erotic desire and dissatisfaction

Question 1

historical revisionism and the theatre in the rape of the sabine women - mythologising of history

Answer 1

Ars Am: 1.4.8-9 rape of the sabine women - event occurs in the theatre not the circus (in the fasti he puts it in the circus) - would not have been a theatre in primordial rome, reimagining of the theatre as a sexually liberated space (as opposed to the circus where men and women sit alongside one another which is too easy)

in the theatre women are segregated in the upper pats of the theatre - also reflects the dynamic of the elegiac lover and the elegiac object - man is situate beneath

quip of romulus introducing promiscuity to the theatres as an original roman custom - mythologising erotic pursuit - also means it isn’t imported from greece (the relaxed lifestyle)

Question 2

insatiability of erotics and poetics in the amores

Answer 2

Am 2.9: cupids never dies and continues insatiably - the joy of the chase that is taken over - sexual desire has to be kept alive

love as the hunter (ovid shifts from hunted by cupid to hunter for cupid - sense of shifting focality of the narrative as in the met)

catullus 116 - hunting mind of the poet looking for new inspiration and subjects, line 9-10 of this poem is translated from callimachus - same values for erotics as p[oetics

establishes the relationship

Question 3

ovidian libestod in amores 2.10

Answer 3

comedic take on the idea of loving in death - talks about wanting to die in the middle of sex - but ‘mors/morior’ is also used for consummation or erotic climax

wants it observed that he had a good death (a good fuck) - poetic voyeurism

also the idea of death as culmination - ovid cannot die at this pointt because the rest of the book would remain unwritten, same is true for the death/end/satisfaction of the erotic/poetic desire