Latin Literature Full

All the texts you need for GCSE Latin Eduquas

num iam ulla repudio erubescit,

Translation:
"Does any woman now blush at divorce?"

Stylistic Points:

• Rhetorical question: Num iam ulla... (Does any woman now...) conveys irony and criticism, implying that shame over divorce has disappeared.

• Moral decay: Erubescit (blushes) suggests that divorce was once seen as shameful but no longer is.

• Implicit contrast: The phrase hints at a past where marriage was more stable or valued.

postquam feminae quaedam illustres ac nobiles non consulum numero sed maritorum annos suos computant,

Translation:
"Since certain distinguished and noble women count their years not by the number of consuls but by the number of their husbands."

Stylistic Points:

• Sarcasm: Comparing marriages to consular years mocks how frequently noblewomen change husbands.

• Political analogy: Consulum numero (by the number of consuls) likens their marriages to political terms, implying instability.

• Social critique: Feminae quaedam illustres ac nobiles (certain distinguished and noble women) ironically juxtaposes their high status with perceived moral failings.

et exeunt matrimonii causa, nubunt repudii?

Translation:
"And they leave [the house] for the sake of marriage and marry for the sake of divorce?"

Stylistic Points:

• Chiasmus: Exeunt matrimonii causa, nubunt repudii (leave for the sake of marriage, marry for the sake of divorce) highlights absurdity through inversion.

• Critique of fickleness: The phrase suggests that marriage has lost its sanctity and become a cycle of entering and leaving.

• Implied satire: The rhetorical structure ridicules how divorce has become an expected part of marriage.

tamdiu istuc timebatur, quamdiu rarum erat;

Translation:
"For as long as it was feared, it was rare."

Stylistic Points:

• Implicit social shift: The phrase suggests that once divorce became common, it lost its stigma.

• Past vs. present: Quamdiu rarum erat (as long as it was rare) contrasts the past, where fear existed, with the present, where it does not.

• Resignation: The tone implies a lament for declining moral standards.

quia nihil sine divortio actum est, quod saepe audiebant id facere didicerunt.

Translation:
"Because nothing happens without divorce, because women have learned to do what they hear about so often."

Stylistic Points:

• Hyperbole: Nihil sine divortio actum est (nothing happens without divorce) exaggerates the prevalence of marital breakdowns.

• Learned behavior: Id facere didicerunt (women have learned to do it) implies moral corruption is spread through imitation.

• Criticism of normalization: Divorce is portrayed as something habitual rather than exceptional.

num iam ullus adulterii pudor est, postquam eo ventum est ut nulla virum habeat nisi ut adulterum irritet?

Translation:
"Is there any shame in adultery now, since things have come to the point where no woman has a husband except to annoy their lover?"

Stylistic Points:

• Rhetorical question: Num iam ullus adulterii pudor est? (Is there any shame in adultery now?) suggests a complete loss of morality.

• Dramatic escalation: Postquam eo ventum est (since things have come to this point) conveys societal decline.

• Provocative accusation: Nisi ut adulterum irritet (except to provoke a lover) implies that women use marriage itself to fuel adultery, making fidelity meaningless.

pudicitia argumentum est deformitatis.

Translation:
"Chastity is proof of ugliness."

Stylistic Points:

• Sharp irony: The phrase subverts traditional Roman values, implying that virtue is now seen as a flaw rather than a virtue.

• Moral decay: The shift in societal perception suggests that only unattractive women remain chaste.

• Blunt brevity: The short, declarative sentence makes the statement feel absolute and cutting.

quam invenies tam miseram, tam sordidam, ut illi satis sit unum adulterorum par,

Translation:
"Whom will you find so wretched, so undesirable, that a single pair of lovers is enough for her?"

Stylistic Points:

• Rhetorical question: Implies that promiscuity is now the norm, and monogamy—even in adultery—is rare.

• Pejorative language: Miseram, sordidam (wretched, undesirable) emphasize moral and social corruption.

• Hyperbolic contrast: The suggestion that even adulterers are not content with one partner highlights excess and moral decline.

nisi singulis divisit horas et non sufficit dies omnibus,

Translation:
"Unless she divides her hours among individuals, and even the whole day is not enough for them all."

Stylistic Points:

• Hyperbole: The idea that even an entire day is insufficient for all her lovers emphasizes extreme promiscuity.

• Rhythmic contrast: Singulis divisit horas (divides her hours among individuals) is measured, while non sufficit dies omnibus (the day is not enough for them all) escalates the intensity.

• Criticism of excess: The imagery suggests an insatiable, mechanical cycle of infidelity.

nisi apud alium gestata est, apud alium mansit?

Translation:
"Unless she was carried around with one man and stays at the home of another?"

Stylistic Points:

• Juxtaposition: Gestata (carried) vs. mansit (stayed) suggests constant movement between lovers.

• Passive role: The woman is gestata (carried), implying objectification and a lack of agency.

• Moral judgment: The sentence ridicules the instability and fleeting nature of relationships in this corrupt society.

infrunita et antiqua est, quae nesciat matrimonium vocari unum adulterium.

Translation:
"She is naive and old-fashioned if she does not know that marriage is defined a single adultery."

Stylistic Points:

• Pejorative tone: Infrunita et antiqua (naive and old-fashioned) mock women who still believe in traditional marriage.

• Paradox: Matrimonium vocari unum adulterium (marriage is called a single adultery) equates marriage itself with infidelity, inverting its traditional meaning.

• Critique of moral decay: The phrase implies that marriage has become meaningless, as adultery is now the norm.

• Sarcasm: The statement ridicules the idea that fidelity still exists, portraying it as ignorance rather than virtue.

hospes, quod dico paulam est; asta ac perlege

Translation:
"Stranger, what I say is brief; stand still and read."

Stylistic Point:

• Direct Address: "Hospes" (stranger) engages the reader directly, a common feature in epitaphs to draw attention.

• Conciseness: "Quod dico paulam est" reflects the brevity of life and the succinct nature of epitaphs and encourages the reader to stay as it will not take long.

• Imperatives: "Asta" (stand still) and "perlege" (read through) command the reader to pause and reflect, creating a moment of contemplation.

hic est sepulcrum haud pulchrum pulchrae feminae

Translation:
"This is not a very beautiful tomb of a beautiful woman."

Stylistic Point:

• Chiasmus: This emphases the women’s beauty (Noun - haud; Adjective - pulchrum; Adjective - pulchrae; Noun - feminae).

• Contrast: This is between the women and the tomb and could suggest at the modesty of the women or her hard work in front of hardship, which she did not let define her, mirroring how the tomb’s state does not define her.

nomen parentes nominarunt Claudiam

Translation:
"Her parents named her [with the name] Claudia."

