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54-507: Unlike Tibullus's Delia and Nemesis, Neaera appears not to have been a courtesan, but is described by the poet as his wife, who left him for another man. The name "Lygdamus" was a common slave-name in Rome, and is used as a slave name by Propertius. It has been conjectured that the author may have chosen this pen name to indicate that he is a "slave of love". Judging from the expensive perfumes to be used at his funeral, Lygdamus appears to come from

108-403: A deep and permanent relationship. In his poems, Catullus wavers between devout, sweltering love and bitter, scornful insults that he directs at her blatant infidelity (as demonstrated in poems 11 and 58). His passion for her is unrelenting—yet it is unclear when exactly the couple split up for good. Catullus's poems about the relationship display striking depth and psychological insight. He spent

162-540: A different poet than those of Tibullus. One of the more obvious differences is that in Lygdamus the caesura of the hexameter is almost always a masculine caesura in the 3rd foot, whereas in Tibullus it varies between the 3rd foot and the 4th. A technique common in Tibullus, Ovid, and other poets of the period is also found in Lygdamus, namely the creation of a chiastic structure (also known as "ring composition") in

216-732: A great sense of humour such as in Catullus 13 . The Hungarian-born British composer Matyas Seiber set poem 31 for unaccompanied mixed chorus Sirmio in 1957. The American composer Ned Rorem set Catullus 101 to music for voice and piano; the song, "Catullus: On the Burial of His Brother", was originally published in 1969. Catullus Dreams (2011) is a song cycle by David Glaser set to texts of Catullus, scored for soprano and eight instruments; it premiered at Symphony Space in New York by soprano Linda Larson and Sequitur Ensemble. Carmina Catulli

270-979: A list of Greek mythological figures with the same or similar names. If an internal link for a specific Greek mythology article referred you to this page, you may wish to change the link to point directly to the intended Greek mythology article, if one exists. Retrieved from " https://en.wikipedia.org/w/index.php?title=Neaera_(mythology)&oldid=1243868916 " Categories : Set index articles on Greek mythology Nereids Oceanids Mythological Phocians Suicides in Greek mythology Divine women of Zeus Hidden categories: CS1 maint: numeric names: authors list All articles with unsourced statements Articles with unsourced statements from January 2021 All set index articles Catullus Gaius Valerius Catullus ( Classical Latin : [ˈɡaːius waˈlɛrius kaˈtullus] ; c. 84 – c. 54 BC), known as Catullus ( kə- TUL -əs ),

324-504: A nymph of Thrinacia , mother of Lampetia and Phaethusa by Helios . Neaera, a nymph of Mount Sipylus in Lydia , mother of Dresaeus by Theiodamas . Neaera, mother of Evadne by Strymon . Neaera, a daughter of Pereus , mother of Auge , Cepheus , and Lycurgus by Aleus . In another version, she married Autolycus . Neaera, a daughter of Autolycus , mother of Hippothous , eventually killed herself after hearing of

378-402: A poem by the use of verbal and thematic echoes. Thus in poem 1, the words hic, munera, dicite, seu...seu, cara, Neaera in the first six lines are repeated in the last six; libellum 'little book' is found in 9 and 17. In addition, the genitive Martis 'of Mars' in the first line is balanced by Ditis 'of Dis' in the last; the colours yellow and white, mentioned in 9, are matched by

432-423: A single scroll. There is no scholarly consensus on whether Catullus himself arranged the order of the poems. The longer poems differ from the polymetra and the epigrams not only in length but also in their subjects: several of them are based on the theme of marriage. The longest (64) of 408 lines, contains two myths (the abandonment of Ariadne and the marriage of Peleus and Thetis ), one story included inside

486-535: A well-to-do family. The name " Neaera " is common in Greek mythology and is also thought to be a pseudonym. It first occurs in Homer's Odyssey 12.111, and it is also found in Virgil's Eclogue 3.3, Horace's Epodes 15.11 and Odes 3.14.21, and Ovid's Amores 3.6. Neaera is a very different kind of woman from Tibullus's Delia and Nemesis. The latter two are apparently courtesans, who keep their lovers waiting outside

540-633: Is a song cycle arranged from 17 of Catullus's poems by American composer Michael Linton. The cycle was recorded in December 2013 and premiered at Carnegie Hall's Weill Recital Hall in March 2014 by French baritone Edwin Crossley-Mercer and pianist Jason Paul Peterson. Thomas Campion also wrote a lute-song entitled "My Sweetest Lesbia" dating from 1601 using his own translation of the first six lines of Catullus 5 followed by two verses of his own;

