, December 11, 2011
A Blog on Onomatopoeia!? Eek!
Oh, onomatopoeia...what a rhetorical device. A word that imitates a sound, things like "achoo" and "eek." And it is this rhetorical device that Ovid uses in line 83 of Pyramus and Thisbe.
"...ad solitum coiere locum. Tum, murmure parvo..."
First, notice the alliteration with the M's. (solitum, locum, tum, murmure) Now, pay attention to one word: murmure. Pyramus and Thisbe are MURMURING!!!!!! The use of the M's in line 83 help us to "hear" the soft murmur the two share on opposite sides of the wall. Here, the use of other soft sounds such as the S in solitum and the C's in coiere and locum also help to convey this image of soft, loving murmurs between Pyramus and Thisbe.
This is a wonderful example of how Ovid uses rhetorical devices in his work to help convey the story. By using the onomatopoeia in line 83, we get a more vivid picture of the two lovers. It helps us not only to see what is going on, but hear it as well. The soft sounds of M's, S's and C's imitate the soft sounds created when Pyramus and Thisbe are talking quietly, whispering, murmuring, to each other through the crack in the wall. And it is this imagery that helps to make Ovid's Pyramus and Thisbe such a wonderfully vivid work.
Sunday, November 6, 2011
Now That I Have Power and Internet, I Can Blog About Catullus!
I am happy to say that the power is on and the internet is back because it means that I can blog about my favorite person....CATULLUS!!!!!!!
Catullus 101 is, strangely, a poem NOT written about Lesbia. Instead, the poem is addressed to Catullus's now deceased brother. The poem may be about a different person, but it really isn't all that different.
The first thing that is still kept in Catullus 101 is his ability to balance the lines. For example, he writes "atque in perpetuum, frater, ave atque vale," where he both praises his brother, and says his goodbyes. This simple balance is similar to that found in Catullus 85, where he writes "Odi et amo." Another quick point, if comparing these two examples of balance specifically: they are both rather powerful statements used at powerful moments in the poem. Catullus 85 is started with "Odi et amo," while Catullus 101 is ended with "ave atque vale." Just something I noticed....
Catullus also continues his uses of repetition in this poem. We have seen him use this many times in order to emphasize his point, and once again, Catullus has not failed us. Here he writes "Quandoquidem fortuna mihi tete abstulit ipsum, heu miser indigne frater adempte mihi," where he uses both abstulit and adempte to emphasize that is brother is gone, and he feels as though his bother has not simply died, but has been taken away from him. This use of repetition is similar to that of Catullus 5, where Catullus uses the repetition of deinde with basia to illustrate his excessive love for Lesbia. (Da mi basia mille, deinde centum, dein mille altera, dein secunda centum, deinde usque altera mille, deinde centum.)
Another very small connection lies in the use of one word: miser. Catullus uses this word often in his poems, including in Poem 101. He writes "advenio has miseras, frater..." Other uses of miser can be found in Poem 51 ("misero quod omnis eripit sensus mihi") and in Poem 8 ("Miser Catulle..."). A small connection, but an interesting one.
I leave you with the last, and rather obvious, connection between Catullus 101 and many of his poems concerning Lesbia: elegiac couplet. Poems 70, 72, 73, 75, 83, 85, 86, and 87 are all Lesbia poems written in elegiac couplet. And maybe I'm reading into this a bit, but stick with me for a second....
Poems such as Catullus 5 and Catullus 51, are not written in elegiac couplet. While these poems do focus on Lesbia, focusing on the immense love that Catullus has for his woman, they are not as forceful with Catullus's message as those written in elegiac couplet. The poems such as Catullus 70 and 72, are a little harsher, a little more direct. These poems are ones that really explore the struggle Catullus has in his attempt to somehow let go of Lesbia. And here, in Poem 101, he is struggling to let go of his brother. And while the poem is certainly not harsh, it is direct; never once does he skate around the fact that his brother is dead. He meaning is clear and forceful in this poem, and the tone is serious and dark, much like the Lesbia poems written in the same meter. To me, it seems as though Catullus used elegiac couplet as a way of expressing those emotions which hurt him the most.
Catullus 101 is, strangely, a poem NOT written about Lesbia. Instead, the poem is addressed to Catullus's now deceased brother. The poem may be about a different person, but it really isn't all that different.
