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Initially, the narrator asks the gods for compassion towards Marathus (1.9.5–6), who betrayed a promise he had made to the narrator, but soon love yields to bitterness, and he begins to express the desire that the gifts of the rival lover turn to ashes (1.9.11–12) and that the same happen to the poems that the narrator wrote to Marathus to ...
Thus poems 1.1 and 1.10 have a dozen points of contact, in more or less the same order in both poems; and the same is true of poems 1.5 and 1.6. An example of such links is asper and gloria in lines 1 and 2 of poem 1.5, and also in lines 2 and 3 of poem 1.6. [24] In book 2, poems 2.2 and 2.5, despite being of different lengths, are also ...
In lines 2.1.67–71, Tibullus defends his preference to make the countryside a major part of his book of love-poetry by arguing that Cupid first began his activities in a rural setting. In terms of subject matter and verbal echoes, this poem also has a lot in common with the first poem of book 1, which is also about a rural festival.
The Garland of Sulpicia, [1] also sometimes known as the Sulpicia cycle [2] or the Sulpicia-Cerinthus cycle, is a group of five Latin love poems written in elegiac couplets and included in volume 3 of the collected works of Tibullus (Tibullus 3.8–3.12 = Tibullus 4.2–4.6).
The six poems of Sulpicia are all very short: 10, 8, 4, 6, 6, and 6 lines respectively. Nonetheless they tell the complete story of a love-affair with all the usual incidents: falling in love, temporary separation, the unfaithfulness of one partner, the illness of the other, and the reassertion of love.
Maltby notes that verbal echoes are also used to link poems together. For example, caram 'dear' and coniunx 'wife' in the last four lines of poem 1 are found again as caram and coniuge in the first four lines of poem 2. [41] Poem 5 has clear verbal echoes of Tibullus 1.3, in which Tibullus, like Lygdamus, is ill and imagines he may die. [42]
Virgil's book contains ten pieces, each called not an idyll but an eclogue, from the Greek ἐκλογή ('selection', 'extract'). [2] The poems are populated by and large with herdsmen imagined conversing and performing amoebaean singing in rural settings, whether suffering or embracing revolutionary change or happy or unhappy love.
The first great elegiac poet of the Hellenistic period was Philitas of Cos: Augustan poets identified his name with great elegiac writing. [2] One of the most influential elegiac writers was Philitas' rival Callimachus , who had an enormous impact on Roman poets, both elegists and non-elegists alike.