Marco Antonio Tritonio, Those Who Had The Power To Change Their Forms

THOSE WHO HAD THE ABILITY TO CHANGE THEIR FORMS.

• Achelous
• Caenis
• Metra
• Morpheus
• Periclymenus
• Protheus
• Scython
• Tethys
• Vertmnus

*ACHELOUS used to change into many different forms [cf. Ovid’s Metamorphoses, book 9, story 1]

* CAENIS born a girl, beloved by Neptune, and was granted the ability to change into a man because he wanted to do so, and was called Caeneus [cf. book 12, story 4]

* METRA was the daughter of Erisichthon, whom Neptune granted the ability to change into whatever form she wanted  [cf book 8, story 9]

* MORPHEUS was the son of Somnus who could imitate any shape [cf. book 2, story 10]

* PERICLYMENUS: Neptune gave him the ability to turn into whatever shape he wanted [cf. book 12, story 5]

* PROTHEUS was the son of Oceanus and Tethys who had the ability to change shape into whatever shape they wanted [book 8 story 7]

* SCYTHON could alternate between man and woman  [book 4 story 8 ]

* TETHYS could also do that [book 2, story 7 ]

* VERTUMNUS was a god who lived up to his name, in that he could change into various shapes [book 14 story 16 ]

--M. Antonii Tritonii Utinenis, Mythologia, 1560 p. 65-66

Qui in Varias Se Formas Convertendi Potestaem Habuerunt.

Achelous

Caenis

Metra

Morpheus

Periclymenus

Protheus

Scython

Tethys

Vertmnus

ACHELOUS in multas se commutare figuras consueverat. [lib.ix.fab.1]

CAENIS puella a Neptuno adamata obtinuit, ut in virum cum vellet, mutaretur, qui Caeneus dictus est. [lib.xii.fab.iiii]

METRA Erisichthonis filia, in quascunque voluisset formas convertendi se a Neptuno potestatem impetravit. [lib.viii.fab.ix]

MORPHEUS Somni filius omnium figuraarum erat imitator [lib.ii.fab.x]

PERICLYMENUS a Neptuno quoque potestatem accepit, ut se in quas optaret, figuras verteret. [lib.xii.fab.v]

PROTHEUS Oceani & Tethyos filius eam a Diis habuit potestatem, ut in quas vellet formas se commutaret. [lib.viii.fab.vii]

SCYTHON modo in virum, modo in feminam potuit converti. [lib.iiii.fab.viii]

TETHYS idem efficere consuverat, [lib.ii.fab.vii]

VERTUMNUS Deus vel ipso nomne demosntrat, ut in varias potuerit verti figuras. [lib.xiiiifab.xvi]

 

 

Apollo and Venus, United in Grief: a poem by Faustus Sabaeus

Name: Faustus Sabaeus Date: 16th century CE   Region:  Brixia [Brescia, modern Italy] Citation:   Illustrated Myths of Ovid

While Venus and Apollo were wandering through the blossoming fields on Cyprus,

They noticed that the soil had vibrant stars*.

And over here they ran into the Hyacinth flower,

And over there they spotted the red Adonis flower,

Each one beautiful even in death.

Apollo said, “Tell me, sister,  does this land

Gloat over the death of our boyfriends,

Or is the earth weeping alongside us in pain?

This star is my grief, and that star is yours;

This one was Hyacinth, the other was Adonis.”

 

* a metaphor for flower

Dum Venus in Cypro, & Phoebus per prata vagantes

F1orida: habere solum* sidera picta vident:

Dumque Hyacinthus ibi, atque rubens occurrit Adonis:

Pulcher uterque suo funere, Phoebus ait:

Dic soror, haec nostris num exultat amoribus istis?

An luctu & nostro terra dolore gemit?

Hic meus, iste tuus dolor, & gratissimus ignis:

Ille Hyacinthus erat: alter Adonis erat.

 

 Faustus Sabaeus [16th century, modern Italy] was a librarian of the Vatican library who composed numerous poems on mythology-based themes.