Stylistic Point:

• Word Choice: "Nomen" is unnecessary because "nominarunt" already implies the act of naming, emphasizing redundancy for clarity or emphasis.

• Cultural Insight: "Claudia" was the family name for all the women in the Claudian gens, so the tomb's focus on her actions also reflects pride in the family's legacy.

suum maritum corde dilexit suo

Translation:
"She loved her husband with all her heart."

Stylistic Point:

• Chiasmus: The arrangement (possessive, noun, noun, possessive) creates a balanced and intimate structure, mirroring the deep and personal affection described.

• Repetition of possession: "Suum" and "suo" emphasize her personal devotion and connection to her husband.

natos duos creavit: horum alterum

Translation:
"She bore two sons: one of them..."

Stylistic Point:

• Climactic pause: The colon and incomplete statement create anticipation, emphasizing the contrast between the two sons in the following lines.

in terra linquit, alium sub terra locat

Translation:
"She leaves one on earth, the other she places beneath it."

Stylistic Point:

• Antithesis: The contrast between "in terra" (on earth) and "sub terra" (beneath the earth) underscores the loss and division within her family.

sermone lepido, tum autem incessu commodo

Translation:
"With charming speech and, moreover, with a graceful walk."

Stylistic Point:

• Contrast: The dual focus on verbal charm and physical grace presents a balanced portrayal of her character.

• Polysyndeton: The use of tum and autem, is a type of polysyndeton which emphases both characteristics.

domum servavit, lanam fecit. dixi. abi.

Translation:
"She looked after the house, she spun wool. I have spoken. Depart."

Stylistic Point:

• Asyndeton: The lack of conjunctions between "servavit" and "fecit" highlights the simplicity and industriousness of her life.

• Epigrammatic brevity: "Dixi. Abi." (I have spoken. Depart.) is terse and final, reinforcing the humility and straightforwardness of her legacy.

nihil vidi tam mite, nihil tam placidum quam meus frater illo die erat in sororem tuam.

Translation:
"I have seen nothing so gentle, nothing so calm as my brother was on that day toward your sister."

Stylistic Points:

• Repetition: The duplication of "nihil" (nothing) emphasizes the unparalleled qualities of gentleness and calmness, enhancing the emotional impact.

• Parallel structure: The phrases "nihil vidi tam mite" and "nihil tam placidum" mirror each other, creating a rhythmic balance.

• Juxtaposition: The contrasting emotional tone between "mite" (gentle) and "placidum" (calm) enriches the description of the brother's demeanor.

• Temporal specificity: "Ille die" (on that day) anchors the memory in a specific moment, heightening its significance.

si offensio fuerat ex ratione sumptus, non appareret

Translation:
"If there had been offense from the calculation of expense, it was not apparent."

Stylistic Point:

• Conditional clause: The use of "si" (if) introduces a hypothetical scenario, inviting reflection on the nature of the offense.

• Rational tone: "Ex ratione sumptus" (from the calculation of expense) conveys a logical perspective, contrasting with the emotional undertones of the other statements.

postridie Arpino profecti sumus et prandimus in Arcano.

Translation:
"The next day we set out from Arpinum and had lunch in Arcanum."

Stylistic Point:

• Chronological clarity: The use of "postridie" (the next day) situates the narrative in time, contributing to its orderly progression.

• Specificity of places: Mentioning "Arpino" and "Arcano" grounds the account in a real geographical context, enhancing its vividness.

humanissime Quintus 'Pomponia' inquit 'tu invita mulieres, ego viros arcessam.'

Translation:
"Very politely, Quintus said, 'Pomponia, you invite the women, and I will summon the men.'"

Stylistic Point:

• Superlative: "Humanissime" (very graciously) emphasizes Quintus's tact and politeness.

• Word Placement: “Humanissime” is at start of the line, emphasising emphasising Quintus’s tact and politeness.

• Role division: The separation of duties reflects traditional Roman social norms, assigning different tasks to men and women.

nihil potuit dulcius, non modo verbis sed etiam animo ac vultu.

Translation:
"Nothing could be sweeter, not only in words but also in spirit and expression."

Stylistic Point:

• Tricolon: The phrase "verbis... animo ac vultu" (in words, spirit, and expression) adds emphasis by listing three dimensions of sweetness.

• Hyperbole: "Nihil potuit dulcius" (nothing could be sweeter) is an exaggerated expression of Quintus's charm.

at illa, audientibus nobis, 'ego ipsa sum' inquit 'hic hospita.'

Translation:
“But she, with us listening, said, 'I myself am a guest here.'“

Stylistic Point:

• Emphasis on agency: "Ego ipsa sum" (I myself am) asserts her independence or discomfort, contrasting with traditional expectations.

• Direct speech: The inclusion of a direct quote adds immediacy and personalizes the narrative.

• Word Placement: “ego ipsa sum” is separated from the "'hic hospita.” Which mirrors how Pomponia emphasised how she felt left out.

id ex hac causa, ut opinor, quod antecesserat Statius ut prandium nobis videret!

Translation:
"This, I think, was because Statius had gone ahead to prepare the meal for us!"

Stylistic Point:

• Parenthetical observation: "Ut opinor" (I think) signals Cicero’s reflective and slightly conjectural tone.

• Domestic detail: Mentioning Statius and his preparations highlights the practical aspects of Roman hospitality.

tum Quintus 'en' inquit mihi ‘haec ego patior cotidie.'

Translation:
"Then Quintus said to me, 'Look, this is what I endure every day.'"

Stylistic Point:

• Exclamation: "En" (look) expresses frustration and invites attention.

• Politeness: Moderate response: only break in Quintus’s character, emphasises how Quintus keeps his temper.

id me valde commovit: sic illa absurde et aspere verbis vultuque responderat.

Translation:
"That greatly moved me: she had responded so irrationally and harshly, both in words and expression."

Stylistic Point:

• Emotive language: "Valde commovit" (greatly moved) conveys Cicero’s personal emotional reaction.

• Adverbial Emphasis: The pairing of these adverbs (“aspere” & “absurde”) underscores the irrationality and unpleasantness of the woman's response. This doubles the emotional weight of the interaction.

itaque discubuimus omnes praeter illam.

Translation:
"And so, we all reclined except for her."

Stylistic Point:

• Exclusion: "Praeter illam" (except for her) isolates Pomponia, underscoring the tension and her deliberate separation.

• Formality: The word "discubuimus" reflects the traditional Roman dining custom, contrasting with her refusal.

Quintus ei aliquid de mensa misit, quod tamen illa reiecit.

Translation:
"Quintus sent her something from the table, but she still rejected it."

