Content note: this text contains accounts of sexual assault

 

 

Reading this, are you? Or has your latest wife banned it? Read it all⁠—it isn’t

Some scrawl from the Greek you cuckolded.

 

It’s Oenone. The nymph. Quite the celebrity in Phrygian forests.

I, the injured party, bring a complaint against you, my own—if you’ll permit me.

 

What god opposed their power to our vows?

What charge blocks me from being yours forever?

Put up with it quietly, if you’ve done something to deserve it;

A wrongful penalty should be protested.

 

You weren’t so big then, when I was satisfied with you as a husband⁠—

Me! A nymph born of a great river!

You’re a son of Priam now, but—don’t let’s tiptoe round the truth⁠— 

You used to be enslaved. I, practically a goddess, could bear to wed someone not even free!

Often we rested among your flocks in the shade of a tree;

Grass jumbled with leaves served for our bed.

Often we’d lie on heaps of straw or hay,

A little shack our defence against the frost’s white hair.

Who was it showed you the glades good for hunting,

And the crags where wild beasts hid their young?

I guided you. Many times it was me that stretched out the coarse hunting nets; 

Me who drove the dogs fast across the long ridges.

 

Carved by you, beeches keep my name alive,

And I am read, OENONE, scratched in by your penknife.

[There’s a poplar, I remember, growing in a rainwater stream.

The note inscribed on it is mindful of me.]

The bigger the trunks grow, the bigger my name.

Arise, grow up into my titles!

Live on, poplar, please, planted on the stream bank

With this verse in your wrinkly bark:

When Oenone’s abandoned and Paris still breathes,

The waters of Xanthus shall retreat to their source.

Xanthus, back you go! Waters, turn round, run back!

He can bear it, Paris, to have deserted Oenone.

 

That was the day that sentenced me to be miserable. That’s when

It began, a terrible winter of altered love,

When Venus came, Juno came, and her, better-looking with her kit on,

Minerva, naked, came for you to arbitrate. You!

Thunderstruck, my curves shook, and cold quaking

Ran through my tough bones as you told me.

I consulted elders—couldn’t control my terrorboth women

And men. Confirmed: ill-omened.

 

Fir felled, timbers cut, fleet prepared,

The deep blue swell took the waxed hulls.

You wept as you left. Spare me your denials, of this at least.

[That other love is more to be embarrassed about. This one came first.

You wept, you saw my eyes streaming;]

Our tears mingled, both mourning;

Tighter than vines binding an elm,

Your arms were twined round my neck.

Ha! You kept complaining the wind was holding you up.

Your comrades laughed; it wasn’t.

You’d kissed me as you left me. You kept coming back for more.

Your tongue could hardly bear to say goodbye.

 

A light breeze breathes into the sails, slack on the unbending mast,

And the water froths with the churning oars.

Luckless, I follow the receding sails with my eyes,

As far as I can. The sand’s soaked with my tears.

I beg the sprightly green sea-spirits for you to come quickly⁠—

For you to hasten to destroy me. Obvious now.

You were supposed to return by my prayers. Have you returned for someone else?

What a fool. I fawned for a doom-bringing whore!

 

There’s a natural mound overlooking the immense deep⁠—

A cliff, in fact; it stands firm against the waters of the sea.

From there I knew your ship from my first glimpse of the sails.

An urge took me to rush through the surge.

While I wavered, there was a flash of purple on the prow.

I froze; those weren’t your clothes.

It came nearer. A swift breeze touched the ship to shore.

My heart quavered. I saw a woman’s face.

That wasn’t enough—why did I stay? I must have been mad⁠—

Your girlfriend was entwined in your lap. She’s a disgrace!

 

Then I ripped my clothes, took fists to my chest,

And scratched my stiff nails down wet cheeks.

I filled holy Ida with moaning and wailing.

That’s where I took my tears—to my own rocks.

 

I hope Helen grieves like that. When her husband deserts her, I hope she howls.

I hope she suffers everything she inflicted on me first.

 

These days they suit you, women who follow you over the open waters

And desert their lawful husbands.

But when you had nothing, were nothing but a cowherd driving cattle,

Only Oenone was that poor man’s wife.