594-1009: Is ill and imagines he may die. Neaera (mythology) Greek deities series Primordial deities Titans and Olympians Water deities Chthonic deities Personified concepts Nymphs Alseid Anthousai Auloniad Aurae Crinaeae Daphnaie Dryads Eleionomae Epimeliads Hamadryads Hesperides Hyades Lampades Leuce Limnades Meliae Minthe Naiads Napaeae Nephele Nereids Oceanids Oreads Pegaeae Pegasides Pleiades Potamides Semystra Thriae v t e Neaera ( / n i ˈ ɪər ə / ; Ancient Greek : Νέαιρα), also Neaira ( / n i ˈ aɪ r ə / ),

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648-521: Is the name of multiple female characters in Greek mythology : Neaera, one of the 3,000 Oceanids , water-nymph daughters of the Titans Oceanus and his sister-wife Tethys . Neaera or Neera, a Nereid and possible mother of Absyrtus by King Aeetes of Colchis . Neaera, a lover of Xanthus ( Scamander ). Neaera, a nymph who became the mother of Aegle by Zeus . Neaera ,

702-461: Is uncertain when he was born and when he died. Jerome stated that he was born in 87 BC and died in Rome in his 30th year. However, Catullus' poems include references to events of 55 BC. Since the Roman consular fasti make it somewhat easy to confuse 87–57 BC with 84–54 BC, many scholars accept the dates 84 BC–54 BC, supposing that his latest poems and the publication of his libellus coincided with

756-436: Is unfaithful she is still dear to him. He warns his friends not to believe girls who swear that they are faithful. At the end of the poem he asks the boy to pour more wine, refusing to spend any more nights sighing with anxiety. Apart from a mention of Catullus (who died in the 50s BC), no historical person or event is mentioned in Lygdamus's poems, making them difficult to date except on literary grounds. Early commentators on

810-560: The Alexandrian school , which had propagated a new style of poetry that deliberately turned away from the classical epic poetry in the tradition of Homer . Cicero called these local innovators neoteroi ( νεώτεροι ) or "moderns" (in Latin poetae novi or ' new poets '), in that they cast off the heroic model handed down from Ennius in order to strike new ground and ring a contemporary note. Catullus and Callimachus did not describe

864-490: The Lygdamus poems assumed that the author was Tibullus, the couplet mentioning the poet's birth in the year 43 BC being assumed to be an interpolation, not part of the original text. J. H. Voss (1786) was the first to question the Tibullan authorship of the poems. Other scholars also noted metrical, stylistic, and linguistic differences between Lygdamus and the genuine poems of Tibullus, making it clear that Tibullus could not be

918-652: The Perseus Digital Library Pausanias, Graeciae Descriptio. 3 vols . Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library . Publius Ovidius Naso , Amores edited by Christopher Marlowe, Ed. Online version at the Perseus Digital Library. Publius Ovidius Naso, Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. R. Ehwald. edidit ex Rudolphi Merkelii recognitione. Leipzig. B. G. Teubner. 1907. Latin text available at

972-431: The Perseus Digital Library . Quintus Smyrnaeus , The Fall of Troy translated by Way. A. S. Loeb Classical Library Volume 19. London: William Heinemann, 1913. Online version at theio.com Quintus Smyrnaeus, The Fall of Troy . Arthur S. Way. London: William Heinemann; New York: G.P. Putnam's Sons. 1913. Greek text available at the Perseus Digital Library . [REDACTED] [REDACTED] This article includes

1026-559: The Perseus Digital Library. Homer , The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1919. Online version at the Perseus Digital Library. Greek text available from the same website . Pausanias , Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. ISBN   0-674-99328-4 . Online version at

1080-733: The Perseus Digital Library. Greek text available from the same website . Gaius Julius Hyginus , Fabulae from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project. Gaius Valerius Flaccus , Argonautica translated by Mozley, J H. Loeb Classical Library Volume 286. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1928. Online version at theio.com. Gaius Valerius Flaccus, Argonauticon. Otto Kramer. Leipzig. Teubner. 1913. Latin text available at

1134-418: The author wished Neaera to eventually become his wife. Another hypothesis is that they were betrothed, but that Neaera broke off the engagement. The six poems are of different lengths: 28, 30, 38, 96, 34, and 64 lines respectively. The lengths of the poems can be arranged as follows: Thus the 4th poem, as well as being the longest, is the centre of the series. On 1st March, the festival of Matronalia ,