Stylistic Point:

• Action and rejection: The gesture of sending food ("miserit") juxtaposed with her refusal ("reiecit") symbolizes an unreciprocated attempt at reconciliation.

• Simplicity: The plain narrative highlights the unresolved nature of their discord.

quid multa?

Translation:
"What more can I say?"

Stylistic Point:

• Rhetorical brevity: The phrase encapsulates Cicero's frustration or resignation, a common device for transitioning in Roman rhetoric.

nihil meo fratre lenius, nihil asperius tua sorore mihi visum est; et multa similia praetereo.

Translation:
"Nothing I saw was gentler than my brother, nothing harsher than your sister; and I pass over many similar things."

Stylistic Point:

• Antithesis: The contrast between "lenius" (gentler) and "asperius" (harsher) underscores the disparity in behavior between Quintus and Pomponia.

• Omission for effect: "Et multa similia praetereo" (I pass over many similar things) suggests that the examples given are only a fraction of the ongoing issues.

navigabam per Larium nostrum, cum amicus ostendit mihi villam atque etiam cubiculum quod in lacum prominet.

Translation:
"I was sailing across our Lake Larius when a friend showed me a villa and also a bedroom that extends over the lake."

Stylistic Points:

• Personal tone: Nostrum (our) suggests familiarity or affection for the lake, making the scene more intimate.

• Scenic description: The mention of a cubiculum quod in lacum prominet (a bedroom that extends over the lake) creates a vivid image, foreshadowing the dramatic event.

• Use of historical present ("inquit" later): The storytelling style brings the past event to life.

‘ex hoc’ inquit ‘olim femina quaedam cum marito se praecipitavit.’

Translation:
"‘From here,’ he said, ‘once upon a time, a certain woman threw herself down with her husband.’"

Stylistic Points:

• Dramatic positioning: Ex hoc (from here) directs the reader’s gaze, heightening suspense.

• Vagueness and intrigue: Femina quaedam (a certain woman) leaves details unknown, adding a mysterious tone.

• Tragic finality: Se praecipitavit (threw herself down) is stark and absolute, emphasizing the fatal act.

maritus ex diutino morbo ulceribus putrescebat.

Translation:
"The husband, after a long illness, was rotting away with ulcers."

Stylistic Points:

• Graphic imagery: Ulceribus putrescebat (was rotting away with ulcers) vividly conveys physical decay, evoking pity and horror.

• Emphasis on suffering: Diutino morbo (long illness) highlights prolonged pain, making the wife's actions more poignant.

• Passive endurance: The husband's role is entirely one of suffering, reinforcing his helplessness.

uxor ut corpus inspiceret exegit; neque enim quemquam fidelius indicaturum num posset sanari.

Translation:
"His wife demanded to inspect his body, for no one could more faithfully determine whether he could recover."

Stylistic Points:

• Devotion and duty: Uxor (wife) taking personal responsibility suggests deep loyalty.

• Strong determination: Exegit (demanded) shows urgency and agency, making her more than a passive mourner.

• Trust and reliability: Neque enim quemquam fidelius (for no one more faithfully) underscores her unique role, emphasizing the personal bond between them.

• Hope or denial? Num posset sanari (whether he could recover) hints at lingering hope despite grim reality.

vidit desperavit hortata est ut moreretur.

Translation:
"She saw, she despaired, and she urged him to die."

Stylistic Points:

• Ascending asyndetic tricolon: Vidit, desperavit, hortata est (she saw, she despaired, she urged) creates a rapid, fateful progression, emphasizing inevitability.

• Emotional intensity: Desperavit (she despaired) marks the turning point from concern to hopelessness.

• Direct involvement: Hortata est ut moreretur (urged him to die) shows her active role, not just as a grieving wife but as an instigator of their shared fate.

comesque ipsa mortis, dux immo et exemplum et necessitas fuit.

Translation:
"And she was not only his companion in death, but rather his leader, his example, and his compulsion."

Stylistic Points:

• Gradation of roles: Comes, dux, exemplum, necessitas (companion, leader, example, necessity) elevates her from mere follower to driving force.

• Corrective emphasis: Dux immo (leader, or rather) corrects the softer comes (companion), making her the active figure in their fate.

• Moral weight: Exemplum (example) suggests that her actions carry an ethical or philosophical significance.

nam se cum marito ligavit abiecitque in lacum.

Translation:
"For she tied herself to her husband and threw herself into the lake."

Stylistic Points:

• Symbolic unity: Se cum marito ligavit (tied herself to her husband) represents inseparability in both life and death.

• Final, decisive act: Abiecitque in lacum (threw herself into the lake) is stark and unembellished, heightening the dramatic impact.

• Contrast with earlier hope: The wife's shift from seeking recovery to orchestrating mutual death underscores the extremity of their love and despair.

• Word order: ligavit abiecitque (tied and threw) should be at end but it is before the lacum (lake), mirrors literally how they are before, under the lake.

cum sis pietatis exemplum, filiam fratris tui ut tuam diligis nec tantum amitae ei affectum repraesentas verum etiam patris amissi.

Translation:
"Since you are an example of devotion, you love your brother’s daughter as if she were your own, and you not only show her an aunt’s affection but also that of her lost father."

Stylistic Points:

• Flattery & Elevation: "Cum sis pietatis exemplum" (Since you are an example of devotion) sets a high moral tone, praising the recipient as a model of piety and familial duty.

• Balanced Contrast: The phrase "nec tantum… verum etiam" (not only... but also) emphasizes how the recipient’s care goes beyond expectation, highlighting both maternal and paternal roles in the niece’s life.

• Word Order & Emphasis: "Filiam fratris tui ut tuam diligis" (you love your brother’s daughter as your own) places family bonds at the center of the sentence, reinforcing the theme of deep familial love.

maxime igitur gaudebis, cum cognoveris eam dignam patre, dignam te, dignam avo evadere.

Translation:
"You will therefore be most joyful when you learn that she is becoming worthy of her father, of you, and of her grandfather."

Stylistic Points:

• Tricolon (Threefold Repetition): "Dignam patre, dignam te, dignam avo" (worthy of her father, of you, and of her grandfather) follows a three-part structure, reinforcing the strong lineage and moral inheritance.

• Ascending Order: The gradual progression from "father" to "you" to "grandfather" suggests an increasing weight of expectation, emphasizing the importance of heritage and virtue.

• Emphatic Placement: "Maxime igitur gaudebis" (You will therefore be most joyful) front-loads the emotion of pride and joy, making it clear that this realization will bring great happiness.

Summum est acumen, summa frugalitas; amat me, quod castitatis indicium est.

Translation:
"She has the greatest intelligence, the greatest modesty; she loves me, which is a sign of chastity."