I’m not dazzled by wealth. Your kingdom means nothing to me.

Nor would being called Priam’s son’s wife, one out of so many.

Not that Priam would refuse a nymph for an in-law, mind you.

Hecuba wouldn’t have to disown me.

I’m worthy to be the respectable wife of a man of means.

I have the hands that sceptres are made for.

Just because I lay with you on beech sprays, don’t

Turn up your nose at me. I’d be better in a royal purple bed.

 

Lastly, my love isn’t dangerous. Wars aren’t raised for it.

Avenging ships don’t come in with the tide.

Runaway Helen is demanded back with threatening weapons.

That’s the wedding gift she brings to your bed. What arrogance!

Should she be returned to the Greeks? Ask Hector, your brother!

Ask Deiphobus or Polydamas!

Or serious Antenor? What would Priam himself suggest?

Ask them! Long life has taught them!

Putting a woman you grabbed before your country? Disgusting way to start.

Your cause is an embarrassment. Her husband’s right to take up arms.

 

If you’ve got any sense, don’t bet on her being faithful,

When your handsiness turned her head so quickly.

Look at Menelaus, shouting about the pledges of a bed defiled,

Nursing the wounds of a foreign fling.

You’ll cry too. There’s no way to fix it,

Propriety outraged. It dies all at once.

She’s on fire with love for you? That’s what she told Menelaus.

Now he’s languishing in bed like a widower. More fool him.

Andromache was happy. She did well marrying Hector, a steady husband.

You could have held me, as your wife, to your brother’s example.

You, you’re lighter than leaves, dry ones, flying on changing winds

With no sap for balance. 

There’s less in you than a wheat husk,

Hollowed out, bone-stiff, torched by the sun.

 

I remember it now. Your sister once used to sing of this.

She predicted it to me, her hair streaming loose:

‘What are you doing, Oenone? Why bother sowing seeds in sand?

Your bulls are ploughing a beach. Nothing will grow.

There’s a Greek cow coming, nubile and young. You, country, home,

She’s to destroy them all! Oh, don’t let her! The Greek cow is coming!

It’s obscene! Sink the hull in the sea while there’s still time!

Ah, she brings so much blood for your people!’

Her voice was on the run. Her attendants seized her as she raved.

But my fair hair stood on end.

Cassandra, you were a prophet too true for me.

Look. That cow has my turf.

 

Let her be ever such a famous face, she’s still a cheater.

She abandoned her marriage gods, caught up with her guest.

Theseus—if I’ve got the name right⁠—

Some lad named Theseus stole her from her fatherland before.

And do we think he gave her back unused, randy teen that he was?

Where do I know such things from, you ask? I love.

Call it force, cover the blame with the name,

But someone dragged off so often must have let herself be taken.

 

But Oenone keeps unspoiled for a cheating husband⁠⁠—

And you could have been cheated in your own way!

Quick Satyrs—while I was on my guard, hidden in the woods⁠—

Tried to find me on tearing feet, rabid rabble,

So did Pan, horny head wreathed in pine needles,

On the vast ridges where the mountain swells.

 

Apollo, builder of Troy, famously devoted, was the one who took me.

[He stripped me of my virginity.

And not without a fight—I tore hair, used nails,

Scored cheeks raw with my fingers.

And I didn’t demand gems and gold, a price tag for rape.

Disgraceful, for presents to buy my body. I’m not a slave.

He decided I was worth giving his healing arts,]

Granted my hands his gifts.

Any plant with power, any root that helps heal,

Growing anywhere in the world—it’s mine.

 

Pity I can’t treat love with herbs.

 

I know my art, but art isn’t enough.

[Didn’t Apollo herd cattle in Pherae? Him, the actual inventor of that healing art.

And all because he was smitten by the same flame as me.]

 

Earth rich for growing plants can’t help me.

A god can’t help me. You can.

You can, and I deserve it. Your girl deserves it! Have mercy!

I don’t come with Greeks and their bloody weapons.

I’m yours. I was with you when you were still a boy.

Let me be yours again for what time you have left. Please.

 

 

 

Perlegis? an coniunx prohibet nova? perlege—non est

ista Mycenaea littera facta manu!

