Freud's Rome: Psychoanalysis and Latin Poetry by Ellen Oliensis
By Ellen Oliensis
This publication is a meditation at the function of psychoanalysis inside Latin literary reviews. Neither a sceptic nor a real believer, Oliensis adopts a practical method of her topic, emphasizing what psychoanalytic concept has to give a contribution to interpretation. Drawing particularly on Freud's paintings on goals and slips, she spotlights textual phenomena that can not be securely anchored in any purpose or psyche yet that however, or for that very cause, appear fraught with which means; the 'textual subconscious' is her identify for the indefinite position from which those phenomena erupt, or which they retroactively represent, as a type of 'unconsciousness-effect'. The dialogue is prepared round 3 key subject matters in psychoanalysis - mourning, motherhood, and the origins of sexual distinction - and takes the poetry of Catullus, Virgil, and Ovid as its aspect of reference. a short afterword considers Freud's personal witting and unwitting engagement with the belief of Rome.
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Extra resources for Freud's Rome: Psychoanalysis and Latin Poetry
Sample text
As William Fitzgerald has stressed, this poem is permeated by the figuration of pregnancy, from the fetus (“fruit,” but also “offspring”) Catullus’ preoccupied mind is incapable of yielding, to the telltale proof of guilty knowledge that tumbles from the girl’s gremium (“lap,” but also “womb”). ”29 It is true that Catullus directly confronts this conflict, insofar as he represents translation as a compromise, a way of satisfying Hortalus without forgoing his grief – as if the labor of translation (as opposed to creation) bypassed the grieving mind, leaving it still pregnant with the image of his dead brother.
Instead of proceeding to a happy recollection of the erotic bliss enjoyed inside this house, Catullus leaves his beloved fixed there on the threshold and swerves into a simile comparing her to the ardent bride Laudamia arriving at the house of her husband, Protesilaus. This simile, itself interrupted and elaborated by a series of further digressions, ends up accounting for fully half of Catullus’ poem. First, Catullus supplies an extended narrative of the tragic outcome of Laudamia’s passion: Protesilaus was destined to die at Troy, the first casualty of the Trojan War.
Yet also by way of Apollo he empties his confession of all but emotional truth. How can we fault Apollo, really, if his reckless beloved rushed headlong into the rebounding discus? It is not by chance, moreover, that Orpheus ascribes to Hyacinth an impatience reminiscent of his own fatal haste – a projection of blame from lover to beloved fueled by the very impossibility of holding Eurydice accountable for her own death. 18 Into this tale Orpheus inserts another, the story of Atalanta and Hippomenes, which Venus tells Adonis, purportedly to dissuade him from hunting dangerous animals, such as the lions into which these lovers were eventually transformed.