Stylistic Points:

• Parallelism (Summum… Summa): The repetition of "summum est acumen, summa frugalitas" (the greatest intelligence, the greatest modesty) equates intellectual sharpness with moral virtue, showing a balance of wisdom and character.

• Juxtaposition (Acumen & Frugalitas): Sharp intellect ("acumen") is paired with restraint ("frugalitas"), presenting an ideal Roman woman who is both clever and modest.

• Causality & Justification: "Amat me, quod castitatis indicium est" (She loves me, which is a sign of chastity) draws a surprising moral link between affection and purity, reflecting Roman values where love is seen as an indicator of moral uprightness.

praeterea studium litterarum ex mei caritate concepit.

Translation:
"Moreover, she has developed a love of literature from her affection for me."

Stylistic Points:

• Cause and Effect: "Ex mei caritate concepit" (she developed from her affection for me) suggests that personal admiration leads to intellectual development.

• Emphasis on Education: "Studium litterarum" (love of literature) aligns with Roman ideals that valued learning and intellectual pursuits.

• Personal Connection: The phrase links love and learning, suggesting that affection for a person can inspire a passion for knowledge.

meos libellos habet, lectitat, ediscit etiam.

Translation:
"She has my little books, reads them often, and even memorizes them."

Stylistic Points:

• Tricolon crescendo: Habet, lectitat, ediscit (has, reads often, memorizes) builds intensity, showing increasing engagement.

• Diminutive affection: Libellos (little books) adds warmth and intimacy, suggesting admiration.

• Frequentative verb: lectitat means keeps on reading which mirrors her neverending devotion for Pliny

• Emphasis on devotion: The phrase highlights her deep interest, portraying her as an ideal, supportive reader.

quanta sollicitudine afficitur cum ego acturus sum, quanto gaudio cum egi!

Translation:
"With what anxiety she is affected when I am about to perform, and with what joy when I have performed!"

Stylistic Points:

• Parallel structure: Quanta sollicitudine... quanto gaudio (with what anxiety... with what joy) contrasts her emotions before and after his performance.

• Emotive language: Sollicitudine (anxiety) and gaudio (joy) convey her deep emotional investment.

• Personal connection: Her feelings are entirely tied to his success, reinforcing admiration and devotion.

disponit qui nuntient sibi quem assensum quos clamores excitaverim, quem eventum iudicii tulerim.

Translation:
"She arranges for people to report to her what approval I have received, what shouts of applause I have stirred, what outcome I have secured in court."

Stylistic Points:

• Ascending tricolon: "quem assensum... quos clamores... quem eventum"), lists different forms of public reaction to highlight the intensity of her interest.

• Sensory Imagery: "Quos clamores excitaverim" (what shouts I have stirred) adds a dramatic sense of spectacle, as if his speeches are performances.

• Verbal Emphasis: "Excitaverim" (I have stirred up) suggests not just applause but active enthusiasm, enhancing the speaker's rhetorical power.

• Organization & Dedication: "Disponit qui nuntient sibi" (she arranges for people to report to her) shows her meticulous care and eagerness to stay informed.

eadem, si quando recito, in proximo discreta velo sedet laudesque meas avidissimis auribus excipit.

Translation:
"Likewise, whenever I recite, she sits nearby, separated by a curtain, and eagerly listens to praises of me with the keenest ears."

Stylistic Points:

• Setting the Scene: "In proximo discreta velo" (nearby, separated by a curtain) suggests physical separation but emotional closeness, possibly due to Roman customs of propriety.

• Hyperbolic Listening: "avidissimis auribus" (With the keenest ears) exaggerates her enthusiasm, emphasizing her intense admiration.

• Contrast Between Distance & Engagement: Despite being physically hidden ("discreta velo"), she is deeply engaged, reinforcing her devotion.

• Word Order for Effect: "Laudesque meas avidissimis auribus excipit" puts "praises" first, making her focus on his achievements the central idea.

versus quidem meos cantat formatque cithara, non artifice aliquo docente sed amore, qui magister est optimus.

Translation:
"She indeed sings and plays my verses on the lyre, not taught by any master, but by love, which is the best teacher."

Stylistic Point:

• Contrast: "Non artifice aliquo docente sed amore" (not taught by any master, but by love) sets up a contrast between formal instruction and innate passion.

• Personification: Love (amor) is depicted as a "teacher" (magister), suggesting its transformative power.

• Hyperbole: Love as "the best teacher" (optimus magister) idealizes its influence over skill and artistry.

his ex causis in spem certissimam adducor perpetuam nobis maioremque in dies futuram esse concordiam.

Translation:
"For these reasons, I am led to the firmest hope that our harmony will be lasting and will grow greater with each passing day."

Stylistic Point:

• Gradual progression: "Maioremque in dies futuram" (growing greater with each day) conveys an increasing, evolving harmony.

• Superlative: "certissimam" (firmest) expresses unwavering confidence, reinforcing the optimistic tone.

• Abstract ideal: "Concordia" (harmony) suggests not just peace, but a deeply unified and affectionate bond.

non enim aetatem meam aut corpus, quae paulatim occidunt ac senescunt, sed gloriam diligit.

Translation:
"For she does not love my age or my body, which gradually perish and grow old, but my glory."

Stylistic Points:

• Contrast: Opposes corpus (body) and gloriam (glory), highlighting the ephemeral versus the eternal.

• Metaphor: "Paulatim occidunt ac senescunt" (gradually perish and grow old) likens aging to a slow death, emphasizing physical decay.

• Emphasis on fame: The preference for gloria suggests a love based on lasting achievement rather than fleeting appearance.

nec aliud decet puellam tuis manibus educatam, quae amare me ex tua praedicatione consueverit.

Translation:
"Nothing else befits a girl raised by your hands, who has learned to love me from your praise."

Stylistic Points:

• Metonymy: Tuis manibus educatam (raised by your hands) evokes personal care and influence.

• Cause and effect: Ex tua praedicatione consueverit (has learned to love me from your praise) suggests that admiration, rather than direct experience, shaped her feelings.

• Elegance through repetition: The parallel structure reinforces the argument that her love is both natural and appropriate.

ergo tibi gratias agimus, ego quod illam mihi, illa quod me sibi dederis.

Translation:
"Therefore, we both give thanks to you: I, because you have given her to me; she, because you have given me to her."

Stylistic Points:

• Balanced structure: The parallel phrasing (ego quod illam mihi, illa quod me sibi dederis) reinforces equality in love.

• Emphasis on reciprocity: The mutual gratitude highlights harmony and balance in the relationship.

si non accipiet scriptum inlectumque remittet,

Translation:
"If she does not accept your letter and sends it back unread,"

Stylistic Point:

• Chiasmus (ABBA structure): The verb-noun-adjective-verb pattern creates a mirror effect, reflecting the physical movement of the letter: sent → returned in the same enclosed form. The letter is unopened, preserving its contents, just as the chiasmus encloses meaning within its structure.

