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The term domina could identify a woman of property, an owner of household slaves. 11–12). Augustan elegy, then, does not seem to be a response to the lives of particular emancipated women, but another manifestation of a particular patterning of female sexuality to be found in the cultural discourses of Rome. ’66 Using the Ciceronian Clodia as her starting-point, Mary Lefkowitz has documented the prevalence of this way of structuring femininity in antiquity. 67 In the conceptual framework of Roman society, female sexuality takes on positive value only when ordered in terms that will be socially effective for patriarchy, that is in the 65 66 67 Skinner (1983).

45 What this analysis of elegiac realism seems to reveal is that the notion of concealment (the idea that the stylized heroines of elegy somehow conceal the identities of specific Augustan girlfriends) is not a helpful term in critical discourse on elegiac women. Perhaps Apuleius’ identification of Cynthia with a Hostia is suspect, since it forms part of a theatrical self-defence and should be read in the light of a long-standing interest in biographical speculation. 47 45 See esp. Veyne (1983), who argues that it is sufficient for elegy’s purposes to locate its ego‘chez les marginales’ and cf.

6 Furthermore, as the poetic mechanisms for the production of realism are curtailed, so references to Cynthia’s function in literary discourse increase. Hence the beloved’s capacity to captivate begins the first book of Propertian elegies, but the next opens with a consideration of her role in the practice of writing. The elegiac man is now explicitly both lover and writer, the elegiac woman both beloved and narrative material. 11–12). 93) is the subject matter which locates the elegiac poet in a Roman tradition for producers of female repre5 Lyne (1980), 125.

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Abissi e Inferi by Unknown

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