Non ego mendosos ausim defendere mores
falsaque pro vitiis arma movere meis.
confiteor—siquid prodest delicta fateri;
in mea nunc demens crimina fassus eo.
odi, nec possum, cupiens, non esse quod odi;
heu, quam quae studeas ponere ferre grave est!
I would not dare to defend corrupt morals or take up false arms in defense of my vices. I confess—if it helps at all to confess one’s wrongs; now, having confessed, I go madly toward my crimes. I hate, and though wishing otherwise, I cannot not be what I hate; alas, how hard it is to bear what you strive to put aside!
The text reflects the Roman concept of inner moral struggle, a theme that became particularly prominent in the late Republic and early Empire. The military metaphor of “taking up arms” (arma movere) in defense of vices demonstrates how deeply martial imagery was embedded in Roman literary expression, even when discussing personal matters. The confession of moral weakness shows the influence of Greek philosophical traditions on Roman thought, particularly the Stoic interest in self-examination and moral improvement. The paradoxical situation of simultaneously hating and being unable to change one’s nature was a common theme in Roman poetry, especially in works dealing with love and personal conduct. The archaic subjunctive form “ausim” adds a formal, almost legal tone to the speaker’s self-accusation, reflecting the Roman tendency to treat moral matters with legal precision.
Nam desunt vires ad me mihi iusque regendum;
auferor ut rapida concita puppis aqua.
non est certa meos quae forma invitet amores—
centum sunt causae, cur ego semper amem.
sive aliqua est oculos in humum deiecta modestos,
uror, et insidiae sunt pudor ille meae;
For I lack the strength to govern myself and my rights; I am carried away like a ship driven by rushing water. There is no single form that invites my loves—there are a hundred reasons why I always love. If there is some girl who has cast her modest eyes down to the ground, I burn, and that very modesty is my trap;
The metaphor of a ship being swept away by water was a common literary device in ancient poetry, representing the loss of control over one’s emotions or fate. This image would have resonated strongly with ancient Mediterranean audiences, for whom seafaring was both common and perilous.
The description of female modesty (pudor) and downcast eyes reflects Roman social values regarding proper feminine behavior. Young women of good family were expected to display modesty in public, keeping their eyes lowered when encountering men. Ironically, the speaker finds this very display of virtue arousing, creating a tension between social expectations and personal desire that was a favorite theme of Roman love poets.
The mention of “centum causae” (a hundred reasons) is typical of Latin poetry’s use of specific numbers to mean “many” - a rhetorical device called synecdoche. The number hundred was frequently used this way in both Greek and Latin literature.
sive procax aliqua est, capior, quia rustica non est,
spemque dat in molli mobilis esse toro.
aspera si visa est rigidasque imitata Sabinas,
velle, sed ex alto dissimulare puto.
sive es docta, places raras dotata per artes;
sive rudis, placita es simplicitate tua.
If a woman is forward, I am captivated because she is not rustic, and being fickle, she gives hope of pleasure on the soft bed. If she appears stern and imitates the rigid Sabine women, I think she desires it but pretends otherwise out of pride. If you are learned, you please me, gifted in rare arts; if unlearned, you please me with your natural simplicity.
This elegiac passage reflects Roman attitudes toward female behavior and education. The Sabine women were legendary figures in Roman mythology, known for their virtue and chastity after being abducted by the early Romans. They became the archetypal model of Roman female propriety and restraint. The contrast between “procax” (forward) and “rustica” (rustic) women reflects social distinctions in Roman society between sophisticated urban behavior and unrefined rural manners.
The reference to “rare arts” (raras artes) suggests educated accomplishments like music, poetry, and conversation - skills valued in sophisticated Roman society. The final contrast between learned (docta) and unlearned (rudis) women reflects debates in Roman society about female education, with some praising intellectual accomplishments while others preferred “natural” simplicity. The overall tone suggests the complex dynamics of Roman courtship and the various ways women might present themselves in society.
est, quae Callimachi prae nostris rustica dicat
carmina—cui placeo, protinus ipsa placet.
est etiam, quae me vatem et mea carmina culpet—
culpantis cupiam sustinuisse femur.
molliter incedit—motu capit; altera dura est—
at poterit tacto mollior esse viro.
There is one who calls Callimachus’ poems rustic compared to mine—she who finds me pleasing immediately pleases me herself. There is also one who criticizes me as a poet and my poems—I would desire to have supported the thigh of my critic. One walks softly—she captivates by her movement; another is hard—but she could become softer once touched by a man.
This passage reflects several important aspects of Roman literary culture. The reference to Callimachus is significant - he was a Hellenistic Greek poet whose refined, elegant style greatly influenced Roman poetry. The speaker’s claim that someone considers Callimachus “rustic” compared to his own work is a bold statement, as Callimachus was considered the epitome of sophisticated poetry.
The sexual innuendo throughout the passage is characteristic of Roman love elegy, where erotic themes are often intertwined with literary criticism. The mention of “thigh” (femur) and the metaphorical use of “hard” and “soft” demonstrate the genre’s typical blend of the sensual and the literary. The way of walking (incessus) was considered highly important in Roman culture as an indicator of character and breeding - a proper Roman woman was expected to move with grace and dignity.