Pegasis Oenone. Phrygiis celeberrima silvis,

laesa queror de te, si sinis ipse, meo.

Quis deus opposuit nostris sua numina votis?

ne tua permaneam, quod mihi crimen obest?

leniter, ex merito quidquid patiare, ferendum est;

quae venit indigno poena, dolenda venit.

Nondum tantus eras, cum te contenta marito

edita de magno flumine nympha fui.

qui nunc Priamides—absit reverentia vero!—

servus eras; servo nubere nympha tuli!

saepe greges inter requievimus arbore tecti,

mixtaque cum foliis praebuit herba torum;

saepe super stramen faenoque iacentibus alto

defensa est humili cana pruina casa.

quis tibi monstrabat saltus venatibus aptos,

et tegeret catulos qua fera rupe suos?

retia saepe comes maculis distincta tetendi;

saepe citos egi per iuga longa canes.

incisae servant a te mea nomina fagi,

et legor oenone falce notata tua,

[populus est, memini, pluviali consita rivo,

est in qua nostri littera scripta memor.]

et quantum trunci, tantum mea nomina crescunt.

crescite et in titulos surgite recta meos!

popule, vive, precor, quae consita margine ripae

hoc in rugoso cortice carmen habes:

cum paris oenone poterit spirare relicta,

ad fontem xanthi versa recurret aqua.

Xanthe, retro propera, versaeque recurrite lymphae!

sustinet Oenonen deseruisse Paris.

Illa dies fatum miserae mihi dixit, ab illa

pessima mutati coepit amoris hiemps,

qua Venus et Iuno sumptisque decentior armis

venit in arbitrium nuda Minerva tuum.

attoniti micuere sinus, gelidusque cucurrit,

ut mihi narrasti, dura per ossa tremor.

consului—neque enim modice terrebar—anusque

longaevosque senes: constitit esse nefas.

caesa abies sectaeque trabes et classe parata

caerula ceratas accipit unda rates.

flesti discedens. Hoc saltim parce negare!

[praeterito magis est iste pudendus amor.

et flesti et nostros vidisti flentis ocellos;]

miscuimus lacrimas maestus uterque suas;

non sic adpositis vincitur vitibus ulmus,

ut tua sunt collo bracchia nexa meo.

a, quotiens, cum te vento quererere teneri,

riserunt comites—ille secundus erat!

oscula dimissae quotiens repetita dedisti!

quam vix sustinuit dicere lingua “vale”!

Aura levis rigido pendentia lintea malo

suscitat, et remis eruta canet aqua.

prosequor infelix oculis abeuntia vela,

qua licet, et lacrimis umet harena meis,

utque celer venias, virides Nereidas oro—

scilicet ut venias in mea damna celer!

votis ergo meis alii rediture redisti?

ei mihi, pro dira paelice blanda fui!

Adspicit inmensum moles nativa profundum—

mons fuit; aequoreis illa resistit aquis.

hinc ego vela tuae cognovi prima carinae,

et mihi per fluctus impetus ire fuit.

dum moror, in summa fulsit mihi purpura prora—

pertimui; cultus non erat ille tuus.

fit propior terrasque cita ratis attigit aura;

femineas vidi corde tremente genas.

non satis id fuerat—quid enim furiosa morabar?—

haerebat gremio turpis amica tuo!

tunc vero rupique sinus et pectora planxi,

et secui madidas ungue rigente genas,

inplevique sacram querulis ululatibus Iden

illuc has lacrimas in mea saxa tuli.

sic Helene doleat defectaque coniuge ploret,

quaeque prior nobis intulit, ipsa ferat!

Nunc tibi conveniunt, quae te per aperta sequantur

aequora legitimos destituantque viros;

at cum pauper eras armentaque pastor agebas,

nulla nisi Oenone pauperis uxor erat.

non ego miror opes, nec me tua regia tangit

nec de tot Priami dicar ut una nurus—

non tamen ut Priamus nymphae socer esse recuset,

aut Hecubae fuerim dissimulanda nurus;

dignaque sum fieri rerum matrona potentis;

sunt mihi, quas possint sceptra decere, manus.

nec me, faginea quod tecum fronde iacebam,

despice; purpureo sum magis apta toro.

