Are you thus without your wits, does my love not bring you pause?

Tell, am I as cheap to you as Illyrian snowmelt-thaws?

And does he seem so much to you, yes him, whoever the hell he be,

That you choose the winds at-large, to go abroad without me?

Can’t you hear the thrashing roar that comes from the wet and wild ocean,

Its force? And could you even steal a wink amid such ceaseless motion?

Would you endure when hoar-frost sets, with feet you rub and soften,

And bear the snows, Cynthia? You know we don’t get them often.

 

Oh how I wish this winter short had double the days as these!

So sailors would still dilly-dally beneath delaying Pleiades;

That you would not embark from here, that frozen would stick the sailors’ knots,

That ill-willed winds would not subdue my prayers and loving thoughts!

But, may I see no stormy winds under star-groups so mean-hearted,

When waves will off abscond with you, your vessel’s been departed,

Though it entails that I remain upon these shores with you so missed

To call you cruel, and cruel again! with hands clenched to a fist.

 

No matter my reaction, though, (deserter!) of me I say you’re still deserving,

So may the nymphs attend to you, and keep your ship from swerving.

As you pass the cliffs of Epirus, may oars become your lucky guides,

And may its port receive you with equilibrating tides!

Since none but you, my love, can break me, no, none will I adore

So much to keep me still from singing love-songs at your door.

Nor will one fain prevent me from putting it to the seamen starboard:

“Tell me, at what port is my sweet darling harbored?”

I will say, “Perhaps the bay of Thessaly, she’s safely stationed and content,”

Or if remoter still, I say, “that one’s my future, past, and present.”

Tune igitur demens, nec te mea cura moratur?

an tibi sum gelida uilior Illyria?

et tibi iam tanti, quicumque est, iste uidetur,

ut sine me vento quolibet ire uelis?

tune audire potes uesani murmura ponti

fortis, et in dura naue iacere potes?

tu pedibus teneris positas fulcire pruinas,

tu potes insolitas, Cynthia, ferre niues?

 

o utinam hibernae duplicentur tempora brumae,

et sit iners tardis nauita Vergiliis,

nec tibi Tyrrhena soluatur funis harena,

neue inimica meas eleuet aura preces!

atque ego non uideam tales subsidere uentos,

cum tibi prouectas auferet unda ratis,

ut me defixum uacua patiantur in ora

crudelem infesta saepe uocare manu!

 

sed quocumque modo de me, periura, mereris,

sit Galatea tuae non aliena uiae:

ut te, felici praeuecta Ceraunia remo,

accipiat placidis Oricos aequoribus.

nam me non ullae poterunt corrumpere, de te

quin ego, uita, tuo limine uerba querar;

nec me deficiet nautas rogitare citatos

‘Dicite, quo portu clausa puella mea est?’

et dicam ‘Licet Atraciis considat in oris,

et licet Hylleis, illa futura mea est.’

Translator's Note

By the Augustan period, elegy had become the standard genre for amatory poets writing in Latin. Originally, elegiac poetry was defined by its metrical pattern:  one hexameter line is followed by a pentameter in which a caesura falls after the third foot.  In my translation, an accentual rhythm achieves the distinctive sound of elegiac love poetry:  an eight-beat line is followed by a seven-beat line in which a pause falls after the fourth foot.  

To capture the sounds and rhythms of the original poem, this translation does not seek to translate word-for-word, but to deliver accurately, and with modern legibility, Propertius’s nervous energy, initial attempt at persuasion, and ultimately, submission to his domina. If it be required here to defend the use of rhyme, let the reader remember that it aims primarily for their enjoyment, while also contributing to the structural regularity so intergral to Latin poetics. Original sense was never sacrificed for the achievement of rhyme.

Where ancient topographical names bear little meaning for a modern reader, the translation supplies more general place names. For instance, in the final couplet, where the text itself is debated, Atraciis by metonymy refers to the larger and more familiar region of Greek Thessaly, translated thus, and Hylleis to a portion of Scythia, rendered simply “remoter”. The increasing separation that Propertius imagines escalates the tension to be resolved with the poem’s final words. The Latin text is that of Barber’s OCT (1954).


Griffin Budde

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