The final lines play with the common elegiac theme of the dura puella (“hard girl”), the emotionally unavailable beloved who might be softened through the poet’s attentions. This was a standard trope in Roman love poetry, often used to explore themes of resistance and persuasion.
haec quia dulce canit flectitque facillima vocem,
oscula cantanti rapta dedisse velim;
haec querulas habili percurrit pollice chordas—
tam doctas quis non possit amare manus?
illa placet gestu numerosaque bracchia ducit
et tenerum molli torquet ab arte latus—
This one, because she sings sweetly and most skillfully modulates her voice, I would wish to have given stolen kisses to her as she sings; this one runs over the plaintive strings with nimble thumb—who could not love such skilled hands? That one pleases with her gesture and moves her rhythmic arms and twists her tender side with gentle art—
The passage presents a vivid glimpse into Roman performance arts, describing different female performers: a singer and instrumentalist (likely a lyre player) and a dancer. The description of the singer modulating her voice (flectere vocem) refers to the highly developed vocal techniques of ancient performers. The mention of querulas chordas (plaintive strings) likely refers to the lyre, the most common stringed instrument in Roman entertainment. The performer uses her thumb (pollice) in a traditional playing technique still referenced in modern classical guitar.
The dancer’s movements are described in technical terms that reflect the sophisticated vocabulary of ancient dance. The emphasis on numerosa bracchia (rhythmic arms) and the twisting of the side (latus) suggests the importance of upper body movement in Roman dance, which was highly stylized. The reference to mollis ars (gentle art) indicates the value placed on graceful movement in female dance performance. The description combines both technical appreciation and erotic admiration, typical of Roman poetry about performers.
ut taceam de me, qui causa tangor ab omni,
illic Hippolytum pone, Priapus erit!
tu, quia tam longa es, veteres heroidas aequas
et potes in toto multa iacere toro.
haec habilis brevitate sua est. corrumpor utraque;
conveniunt voto longa brevisque meo.
Even if I say nothing about myself, who am affected by every situation, put Hippolytus there and he’ll become Priapus! You, because you are so tall, match the heroines of old and can sprawl at full length on the entire bed. This one is manageable due to her shortness. I am corrupted by both; both tall and short suit my desires.
This erotic passage plays with mythological references in a way typical of Roman love poetry. Hippolytus was famous for his chastity and rejection of love, while Priapus was a minor deity of gardens, characterized by permanent sexual arousal and enormous physical endowment. The contrast between these figures creates a humorous paradox.
The reference to “heroines of old” likely alludes to mythological women like Helen of Troy, who were often depicted as tall and statuesque in classical literature. The Roman aesthetic appreciation for different body types is evident here, with the speaker expressing attraction to both tall and short women. The bed (torus) mentioned would have been a typical Roman couch, often used both for sleeping and dining, and was an important piece of furniture in Roman erotic poetry.
The literary device of praeteritio (saying something while claiming not to say it) is employed in the opening line, a sophisticated rhetorical technique common in classical literature.
non est culta—subit, quid cultae accedere possit;
ornata est—dotes exhibet ipsa suas.
candida me capiet, capiet me flava puella,
est etiam in fusco grata colore Venus.
seu pendent nivea pulli cervice capilli,
Leda fuit nigra conspicienda coma;
She is not adorned—yet it occurs to me what could be added to her adorned state; she is decorated—she displays her own gifts. A fair girl will capture me, a golden-haired girl will capture me, Venus is pleasing even in dusky color. Whether dark hair hangs from her snow-white neck, Leda was worth seeing with her black hair;
The passage reflects Roman aesthetic preferences regarding female beauty, showing an appreciation for diverse types of beauty rather than a single standard. The reference to different hair colors—fair (candida), golden-haired (flava), and dark (nigra)—demonstrates the cosmopolitan nature of Roman society, where women of various ethnic origins could be considered beautiful.
The mention of Leda brings in a significant mythological reference. Leda was a queen of Sparta who was famously seduced by Zeus in the form of a swan. Her story was a popular subject in both literature and art. The poet’s use of her as an example of dark-haired beauty demonstrates how mythology was seamlessly integrated into Roman love poetry as a point of comparison for contemporary beauty.
The discussion of whether a woman is “cultus” (adorned) touches on the Roman debate about natural versus artificial beauty, a common theme in Latin love poetry. The word has connotations of both physical adornment and cultural refinement, suggesting that beauty was seen as both a natural gift and something that could be enhanced through cultivation.
seu flavent, placuit croceis Aurora capillis.
omnibus historiis se meus aptat amor.
me nova sollicitat, me tangit serior aetas;
haec melior, specie corporis illa placet.
Denique quas tota quisquam probet urbe puellas,
noster in has omnis ambitiosus amor.
Whether they are golden-haired, Aurora with her saffron locks has pleased me. My love adapts itself to all stories. The young girl excites me, the more mature one affects me; this one is better, that one pleases with her physical beauty. In short, whatever girls anyone might approve of in the whole city, my love extends ambitiously to all of them.
Aurora, the goddess of dawn, was a significant figure in Roman mythology, depicted rising each morning to announce the arrival of the sun. Her saffron-colored hair (croceis capillis) was a standard poetic attribute, referring to the golden-orange hues of sunrise. The Romans were particularly attuned to hair color as a mark of beauty, with blonde hair being especially prized - so much so that many Roman women used special soaps and dyes to lighten their naturally dark hair.
The reference to “historiis” (stories) suggests familiarity with literary or mythological tales, which formed a crucial part of Roman cultural education. The mention of women of different ages reflects the Roman male’s social freedom to pursue relationships with women of varying ages and social stations, though within certain societal constraints. The urban setting (“tota urbe”) places this firmly in the context of Roman city life, where social interaction was concentrated in public spaces like the forum, temples, and porticoes.