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1188-541: The author. Voss, who took a poor view of the quality of the poems, suggested that they were written by a freedman born in the same year as Ovid. Gruppe (1839), however, was the first to suggest that Lygdamus was a pseudonym for Ovid himself. This idea was taken up by Radford (1926) and others, who noted in detail the large number of words and phrases which are common to Lygdamus and Ovid but not found or rarely found in other authors. There are also features of style which are typical of Ovid but not of other poets; such as lines of

1242-437: The beginning and ends of the poems. The structure of poem 4 as a whole is chiastic (the poet's reaction to the dream, the dream itself, the poet's reaction to the dream). Within the dream section lines 63–76 form a chiastic structure of their own, with the myth of Apollo and Admetus at the centre. In poem 6 has chiastic echoes more widely spread, for example quid precor a demens? in 27 vs. quid queror infelix? in 37; and

1296-606: The dead, to spare him, since he has committed no sacrilege, crime, or blasphemy and is still young. He ends by asking his friends to remember him and to sacrifice some black sheep on his behalf to Dis , god of the Underworld. Neaera is not mentioned in this poem. The poet calls on Liber ( Bacchus ), the god of wine, and orders his slave to pour wine and his friends to join him. He declares he no longer loves Neaera, but wishes her to be happy. He warns his friends not to make his mistake of falling in love and states that though Neaera

1350-947: The death of her son. Neaera, one of the Niobids . Neaera of Lemnos , a friend of Eurynome in whose guise Pheme came to warn Eurynome of her husband's infidelity. Neaera, possibly the mother of Triptolemus by Celeus . Notes [ edit ] ^ Hesychius of Alexandria s. v. Νέαιρα ^ Scholia on Apollonius Rhodius , 3.242 ^ Ovid , Amores 3.6.28 ^ Homer , Odyssey 12.133 ff ^ Quintus Smyrnaeus , 1.290–291 ^ Apollodorus , 2.1.2 ^ Apollodorus, 3.9.1; Tzetzes on Lycophron , 206 ^ Pausanias , 8.4.6 ^ Hyginus , Fabulae 243 ^ Apollodorus, 3.5.6 ^ Valerius Flaccus , 2.141 ^ The Parian Marble, Fragment 12 (March 7, 2001). "Interleaved Greek and English text (translation by Gillian Newing)" . Archived from

1404-411: The door while they entertain other lovers inside. Both girls, especially Nemesis, demand expensive gifts. Neaera is clearly not a courtesan. She comes from a cultured family (4.92) and the author knows her "very kind" mother and "most amiable" father (4.93–94). The author considers her to be his wife (2.30) and her mother to be his mother-in-law (2.14). The author prays not only to Venus but also to Juno,

1458-518: The dream Apollo assures him that this is all part of the trials of love and she can still be won round if he entreats her. The poet tells Neaera he cannot believe she would be so heartless, especially as she was brought up in a respectable family with delightful parents. The poet imagines his friends enjoying a holiday in a thermal spa in Etruria , while he himself has been ill with a fever and close to death for two weeks. He begs Persephone , goddess of

1512-411: The feats of ancient heroes and gods (except perhaps in re-evaluating and predominantly artistic circumstances, e.g. poem 64), focusing instead on small-scale personal themes. Although these poems sometimes seem quite superficial and their subjects often are mere everyday concerns, they are accomplished works of art. Catullus described his work as expolitum , or polished, to show that the language he used

1566-634: The form "adjective, -que , noun, adjective, -que , noun", as in Castaliamque umbram Pieriosque lacus "the Castalian shade and the Pierian lakes", or the placing of a monosyllable + -que (e.g. inque, isque ) at the beginning of a pentameter. Another argument supporting this view is that the circumstances described in the poems seem to fit Ovid's biographical details very well, as described in his autobiographical poem Tristia 4.10 (he

1620-406: The goddess of marriage, to help him (3.33–34); similarly Neaera swears by both goddesses that she loves him (6.48). She appears to have left him and he prays for her return (3.27). The awful news he hears in a dream from Apollo is that she is planning to marry someone else (4.58, 4.80). The opening couplet of poem 2 indicates that the two loved each other, but a third person caused them to separate. In

1674-426: The last poem the poet chides Neaera for her perjury (6.47–50) and her unfaithfulness (55) but declares that, though he is now over his passion for her, he wishes her well (6.29–30) and she is still dear to him (56). Though it is possible to take the view that the author was originally married to Neaera, other possibilities exist and have been adopted by various scholars. One view is that they were merely lovers but that

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1728-510: The later Valerii Catulli may have been his descendants. Catullus's poems have been preserved in an anthology of 116 carmina (the actual number of poems may slightly vary in various editions), which can be divided into three parts according to their form: approximately sixty short poems in varying meters, called polymetra , nine longer poems, and forty-eight epigrams in elegiac couplets. Each of these three parts – approximately 860 (or more), 1136, and 330 lines respectively – would fit onto

