P. Papinius Statius Silvae I.2: Epithalamion for Stella et Violentilla (selections)

Flavian woman, late 1st century CE

Violentilla, the bride in 89 CE of Lucius Arruntius Stella, is the focus of this epithalamium (Greek term for a wedding song written in honor of the bride and groom), composed in dactylic hexameter. Violentilla was a widow who was long pursued in marriage by Stella, but is otherwise unknown. Praise of the bride is traditional in this genre, as it bestows honor on the groom as well for contracting a marriage with a woman who is so extraordinarily possessed of beauty and matronly virtues. However, this poem was composed under a number of special circumstances: Violentilla was not a virgo but a vidua, entering her second marriage; Stella was a close friend and perhaps patron of the poet Statius, who dedicated to him Book I of the Silvae (a collection of occasional and miscellaneous poems). The wedding song was requested by Stella, himself a poet who was known for his love poetry. Prior to Violentilla's acceptance of his proposal, Stella had unsuccessfully wooed his reluctant love with prayers and poetry.

Lines 105-122: Invoking the muse Erato at line 46), the poet launches into a mythological narration that constitutes the central portion of the epithalamium (to l. 200). The myth section consists of a dialogue between Venus and Cupid, her son, and a monologue addressed by the goddess to Violentilla. In the lines immediately preceding, Cupid asks his mother, Venus, to persuade Stella’s reluctant beloved to accept his proposal of marriage. