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15

venit enim tempus quo torridus aestuat aer,

incipit et sicco fervere terra cane.

sed non tam ardoris culpa est neque crimina caeli
quam totiens sanctos non habuisse deos.
hoc perdit miseras, hoc perdidit ante, puellas:
quidquid iurarunt, ventus et unda rapit.
num sibi collatam doluit Venus? illa peraeque
prae se formosis invidiosa deast.

an contempta tibi Iunonis templa Pelasgae,
Palladis aut oculos ausa negare bonos?
semper, formosae, non nostis parcere verbis:
hoc tibi lingua nocens, hoc tibi forma dedit.
sed tibi vexatae per multa pericula vitae

28. 9. num DFL nun V non N.

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11. This is no occasion for offending any divinity; and Propertius hastens to add the names of the other two fair goddesses whom Paris had slighted in his famous decision. - Pelasgae: as a favorer of Greeks, here in contrast especially to the Trojans.

12. oculos: the special physical feature of Athena, referred to in the stock epithet γλαυκώπις. Yet this feature seems to have been the object of ridicule on the part of her rival goddesses and criticism by others; cf. Hygin. 165; Iuno et Venus cum eam irriderent, quod et caesia erat et buccas inflaret.. vidit se merito irrisam.

ausa sc. es.

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25

extremo veniet mollior hora die. Io versa caput primos mugiverat annos: nunc dea, quae Nili flumina vacca bibit. Ino etiam prima terris aetate vagatast:

hanc miser inplorat navita Leucothoen. Andromede monstris fuerat devota marinis: haec eadem Persei nobilis uxor erat. Callisto Arcadios erraverat ursa per agros: haec nocturna suo sidere vela regit. quod si forte tibi properarint fata quietem,

16. veniet V2 veniat o venit 0.

16. extremo 'ultimately'; cf. 2, 10, 7, n.

17. Io versa: on account of the jealousy of Hera. - caput: Propertius is following two types of her representation in the same sentence; she was frequently represented as a beautiful woman with only the horns of a heifer to call attention to the myth; but both Greek and Egyptian art also represented her as a heifer throughout. A type representing her as a cow-headed maiden was, perhaps, invented to identify Io with Isis. Cf. Harv. Stud., Vol. 12, pp. 335 sqq.

18. dea: Isis, with whom Io was ultimately identified. — bibit : perfect tense.

19. Ino daughter of Cadmus. When pursued by her insane husband Athamas, she leaped into the sea, and becoming a marine divinity was known as Leucothea (Leucothoë in v. 20 and in

2, 26, 10, q.v.). - terris: as contrasted with her later home in the

sea.

21. Andromede: daughter of Cassiope (or lope) and Cepheus. Her mother's proud boast of being more beautiful than the sea nymphs brought upon the unhappy girl the fate of being exposed on the shore to a sea monster. Cf. v. 51, n. monstris poetic plural.

22. Persei: Perseus rescued the maiden and became her husband. Ultimately she found a place among the stars.

23. Callisto daughter of Lycaon, the Arcadian king; an attendant of Artemis; beloved of Zeus; changed by Artemis or Hera in anger into a bear; translated by Zeus to the skies as Ursa Maior; mother of Arcas and the Arcadian race.

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illa sepulturae fata beata tuae.

narrabis Semelae, quo sit formosa periclo:
credet et illa, suo docta puella malo:

et tibi Maeonias inter heroidas omnis

primus erit nulla non tribuente locus.
nunc, utcumque potes, fato gere saucia morem:
et deus et durus vertitur ipse dies.

hoc tibi vel poterit, coniunx, ignoscere Iuno:
frangitur et Iuno, siqua puella perit.
deficiunt magico torti sub carmine rhombi,
et iacet extincto laurus adusta foco,
et iam Luna negat totiens descendere caelo,
nigraque funestum concinit omen avis.

olli dura quies oculos et ferreus urget somnus, in aeternam clauduntur lumina noctem.

26. illa. . . fata: in apposition with fata (v. 25).-beata: anticipating the description in the following verses.

27. formosa: substantive: 'the perils of a beauty.' - periclo: abl. of quality.

28. suo.. . malo: Semele, beloved of Zeus, was nevertheless destroyed by his lightning, when she craved his companionship as the sky god.

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31. nunc: imagination gives place to fact; dreams to the needs of the present moment.

33. tibi: Juppiter, addressed in coniunx. — ignoscere: cf. Tib. 4, 2, 3.

34. Cf. Tib. 4, 4, 15.

35. rhombi: a magic wheel, apparently used in different ways for purposes of divination. Cf. 3, 6, 26: staminea rhombi ducitur ille rota; Tib. 1, 3, 11, n.