1782-516: The love of Neaera, his wife, who was taken away from him, were the cause of his death." Addressing Neaera, the poet asks what is the use of praying, even though he is not praying for wealth, but merely to spend his life until old age with Neaera. He prays to Juno and Venus to help him and says that if he can't have Neaera he would prefer to die. Lygdamus describes an awful dream he had the night before in which Apollo appeared to him and told him that Neaera prefers to be another man's girlfriend. In

1836-433: The myth of Agave in 24 vs. the myth of Ariadne in 39, clearly marking 29–37 as the centre of the poem. 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. Poem 5 has clear verbal echoes of Tibullus 1.3, in which Tibullus, like Lygdamus,

1890-556: The orator and rival of Cicero ), and the biographer Cornelius Nepos , to whom Catullus dedicated a libellus of poems, the relation of which to the extant collection remains a matter of debate. He appears to have been acquainted with the poet Marcus Furius Bibaculus . A number of prominent contemporaries appear in his poetry, including Cicero, Caesar and Pompey . According to an anecdote preserved by Suetonius , Caesar did not deny that Catullus's lampoons left an indelible stain on his reputation, but when Catullus apologized, he invited

1944-410: The original on December 25, 2013 . Retrieved January 24, 2019 . {{ cite web }} : CS1 maint: numeric names: authors list ( link ) References [ edit ] Apollodorus , The Library with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes, Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. ISBN 0-674-99135-4. Online version at

1998-512: The other. The polymetra and the epigrams can be divided into four major thematic groups (ignoring a rather large number of poems that elude such categorization): Above all other qualities, Catullus seems to have valued venustas , or charm, in his acquaintances, a theme which he explores in a number of his poems. Catullus's poetry was influenced by the innovative poetry of the Hellenistic Age , and especially by Callimachus and

2052-532: The phrase is more appropriate in the Ovidian context. He also noted certain items of vocabulary which are generally not found in the time of Tibullus, such as the adjective Erythraeus referring to the Indian Ocean. On this basis he conjectured that the date of Lygdamus may have been in the late 1st century AD. Navarro Antolín (1996) and Maltby (2021) take a similar view. A third possibility, that Lygdamus

2106-421: The poems can be divided into two groups. Poems 1, 2, 3, and 6 are more dactylic : in these the proportion of dactylic feet (not counting the ending of each line, which doesn't vary) is 45%, whereas in poems 4 and 5 it is only 37%. The reason for this is not known, unless it might be the rather sombre subject matter of these poems. Detailed metrical studies have shown that the Lygdamus poems were clearly written by

2160-475: The poems one can adduce no fewer than five lovers in addition to Catullus: Egnatius (poem 37), Gellius (poem 91), Quintius (poem 82), Rufus (poem 77), and Lesbius (poem 79)." There is also some question surrounding her husband's mysterious death in 59 BC: in his speech Pro Caelio Cicero hints that he may have been poisoned. However, a sensitive and passionate Catullus could not relinquish his flame for Clodia, regardless of her obvious indifference to his desire for

2214-496: The poems were written by Ovid, according to Radford, since they contain echoes of Horace's Odes and Ars Poetica as well as various parts of Virgil's Aeneid , it would seem that they date from 19 BC or 18 BC, when Ovid was about 24 or 25 years old. Despite these arguments, some more recent scholars have argued that Lygdamus was not Ovid, but someone who imitated him. A. G. Lee (1958) argued that in several places where similar phrases occur in both Lygdamus and Ovid, in each case

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2268-700: The poet asks the Muses to advise him what present he should give to Neaera. They advise him give her a book of poems, but it should be well presented in a yellow sleeve. He begs the Muses to go and give the book to his beloved Neaera, and says that he wishes to know whether in future he is to be her husband, as he once was, or merely her brother. The poet declares that he cannot bear living without his wife. He imagines Neaera and her mother attending his funeral and pouring expensive perfume on his bones after cremation. He ends by imagining his epitaph: "Lygdamus lies here: grief and

2322-502: The poet for dinner the very same day. The " Lesbia " of his poems is usually identified with Clodia Metelli , a sophisticated woman from the aristocratic house of patrician family Claudii Pulchri, sister of the infamous Publius Clodius Pulcher , and wife to Quintus Caecilius Metellus Celer (consul of 60 BC). In his poems Catullus describes several stages of their relationship: initial euphoria, doubts, separation, and his wrenching feelings of loss. Clodia had several other partners; "From