• Contrast: The juxtaposition of accipiet (accept) and remittet (send back) heightens the sense of rejection. The hopeful action (accipiet) is immediately overturned by its opposite (remittet), reinforcing the theme of rejection and frustration.

• Metaphor: The letter itself becomes symbolic of the lover’s emotions, which remain unread and unacknowledged.

lecturam spera propositumque tene.

Translation:
"Hope that she will read it and hold to your resolve."

Stylistic Point:

• Juxtaposition: The contrast between the uncertain hope (spera – "hope she will read") and the imperative certainty (tene – "hold your resolve") suggests emotional tension. The lover must navigate between optimism and determination.

• Ellipsis: The phrase lecturam spera is concise, omitting esse (i.e., "hope that she will be reading it"). This makes the line more punchy and impactful, reflecting the lover’s anxious anticipation.

• Interlocking word order: ABAB, presents both sides as important, to hold onto your resolve and to hold onto hope. Both are needed for success argues Ovid.

tempore difficiles veniunt ad aratra iuvenci,

Translation:
"In time, even stubborn young oxen come to the plow,"

Stylistic Point:

• Metaphor (Love as Agriculture: "Veniunt ad aratra" (come to the plow) suggests that just as animals are eventually tamed, a lover may become more receptive over time.

• Hyperbaton (Unusual Word Order): Difficiles veniunt ad aratra iuvenci instead of the expected difficiles iuvenci veniunt ad aratra. By delaying iuvenci (oxen) until the end, Ovid initially presents difficiles (stubborn) as an abstract idea before linking it to the oxen. This mirrors the process of love: first, resistance is noticed (difficiles), then transformation occurs (veniunt), and finally, the subject of the metaphor is fully revealed (iuvenci).

tempore lenta pati frena docentur equi.

Translation:
"In time, horses are taught to accept constant rein."

Stylistic Point:

• Parallelism & Repetition ("tempore"): The repetition of "tempore" (in time) mirrors the patient process of change in both oxen (aratra) and horses (frena).

• ABAB Interlocking words: Structure: verb (pati) – noun (frena) – verb (docentur) – noun (equi). The inverted word order encloses the key idea (frena, "bridle"), much like the bridle itself restrains the horse. This grammatical structure reinforces the theme of gradual submission.

• Metaphor (Love as Horse Training): Just as a horse learns to accept control, a reluctant lover can learn to yield to affection. Importance of patience: Lenta (slow) vs. docentur (are taught) creates a contrast between stubbornness and progress, reinforcing the transformative power of patience.

ferreus assiduo consumitur anulus usu,

Translation:
"An iron ring is worn away by constant use.."

Stylistic Point:

• Metaphor: The iron ring represents something seemingly strong and unchangeable, yet time and repetition erode it. This serves as a metaphor for persistence—even the hardest things give way under sustained effort.

• Interlocking word order: The consumitur encased right in the centre of the ring, just like a finger is encased by a ring. The ABCBA structure highlights the opposite and emphasises how persistence is needed.

• Alliteration: The "s" sounds in assiduo consumitur usu create a soft, repetitive effect, mimicking the slow wearing down of metal.

interit assidua vomer aduncus humo.

Translation:
"A curved ploughshare will be ruined through constant use in the Earth."

Stylistic Point:

• Metaphor: The plowshare (vomer) represents persistence and labor, while the soil (humo) represents resistance or obstacles. Just as constant use wears down the plow, continuous effort can soften even the most resistant heart or situation.

• Word Order & Emphasis:

  "interit" (perishes) is placed first → creating an immediate focus on the idea of gradual destruction.

  "assidua" (constant) modifies humo (earth) → reinforcing time and persistence as the key forces of change.

  "vomer aduncus" (curved plowshare) placed near "humo" (earth) highlights the direct interaction between force and resistance.

  “humo” (ground) is last emphasising how insignificant resistance is.

• Alliteration: "interit assidua" (repeated "i" sounds) → creates a flowing, wearing-down effect, mimicking erosion

quid magis est saxo durum, quid mollius unda?

Translation:
"What is harder than rock? What is softer than water?"

Stylistic Point:

• Parallelism & Repetition ("quid magis est"): The mirroring structure of the two clauses creates a balanced contrast, emphasizing the stark opposition between hardness (saxo) and softness (unda). This repetition increases rhetorical impact and makes the statement memorable.

• Juxtaposition (Opposites): "saxo" (rock, hardness) vs. "unda" (water, softness) → This contrast symbolizes the paradox that softness (persistence) can ultimately overcome hardness (obstacles).

• Metaphor: Rock represents rigidity, resistance, or difficulty, while water represents persistence, fluidity, and adaptability.

dura tamen molli saxa cavantur aqua.

Translation:
"Yet hard rocks are hollowed out by soft water."

Stylistic Point:

• Word Order & Emphasis: "dura tamen" at the start → Emphasizes the hardness of rock as the primary challenge. "molli aqua" at the end → Leaves the reader with the power of softness and persistence as the final thought.

• Metaphor: This is a natural metaphor for persistence overcoming obstacles. Ovid is suggesting that, just as water slowly carves through stone, patience and consistent effort can wear down resistance in love, emotions, or life.

• Juxtaposition (Contrasts): "dura" (hard) vs. "molli" (soft) → Highlights the unexpected power of softness over strength. "saxa" (rocks) vs. "aqua" (water) → Reinforces the idea that persistence leads to change.

• Repetition: of the descriptions of the saxum (rock) as dura (hard) and mollis (soft) for water (although 2 synonyms for water are used: it is not repeated). Emphasises the surprising win of the soft water over the hard rock.

Penelopen ipsam, persta modo, tempore vinces:

Translation:
"Even Penelope herself—just persevere, and with time, you will conquer."

Stylistic Point:

• Historical Allusion: "Penelopen ipsam" → Reference to Penelope, the faithful wife of Odysseus, who resisted suitors for 20 years. She symbolizes unyielding loyalty—suggesting that even the most steadfast person can eventually be won over.

• Word order: The start with Penelopen ipsam emphasises this point and the vinces that you will get at the end.

• Imperatives: Examples such as persta (persevere!) and vinces (you will win!), emphasise the certainty.

• Temporal emphasis: tempore with time is repeated here.

capta vides sero Pergama, capta tamen.

Translation:
"You see, Troy was captured after a long time but still captured."