 

 

 

M/M: Two Poems on the Myth of Hyacinthus: Anthologia Latina 167-168

While practicing discus, Hyacinthus encountered a life-altering event;

The discus he’d thrown struck and split open his temples.

Apollo was not able to save his beloved;

But now Hyacinthus' blood fills up the countryside with blossoms.

Discrimen vitae, ludit dum forte, Hyacinthus

Incurrit, disco tempora fissa gerens.

Non potuit Phoebus fato subducere amatum,

Sed cruor extincti florea rura replet.

--167

 

A wayward discus struck his temples while he was practicing

And so beautiful Hyacinthus died a terrible death.

An immense blessing consoles the fallen youth:

Apollo’s love blossoms every season.  

Dispersit remeans ludentis tempora discus

Et dira pulcher morte Hyacinthus obit.

Gratia magna tamen solatur morte peremtum:

Semper Apollineus flore resurgit amor.

--168

The Codex Salmasianus is a manuscript of Latin poetry that preserves poetry from 6^th century CE and earlier. It was named after Claude de Saumaise, a 17^th century scholar who owned the manuscript.

 

I'll Be Your Anything: The Genderfluid God Vertumnus, Propertius, E. 4.2

Vertumnus  Boasts of His Abilities

Name:  Propertius Date:  50 – 15 BCE Region:   Assisium [modern Italy] Citation:    Elegies 4.2

Why are you surprised by my many shapes in my one body? 

Just accept that I, Vertumnus, am a god.

I’m Tuscan born, and I’m native of Tuscany,

And I’m not ashamed to have abandoned the Volsinian side in battle.

This is my kind of crowd. I’m not too fond of ivory temples,

I’m okay with just watching over the Roman Forum.

This is where the Tiber River once made its way;

It is said that the sound of oars was heard splashing here.

And after Father Tiber granted this land to his offspring, 

I, Vertumnus was named after the “Bend in the Stream [1].”

Or, maybe I’m named that way because I receive first fruits after the “turning of the year [2]"

And you believe this is sacred rite to Vertumnus.

The grape in its cluster ripens for me; the wheat heads grow heavy.

In me, you see the sweet cherry, the autumn plums, and the mulberry deepen in color on a summer day.

You see the grafter dedicate a crown of fruit to me, after an unwilling pear tree begins to sprout apples.

Okay, stop talking about me; there’s another reason to my name.

Believe me, a god, as I tell you about myself:

Nature made me fit for every figure.

I can change into any shape you want.

Clothe me in Coan clothes and I’ll be a flirty girl;

If I put on a toga, who will deny that I’m a man?

 Give me a scythe and put a knot of hay upon my forehead, and you’d swear I was the reaper who cut the grain myself.

There was I time that I remember when I took up arms, and I was renowned for it, and I was a reaper bearing a load of baskets.

I’m serious as a lawyer, but if you put a garland on my head, you’d swear I was a partygoer.  Put a Phrygian cap on my head, and I will rave like a bacchant; I’ll play Apollo, if you give me a lyre. Give me hunting supplies, and I’ll be a hunter; but, with other supplies, I’ll only hunt birds.

And I’ve also been a charioteer, as well as a warrior who can leap from horse to horse. Give me a rod, and I’ll be a fisherman; or give me a long tunic, and I’ll be a fastidious merchant. I can pose like a shepherd with his crook; I can carry a basket of roses through the dusty streets.

What else should I add to heighten my fame, that puts the first fruits of the garden into my hands? Dark cucumbers and fat gourds and cabbages tied with a garland of rushes give away my identity; no flower blossoms in the fields that doesn’t also rest upon my forehead.

But since I alone can turn [3] into every shape, I was named for this in my country’s language.

You, Rome, have given tribute to my Tuscans (this is where the Tuscan Way got its name), when Lycomedius came with armed reinforcement, when he defeated cruel Tatius’ Sabine forces.  I myself saw the broken ranks, the falling weapons, the enemy forced into a shameful retreat.

Blessed Jupiter, see to it that the toga-wearing race of Rome stay in my sight forever.

Only six lines left: you are off to court, go on your way, I won’t keep you, don’t bother to read the rest.

I used to be a trunk of a maple tree,

But then I was carved by an ax.

Before Numa’s reign, I was a humble god in a humble city.

But Mamurrius, the artist sculpted me in bronze,

May the Oscan earth never harm your hands, Mammurius,

Since you created me for such a pleasant purpose!

There is only one sculpture of me, but more than one honors for such a sculpture.

 

 Vertumnus Boasts of His Abilities

Quid mirare meas tot in uno corpore formas,

accipe Vertumni signa fatente deo.

Tuscus ego Tuscis orior, nec paenitet inter

proelis Volsinios deseruisse focos.

Haec me turba iuuat, nec templo laetor eburno:

Romanum satis est posse videre Forum.

Hac quondam Tiberinus iter faciebat, et aiunt

remorum auditos per vada pulsa sonos:

at postquam ille suis tantum concessit alumnis,

VertAMNUS verso dicor ab amne deus.

Seu, quia vertentis fructum praecepimus anni,

VertANNI rursus creditur esse sacrum.

Prima mihi variat liventibus uva racemis,

et coma lactenti spicea fruge tumet;

hic dulcis cerasos, hic autumnalia pruna

cernis et aestiuo mora rubere die;

insitor hic soluit pomosa vota corona,

cum pirus invito stipite mala tulit.

Mendax fama, vaces: alius mihi nominis index:

de se narranti tu modo crede deo.

Opportuna mea est cunctis natura figuris:

in quamcumque voles verte, decorus ero.

Indue me Cois, fiam non dura puella:

meque virum sumpta quis neget esse toga?

Da falcem et torto frontem mihi comprime faeno:

iurabis nostra gramina secta manu.

Arma tuli quondam et, memini, laudabar in illis:

corbis et imposito pondere messor eram.

Sobrius ad lites: at cum est imposta corona,

clamabis capiti vina subisse meo.

Cinge caput mitra, speciem furabor Iacchi;

furabor Phoebi, si modo plectra dabis.

Cassibus impositis venor: sed harundine sumpta

fautor plumoso sum deus aucupio.

Est etiam aurigae species cum verbere et eius

traicit alterno qui leve corpus equo.

Suppetat hic, piscis calamo praedabor, et ibo

mundus demissis institor in tunicis.

Pastor me ad baculum possum curvare vel idem

sirpiculis medio pulvere ferre rosam.

Nam quid ego adiciam, de quo mihi maxima fama est,

hortorum in manibus dona probata meis?

Caeruleus cucumis tumidoque cucurbita ventre

me notat et iunco brassica vincta levi;

nec flos ullus hiat pratis, quin ille decenter

impositus fronti langueat ante meae.

At mihi, quod formas unus vertebar in omnis,

nomen ab eventu patria lingua dedit; 

et tu, Roma, meis tribuisti praemia Tuscis,

 (unde hodie Vicus nomina Tuscus habet),

tempore quo sociis venit Lycomedius armis

atque Sabina feri contudit arma Tati.

Vidi ego labentis acies et tela caduca,

atque hostis turpi terga dedisse fugae.

Sed facias, divum Sator, ut Romana per aevum

transeat ante meos turba togata pedes.

Sex superant versus: te, qui ad vadimonia curris,

non moror: haec spatiis ultima creta meis.

Stipes acernus eram, properanti falce dolatus,

ante Numam grata pauper in urbe deus.

At tibi, Mamurri, formae caelator aenae,

tellus artifices ne terat Osca manus,

qui me tam docilis potuisti fundere in usus.

Unum opus est, operi non datur unus honos.  

 

---

[1] A pun on the ‘vert-’ prefix in his name.

[2] Another pun on the ‘vert-’ prefix in his name.

[3] Another pun on the ‘vert-’ prefix in his name.

Propertius [Sextus Propertius; 50-15 BCE, modern Italy] was an Italian-born Roman lyric poet whose love poetry provides insight into the customs of Augustan Rome. Like Catullus and Tibullus, Propertius used a pseudonym for the object of his attention; many of his love poems were addressed to “Cynthia.”

A Statue of Hermaphroditus, Greek Anthology 2.102-3, 5

Although intersex people were not treated well throughout Roman history [cf. Pliny NH vii.iii.34], Greco-Roman authors were fascinated by the concept of a person who could transcend the rigid gender roles imposed by society. The following is a description of a statue of Hermaphroditus:

And here’s a statue of Hermaphroditus, who is neither entirely male or female;

Rather they are a mixture.  At first glance, you’d think,

“This is Hermes’ & Venus’ kid.”…

Hermaphroditus’ body mixes the beauty of every body.

Hermaphroditus adest, nec vir nec femina totus,

Mixta sed effigies: consectu corporis ipsum

Mercurio dices & pulchra Cypride natum....

Mixta gerens gemino de sexu signa decoris.

ἵστατο δ᾽ Ἑρμαφρόδιτος ἐπήρατος, οὔθ᾽ ὅλος ἀνήρ,

οὐδὲ γυνή: μικτὸν γὰρ ἔην βρέτας ἦ τάχα κοῦρον

Κύπριδος εὐκόλποιο καὶ Ἑρμάωνος ἐνίψεις:...

ξυνῆς ἀγλαΐης κεκερασμένα σήματα φαίνων.

--Greek Anthology 2.102-3, 5 [V.21 in previous edition]; Translated into Latin by Hugo Grotius

The Greek Anthology is a modern collection of Greek lyric poetry compiled from various sources over the course of Greco-Roman literature. The current collection was created from two major sources, one from the 10^th century CE and one from the 14^th century CE. The anthology contains authors spanning the entirety of Greek literature, from archaic poets to Byzantine Christian poets. 

The Life and Afterlife of the Asexual Hippolytus, Vatican Mythographers I.46

The Life and Afterlife of Hippolytus /Virbius

Name:  Vatican Mythographers Date:   10th century CE Region:   Unknown Citation:   Vatican Mythographers 1.46

When Hippolyte died, Theseus put [his wife] Phaedra in charge of Hippolytus. When Hippolytus rejected her wooing, he was falsely accused of inappropriate behavior and brought to his father for punishment.  Theseus asked his father Aegeus to avenge him, and he sent a monster onto the shore where Hippolytus was driving his chariot. This monster spooked Hippolytus’ horses and killed him.  Then Diana, moved by his purity, used Asclepius to restore him to life. Once Diana brought Hippolytus back from the dead, she entrusted his care to the nymph Egeria, and ordered that he now be called “Virbius” [“twice a man”].

The Life and Afterife of Hippolytus / Virbius

Theseus, mortua Hippolyte, Phaedram Minois et Pasiphae filiam superduxit Hippolyto, qui cum de strupro illam interpellantem contempsisset, falso delatus ad patrem est quod ei vi vellet inferre. Theseus rogavit Aegeum patrem ut se ulcisceretur, qui agitanti currus Hippolyto immisit phocam in litore, qua equi territi eum distraxerunt. Tunc Diana eius castitate commota revocavit eum in vita per Aesculapium filium Apollinis et Coronidis, qui natus erat exsecto matris ventre...Sed Diana Hippolytum revocatum ab inferis nymphae commendavit Egeriae et eum Virbium quasi “bis virum” iussit vocari.

Vatican Mythographers [10th century CE?] Little is known about the author or origin of the collection of myths known as the Vatican Mythographers, but the work’s first editor Angelo Mai found the collection on a manuscript dating back to the 10th century CE. This volume is a collection of three different mythographers who have assembled various Greco-Roman myths; although many of these myths are basic summaries in Latin, some of them are either analyzed as allegories or compared to Christian thought.