The first thing that is still kept in Catullus 101 is his ability to balance the lines. For example, he writes "atque in perpetuum, frater, ave atque vale," where he both praises his brother, and says his goodbyes. This simple balance is similar to that found in Catullus 85, where he writes "Odi et amo." Another quick point, if comparing these two examples of balance specifically: they are both rather powerful statements used at powerful moments in the poem. Catullus 85 is started with "Odi et amo," while Catullus 101 is ended with "ave atque vale." Just something I noticed....
Catullus also continues his uses of repetition in this poem. We have seen him use this many times in order to emphasize his point, and once again, Catullus has not failed us. Here he writes "Quandoquidem fortuna mihi tete abstulit ipsum, heu miser indigne frater adempte mihi," where he uses both abstulit and adempte to emphasize that is brother is gone, and he feels as though his bother has not simply died, but has been taken away from him. This use of repetition is similar to that of Catullus 5, where Catullus uses the repetition of deinde with basia to illustrate his excessive love for Lesbia. (Da mi basia mille, deinde centum, dein mille altera, dein secunda centum, deinde usque altera mille, deinde centum.)
Another very small connection lies in the use of one word: miser. Catullus uses this word often in his poems, including in Poem 101. He writes "advenio has miseras, frater..." Other uses of miser can be found in Poem 51 ("misero quod omnis eripit sensus mihi") and in Poem 8 ("Miser Catulle..."). A small connection, but an interesting one.
I leave you with the last, and rather obvious, connection between Catullus 101 and many of his poems concerning Lesbia: elegiac couplet. Poems 70, 72, 73, 75, 83, 85, 86, and 87 are all Lesbia poems written in elegiac couplet. And maybe I'm reading into this a bit, but stick with me for a second....
Poems such as Catullus 5 and Catullus 51, are not written in elegiac couplet. While these poems do focus on Lesbia, focusing on the immense love that Catullus has for his woman, they are not as forceful with Catullus's message as those written in elegiac couplet. The poems such as Catullus 70 and 72, are a little harsher, a little more direct. These poems are ones that really explore the struggle Catullus has in his attempt to somehow let go of Lesbia. And here, in Poem 101, he is struggling to let go of his brother. And while the poem is certainly not harsh, it is direct; never once does he skate around the fact that his brother is dead. He meaning is clear and forceful in this poem, and the tone is serious and dark, much like the Lesbia poems written in the same meter. To me, it seems as though Catullus used elegiac couplet as a way of expressing those emotions which hurt him the most.
Sunday, October 16, 2011
Catullus, Catullus, Catullus, You Repeat As Often As the Sun Sets and Rises
Our good friend Catullus likes to use repetition and hyperbole as tools to get his point across in his work. In Poem 5, for example, he uses hyperbole when talking about the 3300 kisses he wants to share with Lesbia ("Da mi basia mille, deinde centum" etc.) He uses this to creatively and poetically explain that he simply wants to share romantic moments with his wonderful Lesbia.
Catullus also uses hyperbole in Poem 8 when he states "Iam Catullus obdurat." Really Catullus, really? This is one of the most exaggerated examples of hyperbole Catullus writes. He is not strong, he has never been strong. (This is made clear by the questions at the end of this poem, when he starts to realize that since Lesbia has left him, she will become someone elses.) He does this to make it seem like he is getting over Lesbia, and moving past all of their "relationship issues."
Poems 43 and 51 both show examples of repetition. In poem 43, Catullus repeats "nec" when describing the girl who is not nearly as beautiful as Lesbia. ("nec minimo puella naso, nec bello pede nec nigris ocellis" etc.) Then, in Poem 51, at the end Catullus repeats forms of otium, or leisure. ("Otium Catulle...otio exsultas...otium et reges.") Repetition is used in both of these poems as a way to show the extent to which the woman is not beautiful and the extent to which leisure will potentially destroy Catullus.
Catullus uses gods in Poems 70 and 72 for his moments of hyperbole. In Poem 70, he says "non si se Iuppiter ipse petat" and then in Poem 72 declares "Lesbia, nec prae me velle tenere Iovem." In both of these cases, Catullus uses the hyperbole to describe the immense love Lesbia has/had for him.