Stylistic Point:

• Historical Allusion (Troy’s Fall): "Pergama" (Troy) represents something seemingly unconquerable. Even though Troy resisted the Greeks for ten years, it eventually fell. The comparison to Penelope suggests that no resistance lasts forever.

• Repetition: The capta is repeated twice which emphasises the victory and encourages the reader to pursue their own victory.

difficilis facilis, iucundus acerbus es idem:

Translation:
“You are equally difficult and easy, pleasant and bitter”

Stylistic Point:

• Chiasmus: the 2 negative adjectives (difficilis & acerbus) encase the positive adjectives (facilis & iucundus). This creates an impression of the bad ecasing the good and a the equally weighted phrase mirrors the equal weight of the person’s personality.

• Paradox: The opposite emotions do not make sense and introduce the speakers inner conflict as well.

• Work placement: “difficilis” (unbearable) starts the line which could suggest the overarching theme to be how this experience is unbearable for him “idem” (you are) ends the line which emphasis the nature of the person being the problem.

nec tecum possum vivere, nec sine te.

Translation:
“I cannot live with you, nor can I live without you.”

Stylistic Point:

• Oxymoron of Dependency: The contrast between the two statements creates an impression of a toxic or deeply conflicted relationship.

• Word placement: The “possum” (to be able to) is in the centre which reflects how he is being torn apart by the two sides in this conflict.

• Repetition: “nec” (nor) is repeated to show how both sides are of equal weight (as in similar word phrasing) and conflicting.

casta nec antiquis cedens Laevina Sabinis

Translation:
“Laevina, no less pure than the Sabine women of old”

Stylistic Point:

• Idealized Virtue: "casta" (chaste) immediately sets up Laevina as a paragon of virtue. The Sabine women were famously celebrated in Roman culture for their chastity and modesty, embodying the moral ideals of early Rome. By stating that Laevina is "nec cedens" (not yielding) to their example, Martial elevates her character to a near-mythical level of purity.

• Word Placement: “casta” is the start of the sentence to emphasise here purity and “Sabine” at end for the same reason.

• Historical Allusion: Martial references the Sabines, a people associated with the legendary episode of the “Rape of the Sabine Women.” This allusion may serve as a subtle hint that even women of the highest virtue are not immune to external forces, such as love or desire.

et quamvis tetrico tristior ipsa viro

Translation:

“and more severe than her ever so stern husband”

Stylistic Point:

• Tone and Characterization: The phrase paints Laevina as a serious and perhaps emotionally distant woman, even surpassing her husband ("tetrico viro") in sombreness. This detail emphasizes her rigid, self-controlled nature, making her eventual surrender to passion all the more shocking.

• Alliteration and Synonyms: “tetrico tristior” emphasises her purity

dum modo Lucrino, modo se demittit Averno,

Translation:

“While she lowers herself, sometimes in Lake Lucrine, sometimes in Lake Avernus”

Stylistic Point:

• Geographical Symbolism:

  The reference to Lucrinus and Avernus (both bodies of water near Baiae, a region associated with luxury and indulgence) suggests a lifestyle of sensuality and pleasure.

• Dual Meaning: The phrase "se demittit" (lowers herself) has a dual meaning: physically immersing in the waters but also morally descending, hinting at her growing susceptibility to desire.

• Rhythmic Movement: The repetition of "modo" (now... now...) mimics the rhythm of her frequent trips between the two lakes, emphasizing her restless state. This mirrors her internal turbulence as she transitions from virtue to passion.

• Descent Imagery: "Avernus" was associated with the underworld in Roman mythology, adding a darker, almost foreboding undertone. Laevina’s descent into the waters of Avernus could symbolize her surrender to her baser instincts.

et dum Baianis saepe fovetur aquis,

Translation:

“and often being warmed up in the waters of Baiae”

Stylistic Point:

• Setting and Connotation: Baiae was notorious in Roman culture as a hub of decadence and moral laxity, often associated with pleasure-seekers. By placing Laevina here, Martial suggests that her environment plays a role in her moral unraveling.

• Repetition and Excess: "saepe fovetur" (often indulged) reinforces the idea of overindulgence, signaling that her exposure to luxury and sensual pleasures erodes her former chastity.

• Symbolic Waters: Water usually is a metaphor for cleansing, but here it is washing away here chastity.

incidit in flammas: iuvenemque secuta relicto

Translation:

“She fell into the flame of love, having gone off with a young man and left…”

Stylistic Point:

• Metaphor of Fire: "incidit in flammas" (she fell into the flames) is a powerful metaphor for falling in love or succumbing to passion. The imagery of fire evokes the consuming, uncontrollable nature of desire.

• Dramatic Reversal: The contrast between Laevina’s earlier depiction as a chaste and somber figure and her now fiery passion highlights the transformative power of love. It underscores Martial’s theme that no one, not even the virtuous, is immune.

• Word Placement: “incidit” (to fall) is first emphasising the speed of the reversal.

coniuge Penelope venit, abit Helene.

Translation:

“… her husband. She arrived a Penelope and left a Helen”

Stylistic Point:

• Enjambment: The “coniuge” (husband) is kicked to the next line to emphasise how she left him, as this word left the line.

• Mythological Juxtaposition: The comparison to Penelope (symbol of fidelity, who waited 20 years for Odysseus) and Helen (symbol of infidelity, whose love for Paris caused the Trojan War) epitomizes Laevina’s moral transformation from purity to infidelity.

vixi puellis nuper idoneus

Translation:
"I lived, recently attractive to girls”

Stylistic Point:

• First-Person Perspective:: The use of vixi (I lived) makes this a personal reflection, emphasizing the speaker's self-awareness and experience.

• Mood of Nostalgia: The past tense (vixi) and the reflection on youthful pursuits suggest a tone of wistful remembrance. “vixi” is also used on a tombstone

et militavi non sine gloria;

Translation:
"and I served as a soldier, not without glory”

Stylistic Point:

• Metaphor: militavi (I served as a soldier) is metaphorical for the struggles and "battles" of love, likening romantic pursuits to military campaigns—a common trope in Roman poetry.

• Heroic Undertone: The military imagery elevates the speaker’s romantic experiences, associating them with valor and achievement.

nunc arma defunctumque bello

Translation:
“now, my arms and myself, done with war”

Stylistic Point:

• Metaphor: arma (arms) and bello (war) extend the military metaphor for love. The speaker’s tools of "war" (youthful charm, passion) are now figuratively retired.

• Euphemism for Aging: defunctum (done with) hints at the speaker’s aging or waning vigor without stating it explicitly, adding a layer of dignity to the reflection.

barbiton hic paries habebit,

Translation:
“this wall will hold my lyre”

Stylistic Point:

• Focus on a wall: hic paries (this wall) localizes the action, emphasizing the physical and symbolic act of leaving behind a former life for a quieter, more static existence.

