My paper closely examines the text of Tibullus Book 3, poems 8–13, the eleven elegies about, and to my mind by, the Augustan poet Sulpicia, through the lens of “the visual.”1 It concludes by reflecting on what I would regard as an Ovidian echo of one particularly memorable visual detail in these elegies. Like Tibullus—whose death in 19 BCE Ovid laments, and whose poetry he evokes both reverentially and playfully in Amores 3.9—Ovid testifies that he benefited from the literary patronage of Sulpicia’s maternal uncle, the influential general and statesman Marcus Valerius Messalla Corvinus.2 For that reason alone, Ovid was likely to have been acquainted with Sulpicia and her writing. And although Ovid never mentions Sulpicia by name as he does Tibullus in his poetry, he often appears to evoke her poetry as well, although never in a reverential or playful way.3 I will argue that in her eleven elegies Sulpicia depicts herself as a dynamic, self-actualizing visual spectacle. Then, more briefly, I will maintain that Sulpicia’s mode of self-representation contrasts with the tendency of Ovid and the other male elegists to portray their female inamoratae as immobile, passive art objects. In this context, I will contend that in the first book of the Ars amatoria Ovid evokes the opening two lines of the first Sulpicia elegy, 3.8, so as to recall, much as he does in both the Amores and Metamorphoses, Sulpicia’s elegies. I will claim as well that he does so to critique Sulpicia’s verses, unfavorably commenting upon the dynamic, self-actualizing, physically appealing, expensively adorned, and erotically successful female persona central to the visual spectacle these verses create. An attention-arresting elegiac couplet begins the first of the eleven Sulpicia elegies: Sulpicia est tibi culta tuis, Mars magne, kalendis / spectatum e caelo, si sapis, ipse veni (Great god Mars, Sulpicia is arrayed for you on your Kalends. If you have any discernment, come down from heaven to look at her yourself).4 Summoning the god Mars on the first day of ‘his’ own month, the poem commences with the poet’s own name in the 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40

中文翻译：

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Sulpicia 的 11 首挽歌中的奇观：致医学博士 Marcus Colyer 和医学博士 Joseph Pasternak

我的论文通过“视觉”的镜头仔细研究了 Tibullus 第 3 卷第 8-13 首诗的文本，以及关于奥古斯都诗人 Sulpicia 的 11 首挽歌，在我看来，它是由“视觉”1 的。被视为这些挽歌中一个特别令人难忘的视觉细节的奥维德回声。就像蒂布卢斯——他在公元前 19 年去世，奥维德哀叹，他在爱慕 3.9 中以虔诚和俏皮的方式唤起了他的诗歌——奥维德作证说，他受益于苏尔皮西亚的舅舅、有影响力的将军和政治家马库斯·瓦莱里乌斯·梅萨拉·科维努斯的文学赞助。2 对于仅凭这个原因，奥维德很可能已经熟悉苏尔皮西亚和她的作品。尽管奥维德在他的诗歌中从未像提布卢斯那样提到苏尔皮西亚的名字，但他似乎也经常唤起她的诗歌，3 我认为在她的 11 首挽歌中，苏尔皮西亚将自己描绘成一个动态的、自我实现的视觉奇观。然后，更简单地说，我将坚持认为 Sulpicia 的自我表现模式与 Ovid 和其他男性法律家将他们的女性 inamoratae 描绘成固定的、被动的艺术品的趋势形成对比。在这种情况下，我会争辩说，在 Ars amatoria 的第一本书中，奥维德唤起了第一部 Sulpicia 挽歌 3.8 的开头两行，以便像他在 Amores 和 Metamorphoses 中所做的那样回忆 Sulpicia 的挽歌。我也会声称他这样做是为了批评 Sulpicia 的诗句，不利地评论了动态的、自我实现的、身体上的吸引力、昂贵的装饰，这些诗句所创造的视觉奇观的核心是色情成功的女性角色。Sulpicia est tibi culta tuis, Mars magne, kalendis / spectatum e caelo, si sapis, ipse veni（伟大的神火星，Sulpicia 在你的 Kalends 上为你排列着）。你有什么洞察力，自己从天上下来看看她）。4 在“自己的”月份的第一天召唤火星神，这首诗以诗人自己的名字开头 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40 Sulpicia 已在您的 Kalends 上为您排列。如果你有任何洞察力，请亲自下天去看看她。4 在“自己的”月份的第一天召唤火星神，这首诗以诗人自己的名字开头 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40 Sulpicia 已在您的 Kalends 上为您排列。如果你有任何洞察力，请亲自下天去看看她。4 在“自己的”月份的第一天召唤火星神，这首诗以诗人自己的名字开头 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40