36. adusta but singed,' instead of entirely consumed: a bad sign. Cf. Tib. 2, 5, 81, n. The sharp crackle of the burning laurel was considered a good omen. 37. descendere: cf. 1, 1, 19, n. 38. nigra ill-omened.'. avis: the owl. Cf. Ovid, Am. 3, 12, 2: omina non albae concinuistis aves; Verg. Aen. 4. 462: solaque culminibus ferali carmine bubo; Hor. Sat. 1, 9, 73.

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una ratis fati nostros portabit amores

caerula ad infernos velificata lacus.
si non unius, quaeso, miserere duorum.

vivam, si vivet: si cadet illa, cadam.
pro quibus optatis sacro me carmine damno:
scribam ego 'per magnum salva puella Iovem,'
ante tuosque pedes illa ipsa operata sedebit,

narrabitque sedens longa pericla sua.
haec tua, Persephone, maneat clementia, nec tu,
Persephones coniunx, saevior esse velis.
sunt apud infernos tot milia formosarum:
pulchra sit in superis, si licet, una locis.

41. si FLDV set N.

39. ratis fati: Charon's skiff. nostros .

amores = nos aman

tes; cf. 4, 4, 37, n.

40. caerula: cf. Verg. Aen. 6, 410: caeruleam advertit puppim; but in v. 303 the cymba is "ferruginea."

41. Cf. Tib. 4, 4, 19; Ovid, Am. 2, 13, 15: in una parce duobus.

43. carmine: cf. 2, 13, 35, n. 44. This may be the abstract of a prepared poem or hymn; cf. Tib. 1, 3, 31.

45. tuosque here it is Juppiter, in v. 60 it is Diana, and in v. 61 it is Isis, to whom special thanksgiving is paid, although it is Persephone by whose favor the sick one is represented (vv. 47, sqq.) as being relieved from her dangerous position. The poet does not find it necessary to give us all the intermediate steps of his thought.-operata: cf. Tib. 2, 1,

9, n.
- sedebit: for the custom
cf. Tib. 1, 3, 30.

47. After the encouraging vision of vv. 45-46 the poet turns hopefully to Jove's brother, Pluto, to whom all must ultimately come (v. 58), and to his fair bride Persephone, to whom the youth and beauty of Cynthia should especially appeal, and realizing that the very lingering of the sick one on this side the grave implies clementia on their part, urges that this mercy be continued for the present, since they do not need another beauty in the lower world. There is no confidence expressed till v. 59. — tu: Pluto.

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60

vobiscum est Iope, vobiscum candida Tyro,
vobiscum Europe, nec proba Pasiphae,

et quot Troia tulit vetus et quot Achaia formas,
et Phoebi et Priami diruta regna senis:

et quaecumque erat in numero Romana puella,
occidit: has omnis ignis avarus habet.

nec forma aeternum aut cuiquam est fortuna per-
ennis:

longius aut propius mors sua quemque manet.
tu quoniam es, mea lux, magno dimissa periclo,
munera Dianae debita redde choros,

54. Phoebi O Thebae Scaliger.

51. Iope sometimes identified with Cassiepeia (Cassiope), daughter of Aeolus. It was from her that the city of Joppa was supposed to have been named. A famous mythological beauty, whom (as Cassiepeia) tradition placed ultimately among the stars, as it did her daughter Andromeda. Cf. v. 21, n. Tyro: wife of Cretheus; in love with the Thessalian river god Enipeus, and beloved by Poseidon. Odysseus held converse with her in the lower world; cf. Hom. Od. 11, 235 sqq.

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52. Europe: daughter of Phoenician Agenor; Zeus in the form of a white bull carried her off to Crete to woo her. - nec proba et inproba. - Pasiphae: wife of Minos, and mother of the Minotaur.

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54. Phoebi: Phoebus and Poseidon helped Laomedon build the walls of Troy. Hesione, daughter of Laomedon, was given by Heracles to Telamon as the prize for

help in the sack of this city. — Priami: the later city of Priam was taken by the Greeks in the famous ten years' war. and the fair Helen was then the chief prize. — regna in apposition only with Troia, if the text is correct; for the awkward arrangement cf. Cat. 68, 68-69.

55. in numero: 'worth mentioning' (i.e. in this list).

56. ignis i.e. of the funeral pyre.

58. Cf. Hor. Car. 2, 3, 25: omnes eodem cogimur, omnium versatur urna serius ocius.

59. If this elegy was written after Cynthia's recovery, this verse represents the actual condition of things at the time of composition; if it was penned during the progress of the disease, it expresses a more or less well-grounded faith that his prayers are heard. But cf. v. 47, n.

60. munera . . . debita: thankofferings to the deity; for proces

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