• Declarative statement: This creates a definite acceptant with a definitive, almost solemn tone, underscoring the speaker’s acceptance of the end of an era.

• Euphemism for War: Euphuism for war is here because a soldier also hangs up his weapons and dedicates them to the god of war: Mars

laevum marinae qui Veneris latus

Translation:
“which (the wall) the left side of sea-born Venus…”

Stylistic Point:

• Left Side Symbolism: The left side (laevum) may carry symbolic weight. In Roman culture, the left was often seen as inauspicious, but in the context of divine protection, it could symbolize an area needing special safeguarding.

• Mythological Allusion: The mention of marinae Veneris (sea-born Venus) alludes to Venus’s mythological birth from the sea, evoking her divine beauty and connection to love and fertility. This allusion establishes a grand and classical tone.

• Choice of Venus: Venus is the Goddess of love. This contrasts with the militaristic campaign terms he was using, emphasizing how love is difficulty, causes injury but requires bravery to fight

custodit. hic, hic ponite lucida

Translation:
“…guards. Here, here place the gleaming…”

Stylistic Point:

• Repetition (Anaphora): The repetition of hic, hic (here, here) creates emphasis and urgency, directing attention to the specific location where action is required. This rhetorical device engages the audience and heightens the importance of the moment.

• Imperative Mood: Ponite (place) is a command, reflecting authority or ritual significance. The imperative invites or instructs an action, suggesting the speaker is addressing a group participating in a ceremonial act.

• Word choice of “lucida”: The imbues his items of war with a divine characteristic, the light imagery here also suggests this way of life guided Horace but now he has to give it up.

funalia et vectes et arcus

Translation:
“… torches, crowbars, and bows …”

Stylistic Point:

• Concreteness: Each item in the list is concrete and tangible, evoking vivid mental imagery:

  • Funalia (torches): Associated with light, visibility, and possibly night-time activity.

  • Vectes (crowbars): Suggest force, breaking, or entry, implying physical strength or aggression.

  • Arcus (bows): Evoke tension, precision, and warfare or hunting. Together, these objects suggest preparation for an action or mission, whether violent or purposeful.

• Juxtaposition: The guiding light with the positive connotations contrast deeply with the usage of tools that connate violence. This suggests that there is militaristic precision (possibly with force) in his pursuit of love.

oppositis foribus minaces.

Translation:
“… used to threaten barred doors.”

Stylistic Point:

• Word Order: The placement of "minaces" (threatening) at the end of the phrase emphasizes the menacing nature of the situation, leaving the reader with a strong impression of the threat.

  The adjective-noun agreement in "oppositis foribus" creates a tight, descriptive pairing, suggesting that the threat arises specifically from the act of opposition.

• Tone: The tone is tense and foreboding, evoking a sense of imminent conflict or aggression. The use of "minaces" implies a deliberate, confrontational stance, heightening the sense of danger.

• Symbolism: "Oppositis foribus" could symbolize resistance, defense, or refusal, while "minaces" suggests the presence of hostility. Together, they evoke the idea of a standoff or a challenge to authority or intrusion.

  Doors, in a metaphorical sense, often represent boundaries—physical, emotional, or societal. Their opposition might suggest a denial of access, a clash of wills, or a protective stance.

o quae beatam diva tenes Cyprum et

Translation:
“O goddess, you who dwell in blessed Cyprus and…”

Stylistic Point:

• Imagery of Love’s Power: Cyprus, Venus’s sacred island, symbolizes love, beauty, and sensuality, all of which the speaker claims to renounce, though his appeal to Venus shows he hasn’t entirely escaped her influence.

• Contrast of Tone and Message: The lofty description of Venus’s dominion (Cyprus as "blessed") contrasts with Horace’s underlying bitterness or mockery of love’s influence, reflecting his claim to be “finished with love.”

• Enjambment: The pace is increased when without a pause creating a more sincere appeal.

Memphin carentem Sithonia nive,

Translation:
“Memphis free from Thracian snow,”

Stylistic Point:

• Geographical Symbolism / Juxtaposition: Memphis (Egypt) is a warm, exotic location that contrasts with Sithonia nive (Thracian snow). The snow of Thrace might symbolize coldness or rejection, while Memphis represents vitality, sensuality, and the heat of passion.

• Irony: He seems attacks love yet is still under the power of it. This could be seen as ironic as he asks for help from the Goddess of love after solemnly giving it up.

regina, sublimi flagello

Translation:
“Oh queen, with your uplifted whip”

Stylistic Point:

• Flattery: He addressed the Goddess as “queen”, in hopes to flatter her to fulfill his wishes.

• Duality of Love: The whip may symbolise the painful and commanding aspect of love which Horace has experienced

• Tone of Resignation: The request for Venus to use her whip on Chloe reflects Horace's detachment. It’s no longer his heart under Venus’s power; rather, he observes from a distance, perhaps with a tinge of cynicism or wry humor, a contrast to the pleasure and sweetness typically associated with Venus.

tange Chloen semel arrogantem.

Translation:
“touch / strike arrogant Chloe for once”

Stylistic Point:

• Characterization of Chloe: Chloe is described as "arrogantem" (stubborn, arrogant, awkward). This could extent to his view of all women.

• Venus’s role: Venus is being called to humble Chloe. This suggests Horace’s belief that she has no right to resist his advances

miser Catulle, desinas ineptire,

Translation:
"Miserable Catullus, stop being a fool."

Stylistic Points:

• Apostrophe: Catullus addresses himself directly, creating an intimate and dramatic effect.

• Word choice: Miser (poor, wretched) emphasizes his emotional suffering.

• Soft Imperative: Desinas ineptire (stop being a fool) is a soft command using the present subjunctive

et quod vides perisse perditum ducas.

Translation:
"And accept what you see has perished as lost"

Stylistic Points:

• Plosives: perisse and perditum alliterative plosives emphasise his loss.

• Chiasmus: vides (A), perisse (B), perditum (B), ducas (A) this emphasises the link between the two ideas and his lesson to learn is to understand the meaning of these 2 ideas.

fulsere quondam candidi tibi soles,

Translation:
"Once, bright suns shone for you."

Stylistic Points:

• Metaphor: Candidi soles (bright suns) symbolizes happiness, love, and good times now lost.

• Poetic word order: Placing fulsere (they shone) first emphasizes the contrast between past joy and present sorrow.

• Past tense: quondam sets up nostalgia, reinforcing a sense of irreversible change.

cum ventitabas quo puella ducebat

Translation:
"When you kept going wherever the girl led you."

Stylistic Points:

• Frequentative verb: Ventitabas (kept going) suggests eagerness and repeated action, reinforcing his devotion.

