Abstract

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 121.2 (2000) 259-277 [Access article in PDF] Propertius 4.2: Slumming with Vertumnus? Kerill O'Neill In her recent study of Ciceronian oratory Ann Vasaly observes that particular activities are associated with the monuments, edifices, and different quarters of Rome, on the basis of the daily practice and literary depiction of each location. Together, these associations constitute a "metaphysical topography" of a location--that is, the network of meanings the place held for a Roman audience in the Augustan age. 1 Attention to the metaphysical topography of a place can enrich or change our appreciation of a literary work that depends in some manner on its setting. The fourth book of Propertius directs the reader's attention to a variety of places in the city, from the Tarpeian Rock (4.4) to the Temple of Apollo on the Palatine (4.6), from the Ara Maxima of Hercules (4.9) to the recently restored Temple of Jupiter Feretrius (4.10). These elegies play a part in shaping our sense of each of these places, but they also draw upon the preexisting metaphysical topography. In 4.2 the statue of Vertumnus on three occasions refers to its specific location in a street shrine on the Vicus Tuscus and voices its preference for this particular spot over any other. In this essay I describe the literary tradition concerning the statue of Vertumnus and the Vicus Tuscus and demonstrate that the metaphysical topography of the location affords this aetiological poem a markedly amatory aspect, which encourages us to read it as a programmatic piece for the entire book and grants some of the narrator's assertions an ironic and witty flavor.The fourth book of Propertius' elegies is characterized by pervasive interplay between amatory and aetiological poetry. This interplay is created in the first elegy, which is split into two halves (4.1a, 4.1b). In the first half an authorial narrator introduces a new program of aetiological elegy, culminating with a promise to sing of sacred rites, festivals, [End Page 259] and the ancient names of places (4.1.69). In the second half Horus, an indignant astrologer, dismisses the poet's lofty ambitions and tells him to stick to the amatory poems that Apollo favored in his earlier books. Thus the two halves of 4.1 seek to establish a strict opposition between programs of aetiological and amatory poetry. 2 How rigorous an opposition this is to be, however, remains a matter of doubt. The recusatio elegies of the earlier books fashion a pattern of false opposition. For example, in 2.1, 3.3, and 3.9 the narrator appears to dismiss the writing of aetiological and nationalistic verse, but this refusal involves writing precisely what he claims to be rejecting. In other words, the discursive praxis usually referred to as recusatio may be more accurately described by the term "generic disavowal," 3 since it allows the disingenuous inclusion of material ostensibly precluded by the poet's antipathy or limited abilities. 4 Furthermore, Propertius has a tendency to set up binarisms that he then problematizes. Thus man appears to be constructed as the opposite of woman until we encounter Vertumnus, a statue who can be both male and female (4.2.23-24), and Hercules, a thoroughly manly god who claims to have been a "pretty good woman" through transvestism and the performance of a woman's tasks (4.9.45-50). 5Throughout book 4 we find a similar collapse of a binary opposition. Many of the elegies blur and transgress the dividing line between the aetiological and amatory programs that Horus' response to the authorial narrator constituted as incompatible. Amatory elements intrude into aetiological poems, and vice versa. For example, in 4.4 Tarpeia plays the role of an amatory heroine, 6 and in 4.9 Hercules dallies with the roles of both the exclusus amator and the puella, 7 while in 4.5 we discover sacred rites, festivals, and ancient names. 8 The Vertumnus elegy, which immediately follows the divided introduction, is ostensibly [End Page 260] an unadulterated...