Echo and Narcissus - Style Points Flashcards
4 points
1 aspicit hunc trepidos agitantem in retia cervos
2 vocalis nymphe, quae nec reticere loquenti
3 nec prius ipsa loqui didicit, resonabilis Echo.
- aspicit (looked) - this verb describes Echo looking at Narcissus. Emphasised by position at the start of the line(hyperbaton) and the use of the historic present tense. This helps to focus our attention on the object of her gaze, Narcissus (hunc).
- agitantem (hunting) - Narcissus is stalking deer (cervos) just as Echo will stalk him, and so this word introduces the theme of hunting to the story.
- aspicit … cervos - the alliteration of c and t in this line helps to convey the sound of the fleeing deer.
- vocalis (talkative) - this important characteristic of Echo is highlighted by its position at the start of the line, and by its repetition through synonyms (tautology): resonabilis (line 3) and garrula (line 5).
- nec… nec… (neither… nor…) - the repetition of these words at the beginning of successive clauses (anaphora) emphasises Echo’s inability to say what she wants.
- resonabilis Echo - the nymph’s name has been delayed for three whole lines (hyperbaton), making her eventual entrance all the more dramatic. The re- prefix of re-sonabilis occurs at the same point in the line as re-ticere in the line above - another instance of echo and reflection.
2 points
4 corpus adhuc Echo, non vox, erat; et tamen usum
5 garrula non alium, quam nunc habet, oris habebat,
6 reddere de multis ut verba novissima posset.
- usum … oris (the use/power of speech) - the wide separation of these words (hyperbaton) highlights Echo’s unfortunate curse, which is explained in line 6.
- garrula (chatty) - emphasised by its position at the beginning of the line.
4 points
7 ergo ubi Narcissum per devia rura vagantem
8 vidit et incaluit, sequitur vestigia furtim,
9 quoque magis sequitur, flamma propiore calescit,
10 non aliter quam cum summis circumlita taedis
11 admotas rapiunt vivacia sulphura flammas
- vidit (she saw) - the enjambment creates an emphatic return to the action after the description of Echo’s speech impediment. There is also symmetry (chiastic structure) with line 1:
aspicit … hunc … Narcissum … vidit. - incaluit (she grew warm) - the warmth is a metaphor for destructive love. The verb is repeated (polyptoton) in the next line with calescit (she grew warm), which gains added emphasis from its position at the end of the line and the use of the historic present tense.
- sequitur…sequitur (she followed … she followed) - the repetition and historic present tense highlight Echo’s increasing obsession, whereas furtim (secretly) reminds us of her shyness, especially since it is placed at the end of the line.
- propriore (nearer) - the comparative adjective creates suspense as the cause of Echo’s desire gets closer. What will happen if she actually touches the “flame”?
- non aliter quam cum (just as when) - the simile conveys the violence of Echo’s emotions. She is like lively sulphur (vivacia sulphura) smeared on the ends of torches (summis circumlita taedis) which seizes (rapiunt) flames which are moved close (admotas flammas).
- taedis (torches) - these are wedding torches: a tragic additional detail, since we know there is no chance that Echo will marry Narcissus, however much she may want it. Note the emphatic position to make us feel even more sympathy for her.
- rapiunt - a powerful verb to describe what Echo longs to do, and in sharp contrast to what she is actually doing (hiding herself from Narcissus).
- admotas … flammas - the repeated a sound in this line (assonance) makes the simile even more striking.
4 points
12 o quotiens voluit blandis accedere dictis
13 et molles adhibere preces. natura repugnat
14 nec sinit incipiat; sed, quod sinit, illa parata est
15 exspectare sonos, ad quos sua verba remittat.
- o quotiens (O, how many times) the exclamation “o” could be seen as invoking the gods in an attempt to increase our sympathy for Echo. But perhaps Ovid is being deliberately over the top to create a humorous effect. It is impossible to say for certain, so we can choose the interpretation we prefer.
- natura repugnat (her condition prevented) - the violence of the verb conveys the cruelty of Juno’s curse, contrasts with Echo’s sweet words (blandis dictis) and tender entreaties (molles preces), and is emphasised by its position.
- nec sinit incipiat (nor does it allow her to begin) - a repetition (tautology) of the sense of repugnat, highlighting the power of the curse to limit Echo’s speech.
- exspectare sonos…verba remittat: the chiasmus (verb…object…object…verb) neatly reflects what is being explained: the phenomenon of an echo.
- sua verba (her own words) - cruelly ironic, given Echo’s condition.
4 points
16 forte puer comitum seductus ab agmine fido
17 dixerat ‘ecquis adest?’ et ‘adest!’ responderat Echo.
18 hic stupet, utque aciem partes dimittit in omnes,
19 voce ‘veni!’ magna clamat; vocat illa vocantem.
20 respicit et rursus nullo veniente ‘quid’ inquit
21 ‘me fugis?’ et totidem, quot dixit, verba recepit.
- dixerat…adest…adest…responderat: (pluperfect…adest…adest…pluperfect) another chiasmus to convey the sense of echoing.
- hic stupet (he was astonished): Narcissus’ shock (no one had ever heard an echo before) is stressed by this short sentence, its positioning, and the return to the historic present (after two pluperfect verbs).
- voce…vocat…vocantem: the repetition of voc- (polyptoton) produces an echoing effect.
- ‘quid…me fugis?’ (why are you running away from me?): there is a sad irony to Narcissus’ question since, as we know, Echo is actually pursuing him.
4 points
22 perstat et alternae deceptus imagine vocis,
23 ‘huc coeamus!’ ait nullique libentius umquam
24 responsura sono ‘coeamus’ rettulit Echo
25 et verbis favet ipsa suis egressaque silva
26 ibat, ut iniceret sperato bracchia collo
- perstat (he stayed standing): foreshadowing Narcissus’ eventual fate, where he will transform into a flower and remain rooted to the spot forever; emphasised by position, tense and a very short (one word) sentence.
- ‘huc coeamus!’ (Let’s meet!): Narcissus’ meaning is straightforward, but Echo’s interpretation (‘coeamus’) is sexual. The fact she vocalises her desire adds to her shame when Narcissus rejects her.
- nulli..umquam…sono (to no sound ever): umquam is redundant (pleonasm), but Ovid uses it to stress the overwhelming emotion felt by Echo now that she thinks Narcissus wants her.
- ibat: the imperfect tense is used because Echo never completes this action; the enjambment highlights her failure. Best translated as “she began to go” or “she tried to go.”
- bracchia collo: the juxtaposition of bracchia (arms) and collo (neck) matches the embrace which Echo desires.
4 points
27 ille fugit fugiensque ‘manus complexibus aufer;
28 ante’ ait ‘emoriar, quam sit tibi copia nostri.’
29 rettulit illa nihil nisi ‘sit tibi copia nostri.’
30 spreta latet silvis pudibundaque frondibus ora
31 protegit et solis ex illo vivit in antris;
32 sed tamen haeret amor crescitque dolore repulsae:
- fugit fugiens: the repetition (polyptoton) reinforces the physical revulsion Narcissus feels when Echo makes her move.
- aufer (take away/remove) - as a response to Echo’s attempted embrace, the imperative is blunt, harsh, and emphasised by its position.
- emoriar (I shall die) - the future tense expresses Narcissus’ defiance. Ironically, he will die before he has sex with Echo.
- ‘sit tibi copia nostri’ (may you have enjoyment of me) - like ‘coeamus,’ Echo repeats Narcissus’ words with sexual connotations. However, in this context Echo seems much more pitiable.
- nihil nisi (nothing except) - the double negative (litotes) is more emphatic than a more straightforward expression, e.g. solum (only).
- spreta (rejected) - the devastating consequence of Echo misunderstanding Narcissus’ words is placed at the start of the line, and her ashamed reaction (latet) follows immediately afterwards.
- solis…vivit…antris - by enclosing the word vivit, Ovid creates a literal representation of Echo living inside caves. Her loneliness (solis) is amplified by being transferred to the caves themselves (antris).
- haeret amor (her love persisted)
the verb haeret comes before the subject (amor) to highlight the undying nature of Echo’s love for Narcissus, indeed it even continues to grow (crescit). - dolore repulsae (with the pain of rejection) - the damage done to Echo by Narcissus’ actions is pointed up by the position of repulsae next to dolore (juxtaposition), at the end of the sentence, and at the end of the line.
4 points
33 attenuant vigiles corpus miserabile curae,
34 adducitque cutem macies, et in aera sucus
35 corporis omnis abit; vox tantum atque ossa supersunt:
36 vox manet: ossa ferunt lapidis traxisse figuram.
37 inde latet silvis nulloque in monte videtur.
38 omnibus auditur: sonus est, qui vivit in illa.
- attenuant (wore thin) - Echo’s physical destruction is emphasised by the position of this verb and intensified by its prefix (ad-).
- corpus miserabile (wretched body) - enclosed by vigilies curae (the troubles which keep her awake) to highlight what is happening to the poor nymph.
- adducitque cutem macies - the hard c alliteration of adducitque cutem macies reproduces the gruesome sound of Echo’s skin (cutem) cracking as the emaciation (macies) shrivels it (adducit).
- vox tantum atque ossa supersunt (only her voice and bones remain) - the fading away of Echo is conveyed through the double elision (which happens when these words are read aloud) and sibilance: vox tant’ atqu’ ossa supersunt.
- vox manet (her voice remains) - an echo-like repetition of vox in the line above to highlight the most important aspect of the story of Echo. The short sentence (two words) again highlights Echo’s wasting away.
- latet silvis (she lies hidden in woods) - echoed from line 30.
- nulloque in monte videtur (and she is seen on no mountain) - since Echo was a mountain nymph (an oread), that would have been the place to find her. The phrase is balanced with omnibus auditur (she is heard by all). The contrast between nullo and omnibus explains that, while she is nowhere to be seen, she is universally heard (the passive of auditur showing her passivity/lack of agency).
4 points
39 hic puer, et studio venandi lassus et aestu,
40 procubuit faciemque loci fontemque secutus;
41 dumque sitim sedare cupit, sitis altera crevit,
42 dumque bibit, visae correptus imagine formae,
43 spem sine corpore amat, corpus putat esse, quod umbra est.
- procubuit (fell down) - the position (enjambment) of this verb highlights its importance to the story of Narcissus: he won’t ever get up from this position.
- faciemque…crevit - the rhythm of faciemque (the appearance) and fontemque (the spring) suggests the location (loci) is critical to the story.
- sitim (thirst) - this first thirst is literal, but sitis altera (another thirst) is a metaphor for Narcissus’ self-love, which is growing (crevit). The position of crevit and the sibilance of sitim sedare…sitis alert us to the danger he is now in.
- umbra (reflection) - umbra also has the meaning of “ghost,” thus it foreshadows the death of Narcissus - he is looking at his own ghost.
4 points
44 astupet ipse sibi vultuque immotus eodem
45 haeret, ut e Pario formatum marmore signum.
46 spectat humi positus geminum, sua lumina, sidus
47 et dignos Baccho, dignos et Apolline crines,
48 impubesque genas et eburnea colla decusque
49 oris et in niveo mixtum candore ruborem,
50 cunctaque miratur, quibus est mirabilis ipse.
- astupet ipse sibi (he himself was amazed at himself) - astupet is emphasised by its position and the historic present tense - Narcissus is shocked by how good-looking he is. ipse is emphatic, sibi reflexive: the juxtaposition underscores that this is self-admiration. The whole sentence is notably brief and elevated by sibilance (astupet ipse sibi).
- haeret (he stuck) - enjambment. Narcissus must be motionless for his transformation to take place. immotus (motionless) and vultu…eodem (with the same/unchanging expression) reinforce what is happening to him.
- ut… (just as…) - the simile compares the appearance of Narcissus to the stillness and beauty of a statue (signum). Since statues were usually of gods and heroes, the simile suggests a superhuman beauty. Marble from the Greek island of Paros was especially valued for its flawless appearance.
- geminum, sua lumina, sidus (the twin stars, his own eyes) - like many lovers, Narcissus and his reflection gaze into each other’s eyes. The moment is emphasised by repetition (tautology) and enclosing word order.
- dignos Baccho, dignos et Apolline (worthy of Baccus, worthy even of Apollo) - Narcissus’ hair (crines) is compared to that of the gods. Apollo was especially famous for his good looks, so he is pointed up by et (= etiam). The repetition of dignos (worthy) makes the comparison stand out further.
- impubesque genas (and his unbearded cheeks) - highlights Narcissus’ youth, and so adds to his pathos. The -que begins a series of connectives (polysyndeton) which help to convey the abundance of Narcissus’ beauty.
- miratur…mirabilis - the repetition (polyptoton) reinforces the wonder of Narcissus.
4 points
51 se cupit imprudens et, qui probat, ipse probatur,
52 dumque petit, petitur, pariterque accendit et ardet.
53 irrita fallaci quotiens dedit oscula fonti!
54 in mediis quotiens visum captantia collum
55 bracchia mersit aquis nec se deprendit in illis!
56 quid videat nescit, sed quod videt uritur illo
57 atque oculos idem qui decipit incitat error.
- se cupit imprudens (he foolishly desired himself) - this short sentence neatly summarises the tale of Narcissus.
- probat…probatur (approves…is approved) - the repetition (polyptoton) mirrors the reflection in the water. The use of active and passive forms is like Narcissus, who is being both active and passive as he stares at himself. The effect is repeated with petit…petitur.
- accendit et ardet (he inflamed and burned) - the last of a tricolon of paired verbs (after probat/probatur and petit/petitur). The use of passive/active continues here (accendo = I set fire to, ardeo = I am on fire), as does the metaphor of love and fire, which was used in Echo’s story.
irrita…oscula (futile kisses) - the promotion of irrita (futile) to the front of the line highlights the hopelessness of Narcissus’ affections. - fallaci…fonti (the deceitful spring) - the personification of the spring implies that nature itself is conspiring against the helpless Narcissus, underscored by the alliteration of f.
- in mediis…aquis (in the middle of the water) - the enclosing word order, once again, reflects the events being described: Narcissus dipping his arms into the pool, trying to embrace his reflection.
- quotiens (how often) - repeated from the line above. Once again (as in line 12), we can take the narrator’s exclamations as being either solemn or humorous.
- captantia collum bracchia (his arms trying to capture the neck) Narcissus’ desperate actions are emphasised by the c alliteration
- quid videat…quod videt - (he did not know) what he saw, (but he was burned by that) which he saw. The repetition brings back the idea of reflection. uritur (he was burned) continues the metaphor of love and fire.
4 points
58 quae simul aspexit liquefacta rursus in unda,
59 non tulit ulterius sed, ut intabescere flavae
60 igne levi cerae matutinaeque pruinae
61 sole tepente solent, sic attenuatus amore
62 liquitur et tecto paulatim carpitur igni;
63 et neque iam color est mixto candore rubori,
64 nec vigor et vires et quae modo visa placebant,
65 nec corpus remanet, quondam quod amaverat Echo.
- ut (just as) - a double simile. Narcissus melting away (liquitur) is compared to wax (cerae) melted by a flame (igne levi) or frost (pruinae) melted by the sun (sole).
- igne…igni - the relevance of the simile is reinforced by this repetition. The first fire (igne) is literal, the second (igni) is the metaphorical fire of love, which is destroying Narcissus.
- vigor et vires (vigour and strength) - the tautology and alliteration emphasise the life that is being lost.
- neque…nec…nec - the repetition (anaphora) of negatives highlight the diminishing power of Narcissus.
3 points
66 quae tamen ut vidit, quamvis irata memorque
67 indoluit, quotiensque puer miserabilis ‘eheu’
68 dixerat, haec resonis iterabat vocibus ‘eheu’.
69 cumque suos manibus percusserat ille lacertos,
70 haec quoque reddebat sonitum plangoris eundem.
- indoluit (she grieved) - the enjambment emphasises how pitiful Narcissus now is.
- puer (boy) - Ovid exaggerates the young age of Narcissus (he is actually a iuvenis) for added pathos.
- ‘eheu’ (‘Alas!) - the pity felt by Narcissus for himself is reiterated by Echo. Their exclamations are put at the end of successive lines, in direct speech, for emphasis.
3 points
71 ultima vox solitam fuit haec spectantis in undam:
72 ‘heu frustra dilecte puer!’ totidemque remisit
73 verba locus, dictoque vale, ‘vale’ inquit et Echo.
74 ille caput viridi fessum summisit in herba,
75 lumina mors clausit domini mirantia formam.
- solitam…in undam (into the now familiar water) - these words surround the gazing Narcissus (spectantis) just as he has been trapped by the water of the spring.
- dictoque vale, ‘vale’ inquit - the chiasmus (verb of speaking;vale ;vale;verb of speaking) reproduces an echoing effect, especially since the second vale has to be pronounced more weakly due to the poem’s metrical pattern. Ovid attributes this last echo both to myth (et Echo) and reality (remisit verba locus).
- ille…herba - the interlocking word order (noun A, adjective B, adjective A, noun B) highlights the final moments of the death of Narcissus. In Latin poetry, green is the colour of life and vitality, so here the green grass (viridi herba) contrasts with the dying (pale) Narcissus.
4 points
76 tum quoque se, postquam est inferna sede receptus,
77 in Stygia spectabat aqua. planxere sorores
78 Naides et sectos fratri posuere capillos,
79 planxerunt Dryades; plangentibus assonat Echo.
80 iamque rogum quassasque faces feretrumque parabant:
81 nusquam corpus erat; croceum pro corpore florem
82 inveniunt foliis medium cingentibus albis.
- se…in Stygia spectabat aqua (he would look at himself in the water of Styx) - Narcissus is doomed, even in the underworld, to gaze at his reflection. The scene is so strange that it could be seen as humorous. The imperfect of spectabat suggests the endlessness of his curse. The scene is underlined by sibilance of Stygia spectabat.
- planxere (they wailed) - a shortened form of planxerunt. This verb, used to represent the sound of female mourning, is repeated (polyptoton) - planxerunt and plangentibus in line 79 - to convey the massive outpouring of grief from nymphs (including Echo).
- rogum…faces…feretrum (pyre…torches…bier) - the list of funereal equipment is amplified by polysyndeton and helps to set up the dramatic revelation in the next line: nusquam corpus erat (his body was nowhere).
- inveniunt (they found) - when the nymphs eventually discover Narcissus, his transformation is complete. Their surprise is conveyed by the historic present tense of this verb, and reinforced by its position.