• Role reversal: Puella ducebat (the girl led) subtly reverses traditional gender roles, portraying Catullus as passive and lovesick.

amata nobis quantum amabitur nulla.

Translation:
"Loved by us [me] as no other will ever be loved."

Stylistic Points:

• Superlative claim: Quantum amabitur nulla (as no other will ever be loved) elevates the relationship to an ideal, universal standard.

• Use of first-person plural ("nobis") instead of singular (mihi) creates a rhetorical distance, almost as if speaking on behalf of all lovers.

• Hyperbole: Suggests a love so deep that it surpasses all others, reinforcing his devastation.

ibi, illa multa cum iocosa fiebant,

Translation:
"Then, when those many fun things were happening,"

Stylistic Points:

• Vivid reminiscence: ibi (then) places the reader in a specific, nostalgic moment.

• Playfulness: Iocosa (playful things) suggests joy and lightheartedness in their past relationship.

• Imperfect tense: fiebant implies unfinished past action, emphasizing a time of happiness.

quae tu volebas nec puella nolebat,

Translation:
"Which you wanted, and the girl wanted even more"

Stylistic Points:

• Balanced structure: Quae tu volebas nec puella nolebat (what you wanted, and the girl did not refuse) creates symmetry, reinforcing mutual desire.

• Double negation: makes an even stronger positive, so the girl really wanted this.

• Contrast with later rejection: The line highlights past harmony, making Catullus’s loss feel sharper.

fulsere vere candidi tibi soles.

Translation:
"Truly, bright suns shone for you."

Stylistic Points:

• Metaphor: Candidi soles (bright suns) represents happiness, love, and the golden days of his relationship.

• Emphasis on truth: Vere (truly) reinforces sincerity, perhaps as a contrast to his current state of disillusionment.

• Echo of previous line (line 5): The repetition of fulsere candidi soles ties together his memories of love and happiness, emphasizing their past brightness against his present misery.

nunc iam illa non vult: tu quoque impotens noli,

Translation:
"Now, now she no longer wants [you]; you also refuse to be powerless"

Stylistic Points:

• Direct contrast: Nunc iam illa non vult (now she no longer wants) starkly opposes the earlier mutual love.

• Imperative verb: Noli (do not want) is a command, urging self-restraint.

• Insulting self-address: Impotens (powerless) emphasizes Catullus's emotional turmoil and inability to let go.

• Repetition: This is of nunc and iam which are synonyms which both mean now. This creates a nostalgic tone and seems Catullus is scolding himself as if he were a child

nec quae fugit sectare, nec miser vive,

Translation:
"Do not chase one who flees, and do not live in misery."

Stylistic Points:

• Antithesis: Fugit (flees) and sectare (chase) highlight the reversal of roles—he once pursued willingly, now he is rejected. She is literally running away.

• Imperatives: Nec... sectare, nec... vive (do not chase, do not live in misery) show an attempt at self-discipline.

• Emotional plea: Miser vive (do not live in misery) acknowledges his suffering while commanding himself to stop.

sed obstinata mente perfer, obdura.

Translation:
"But endure with [you] mind set firm, be strong."

Stylistic Points:

• Stoic resilience: Obstinata mente (with a determined mind) invokes philosophical endurance.

• Strong imperatives: Perfer (endure) and obdura (harden yourself) contrast earlier weakness (impotens), signaling an effort to regain control.

• Contrast with previous despair: The shift from lamenting to firm resolve suggests an emotional turning point, even if fragile.

vale puella, iam Catullus obdurat;

Translation:
"Goodbye, girl, now Catullus is standing strong."

Stylistic Points:

• Finality: Vale (goodbye) marks a definitive break, though it carries a sense of bittersweet closure.

• Contrast with past weakness: Iam Catullus obdurat (now Catullus is strong) counters his earlier miser (wretched) state, attempting to show newfound resilience.

• Irony: The assertive tone may mask lingering pain, making his defiance seem fragile.

nec te requiret nec rogabit invitam.

Translation:
"He will neither seek you or ask [you] out, [if you are] unwilling"

Stylistic Points:

• Parallel negation: Nec... nec... reinforces finality and emotional detachment.

• Contrast with previous longing: Earlier, Catullus lamented his loss; now, he claims indifference.

• Word choice: Invitam (unwilling) subtly shifts blame onto the girl, suggesting her rejection was undeserved.

at tu dolebis, cum rogaberis nulla.

Translation:
"But you will suffer when you are asked out by no one."

Stylistic Points:

• Future reversal: At tu dolebis (but you will suffer) predicts that the girl will eventually regret rejecting him.

• Poetic justice: Cum rogaberis nulla (when you are asked for by no one) suggests that she will one day feel the loneliness Catullus now experiences.

• Vindictive tone: Despite earlier resolve, this line reveals lingering resentment and a desire for emotional revenge.

scelesta, vae te, quae tibi manet vita?

Translation:
"Evil woman, woe to you! What life remains for you?"

Stylistic Points:

• Direct insult: Scelesta (wretched one) is a harsh accusation, showing anger and betrayal.

• Exclamation of pity and doom: Vae te (woe to you) predicts future suffering, implying divine or poetic justice.

• Rhetorical question: Quae tibi manet vita? (What life remains for you?) intensifies the dramatic tone, suggesting emptiness and regret await her.

quis nunc te adibit? cui videberis bella?

Translation:
"Who will approach you now? To whom will you seem beautiful?"

Stylistic Points:

• Anaphora: Repetition of quis... cui (who... to whom) emphasizes her impending loneliness.

• Implied loss of desirability: Videberis bella (will you seem beautiful) suggests that without Catullus’s love, she may no longer be admired.

• Contrast with past adoration: Previously, she was the center of his affection; now, he questions her future appeal.

quem nunc amabis? cuius esse diceris?

Translation:
"Whom will you love now? Whose will you be said to be?"

Stylistic Points:

• Parallel structure: Quem... cuius (whom... whose) reinforces his point about her inevitable loss of status.

• Possession and identity: Cuius esse diceris (whose will you be said to be) implies that her identity is tied to men, reflecting Roman societal norms.

• Underlying jealousy: Despite his attempts at detachment, the questions betray lingering emotional attachment.

quem basiabis? cui labella mordebis?

Translation:
"Whom will you kiss? Whose lips will you bite?"

Stylistic Points:

• Sensory imagery: Basiabis (kiss) and labella mordebis (bite lips) recall moments of intimacy, intensifying the contrast between past passion and present rejection.

• Erotic undertone: Highlights the physical closeness they once shared, making his bitterness more personal.

• Increasing urgency: The rapid succession of questions creates an emotional crescendo, leading to the final question.