Poems 75 and 83 both have non-literal forms of repetition. In Poem 75, Catullus shows repetition in using two conditional clauses in subsequent lines. ("si optima fias...omina si facias.") Poem 83 exhibits repetition in using numerous words with meanings like speaking, snarling, about to speak, etc. ("dicit...taceret...gammit...obloquitur...loquitur.") These non-literal forms of repetition still help Catullus get his point across without using the exact same words.
Finally, one of my favorite uses of hyperbole is from poem 85. This is found in the simple word "Nescio" in Line 2. Like Catullus doesn't know why he loves and hates Lesbia at the same time! This is such an exaggeration, since it is pretty clear that he understands that being in love with Lesbia causes him to have these massive emotional conflicts. Catullus is one dramatic man.
These examples are effective because they add drama to the poems. The examples of repetition are catchy, and create a sort of rhythm outside of the meter that helps the poem to be read in a more pleasing manner. The examples of hyperbole are so over-dramatic that many times they are simply silly. These two factors are attention-grabbing, and really pull at the reader, keeping them reading on. They come together to make the poems memorable and interesting, which means that readers will spend the time to analyze the poems and really take a look at what Catullus is trying to say. And isn't that the goal of poetry?
Catullus also uses hyperbole in Poem 8 when he states "Iam Catullus obdurat." Really Catullus, really? This is one of the most exaggerated examples of hyperbole Catullus writes. He is not strong, he has never been strong. (This is made clear by the questions at the end of this poem, when he starts to realize that since Lesbia has left him, she will become someone elses.) He does this to make it seem like he is getting over Lesbia, and moving past all of their "relationship issues."
Poems 43 and 51 both show examples of repetition. In poem 43, Catullus repeats "nec" when describing the girl who is not nearly as beautiful as Lesbia. ("nec minimo puella naso, nec bello pede nec nigris ocellis" etc.) Then, in Poem 51, at the end Catullus repeats forms of otium, or leisure. ("Otium Catulle...otio exsultas...otium et reges.") Repetition is used in both of these poems as a way to show the extent to which the woman is not beautiful and the extent to which leisure will potentially destroy Catullus.
Catullus uses gods in Poems 70 and 72 for his moments of hyperbole. In Poem 70, he says "non si se Iuppiter ipse petat" and then in Poem 72 declares "Lesbia, nec prae me velle tenere Iovem." In both of these cases, Catullus uses the hyperbole to describe the immense love Lesbia has/had for him.
Poems 75 and 83 both have non-literal forms of repetition. In Poem 75, Catullus shows repetition in using two conditional clauses in subsequent lines. ("si optima fias...omina si facias.") Poem 83 exhibits repetition in using numerous words with meanings like speaking, snarling, about to speak, etc. ("dicit...taceret...gammit...obloquitur...loquitur.") These non-literal forms of repetition still help Catullus get his point across without using the exact same words.
Finally, one of my favorite uses of hyperbole is from poem 85. This is found in the simple word "Nescio" in Line 2. Like Catullus doesn't know why he loves and hates Lesbia at the same time! This is such an exaggeration, since it is pretty clear that he understands that being in love with Lesbia causes him to have these massive emotional conflicts. Catullus is one dramatic man.
These examples are effective because they add drama to the poems. The examples of repetition are catchy, and create a sort of rhythm outside of the meter that helps the poem to be read in a more pleasing manner. The examples of hyperbole are so over-dramatic that many times they are simply silly. These two factors are attention-grabbing, and really pull at the reader, keeping them reading on. They come together to make the poems memorable and interesting, which means that readers will spend the time to analyze the poems and really take a look at what Catullus is trying to say. And isn't that the goal of poetry?
Friday, October 7, 2011
Miserable Catullus, Be Strong
Miserable Catullus, Be Strong
Miser Catulle
amās puellam tamen.
Catulle obdura.
Miserable Catullus
You love the girl still.
Be strong Catullus.
Miserable Catullus
You love the girl still.
Be strong Catullus.
Sunday, October 2, 2011
Haiku To You Too, Catullus
My first piece, Kiss Me, is based on Catullus 5:
Kiss me Lesbia
Kiss me again and again
For our suns may set
My next piece, Thoughts of a Foolish Catullus, finds its basis in Catullus 72:
I respected you
But now I know you better
Now you mean much less
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