Denique tutus amor meus est; ibi nulla parantur

bella, nec ultrices advehit unda rates.

Tyndaris infestis fugitiva reposcitur armis;

hac venit in thalamos dote superba tuos.

quae si sit Danais reddenda, vel Hectora fratrem,

vel cum Deiphobo Pulydamanta roga;

quid gravis Antenor, Priamus quid suadeat ipse,

consule, quis aetas longa magistra fuit!

turpe rudimentum, patriae praeponere raptam.

causa pudenda tua est; iusta vir arma movet.

Nec tibi, si sapias, fidam promitte Lacaenam,

quae sit in amplexus tam cito versa tuos.

ut minor Atrides temerati foedera lecti

clamat et externo laesus amore dolet,

tu quoque clamabis. nulla reparabilis arte

laesa pudicitia est; deperit illa semel.

ardet amore tui? sic et Menelaon amavit.

nunc iacet in viduo credulus ille toro.

felix Andromache, certo bene nupta marito!

uxor ad exemplum fratris habenda fui;

tu levior foliis, tum cum sine pondere suci

mobilibus ventis arida facta volant;

et minus est in te quam summa pondus arista,

quae levis adsiduis solibus usta riget.

Hoc tua—nam recolo—quondam germana canebat,

sic mihi diffusis vaticinata comis:

“quid facis, Oenone? quid harenae semina mandas?

non profecturis litora bubus aras.

Graia iuvenca venit, quae te patriamque domumque

perdat! io prohibe! Graia iuvenca venit!

dum licet, obscenam ponto demergite puppim!

heu! quantum Phrygii sanguinis illa vehit!”

Vox erat in cursu: famulae rapuere furentem;

at mihi flaventes diriguere comae.

a, nimium miserae vates mihi vera fuisti—

possidet, en, saltus illa iuvenca meos!

sit facie quamvis insignis, adultera certe est;

deseruit socios hospite capta deos.

illam de patria Theseus—nisi nomine fallor—

nescio quis Theseus abstulit ante sua.

a iuvene et cupido credatur reddita virgo?

unde hoc conpererim tam bene, quaeris? amo.

vim licet appelles et culpam nomine veles;

quae totiens rapta est, praebuit ipsa rapi.

at manet Oenone fallenti casta marito—

et poteras falli legibus ipse tuis!

Me Satyri celeres—silvis ego tecta latebam—

quaesierunt rapido, turba proterva, pede

cornigerumque caput pinu praecinctus acuta

Faunus in inmensis, qua tumet Ida, iugis.

me fide conspicuus Troiae munitor amavit,

[ille meae spolium virginitatis habet,

id quoque luctando; rupi tamen ungue capillos,

oraque sunt digitis aspera facta meis;

nec pretium stupri gemmas aurumque poposci:

turpiter ingenuum munera corpus emunt;

ipse, ratus dignam, medicas mihi tradidit artes]

admisitque meas ad sua dona manus.

quaecumque herba potens ad opem radixque medenti

utilis in toto nascitur orbe, mea est.

me miseram, quod amor non est medicabilis herbis!

deficior prudens artis ab arte mea.

[ipse repertor opis vaccas pavisse Pheraeas

fertur et a nostro saucius igne fuit.]

Quod nec graminibus tellus fecunda creandis

nec deus, auxilium tu mihi ferre potes.

et potes, et merui—dignae miserere puellae!

non ego cum Danais arma cruenta fero—

sed tua sum tecumque fui puerilibus annis

et tua, quod superest temporis, esse precor!

 

Text from Grant Showerman, Heroides and Amores (2nd ed. 1977, Harvard University Press), with excised passages in square brackets.

Translator's Note

Ovid’s Heroides is a collection of verse letters from mythical women, addressed to the supposedly heroic men who have used and then abandoned them. In this poem, the spring-nymph Oenone writes to her former husband, the Trojan prince Paris. Violating every social law, as well as his vows to Oenone, Paris has returned from a visit to Sparta, bringing with him the Spartan king Menelaus’ wife Helen: the notorious outrage that will trigger the Trojan War and the events of the Iliad

Trapped in a rustic love story as her lover departs into an epic one, Oenone refuses to play by the literary rules and conventions set out for her. Far away from the lofty heroics and timeless sorrow of epic tellings of this tale, she has no time for human truths, elegant similes or picturesque laments. Oenone is salty.