2376-618: The translation by Richard Crashaw was set to music in a four-part glee by Samuel Webbe Jr. It was also set to music, in a three-part glee by John Stafford Smith . Catullus 5 , the love poem Vivamus mea Lesbia atque amemus , in the translation by Ben Jonson , was set to music in 1606, ( lute accompanied song) by Alfonso Ferrabosco the younger . Dutch composer Bertha Tideman-Wijers used Catullus's text for her composition Variations on Valerius "Where that one already turns or turns." The Icelandic composer Jóhann Jóhannsson set Catullus 85 to music; entitled Odi Et Amo ,

2430-751: The wedding of Peleus and Thetis , the departure of the Argonauts , Theseus and the Minotaur, Ariadne 's abandonment, Tereus and Procne , as well as Protesilaus and Laodamia . Catullus wrote in many different meters including hendecasyllabic verse and elegiac couplets (common in love poetry). A great part of his poetry shows strong and occasionally wild emotions, especially in regard to Lesbia (e.g., poems 5 and 7). His love poems are very emotional and ardent, and are relatable to this day. Catullus describes his Lesbia as having multiple suitors and often showing little affection towards him. He also demonstrates

2484-416: The word color in 18; and opus 'work' in 14 is matched by carminis 'poem' in 15. Similarly in poem 2, the words dolor (dolorem), erepta (eripuit), coniuge in the first four lines are repeated as dolor, ereptae, coniugis in the last four; while candida, ossa, nigra in line 10 are repeated in lines 17–18. In poems 3, 4, and 5 chiastic verbal and thematic echoes are found mostly at

2538-556: The year from summer 57 to summer 56 BC in Bithynia on the staff of the commander Gaius Memmius . While in the East, he traveled to the Troad to perform rites at his brother's tomb, an event recorded in a moving poem (101). No ancient biography of Catullus has survived. His life has to be pieced together from scattered references to him in other ancient authors and from his poems. Thus it

2592-406: The year of his death. Other authors suggest 52 or 51 BC as the year of the poet's death. Though upon his elder brother's death Catullus lamented that their "whole house was buried along" with the deceased, the existence (and prominence) of Valerii Catulli is attested in the following centuries. T. P. Wiseman argues that after the brother's death Catullus could have married, and that, in this case,

2646-593: Was a Latin neoteric poet of the late Roman Republic . His surviving works remain widely read due to their popularity as teaching tools and because of their personal or sexual themes. Gāius Valerius Catullus was born to a leading equestrian family of Verona , in Cisalpine Gaul . The social prominence of the Catullus family allowed the father of Gaius Valerius to entertain Julius Caesar when he

2700-505: Was an earlier poet who was imitated by Ovid, though held by some scholars, is thought to be less probable. Peter White (2002) writes: "the coincidences between (Ovid and Lygdamus) make it much likelier that Lygdamus is either the youthful Ovid or a later writer impersonating the young Ovid." The poems are written in elegiac couplets , the usual metre for Latin love poetry from the time of Cornelius Gallus (d. 26 BC) onwards, and which were also used by Propertius and Tibullus . Metrically,

2754-427: Was born in 43 BC; the poet seems fairly wealthy; Neaera is described as his wife, whose parents he knows; Ovid states that his marriage to his second wife lasted only a short time before she married another man). The reasons for Ovid writing anonymously are plausibly explained by Radford by the fact that his father wished him to follow a career in politics and apparently repeatedly discouraged him from writing poetry. If

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2808-462: Was famous for. Catullus twice used a meter that Sappho was known for, called the Sapphic stanza , in poems 11 and 51, perhaps prompting his successor Horace's interest in the form. Catullus, as was common to his era, was greatly influenced by stories from Greek and Roman myth. His longer poems—such as 63 , 64 , 65 , 66 , and 68 —allude to mythology in various ways. Some stories he refers to are

2862-484: Was the Promagistrate (proconsul) of both Gallic provinces . In a poem, Catullus describes his happy homecoming to the family villa at Sirmio , on Lake Garda , near Verona; he also owned a villa near the resort of Tibur (modern Tivoli). Catullus appears to have spent most of his young adult years in Rome. His friends there included the poets Licinius Calvus and Helvius Cinna , Quintus Hortensius (son of

2916-420: Was very carefully and artistically composed. Catullus was also an admirer of Sappho , a female poet of the seventh century BC. Catullus 51 partly translates, partly imitates, and transforms Sappho 31 . Some hypothesize that 61 and 62 were perhaps inspired by lost works of Sappho but this is purely speculative. Both of the latter are epithalamia , a form of laudatory or erotic wedding-poetry that Sappho

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