The English translation tradition of the Heroides has historically been a story of misplaced assumptions. Translators and scholars alike have expected tragedy and romance in the laments of abandoned women, and loudly registered their disappointment and disapproval when they also found rage, defiance, and worst of allwit. In more recent years the landscape has changed, substantially due to the translations and scholarship of women, but it’s still difficult not to rely at least partially on those earlier reductive perspectives. This translation relies on a different set of assumptions, foregrounding rather than flattening Oenone’s unashamedly forthright voice.

For example, Latin poetry is entirely metrical, with set numbers of rhythmic feet in every line, and different metrical forms for different genres. Latin literature employs and subverts whole constellations of tropes and conventions around the interaction between verse form and vocabulary. A literal translation successfully conveying an unfamiliar literary culture’s subversion of itself is all but impossible. Something always has to give. In my translation, I have chosen to lose the metre.

Due to English literature’s own constellation of associations, it is all too easy for a metrically regular English verse translation of these poems to sound mannered, sincere and romantic. The Heroides, and especially Oenone’s letter, are none of these things. Instead, I have used blank verse and contemporary language, including what Daryl Hine’s 1991 translation aptly described as ‘the sauce of slang’. This may scandalise those who are used to translations of Latin poetry having a certain reverential stateliness. Oenone would, I hope, be thrilled.

What results from this choice is something much more stark and unabashed. Oenone talks of cheating lovers, famous heroes and envious gods alike with the blunt irreverence of someone who has no tosses left to give. Her earthy rereading of the elevated, seismic events of heroic epic suits an outrageously improper translation. 

It also means Oenone speaks plainly. When she tells us the worst that has happened to her, it is not veiled in delicate literary prevarications, and we have no way to misunderstand what she says. In the closing lines of the poem, Oenone describes being violently sexually assaulted by Apollo. Translators have found ways to turn this (and other similar episodes in Greek and Latin literature) into a consensual, even erotic encounter. The Latin says otherwise. Oenone describes an intense physical fight. Translations that make Oenone’s concrete account more figurative, turning the assault into a game participated in by the victim, risk romanticising violence.

Yet in other parts of this passage Oenone’s language is more equivocal, and translating too literally would create unhelpful contradictions. The word Oenone uses of Apollo’s assault on her is amavit, which most straightforwardly means ‘loved’, even though she later calls it stupri, ‘violation’ or ‘rape’. Elsewhere, she describes Paris’ overtures to Helen as amplexus, ‘embraces’ or ‘caresses’, but also says twice that Helen was rapta, ‘carried off’, often used explicitly to mean ‘raped’. When encountering apparently benign words of love and affection, one way to keep the nonconsensual context in the forefront of a reader’s mind is to translate slightly laterally. amavit also means physically ‘made love to’, and so I have used the English slang term ‘took’, making it Oenone’s barbed, jaded implication of something more forceful. The ‘caresses’ of amplexus become uninvited and unwelcome when translated as ‘handsiness’. Translated this way, the trauma underlying Oenone’s elliptical account (including in the double standards she applies to Helen) becomes a lot harder to ignore.

As we continue to reread these texts in the twenty-first century, it’s incumbent on us to actively and continuously reassess what we see in ancient characters’ accounts of their experiences. Sometimes, a new translation in a new context can strikingly reframe an episode in a refreshing new take. Other times, it can bring into view something that was there all the time, but that other widely read translations had, inadvertently or otherwise, kept hidden.

Note on the text

Establishing a stable text for the Heroides is an ongoing endeavour with huge challenges. Many questions remain over whether particular passages were always present, or were added by other hands to later manuscripts. However, textual excisions made in historic editions do not always stand up to modern scrutiny, and many translators have included various selections of them. To be on the safe side, I have included all the disputed lines in this poem, enclosed in square brackets. In a single, far from definitive interpretation of an author characterised by slipperiness and instability, it seems fitting to blur any pronouncements on what he did and did not write.


Alice Ahearn

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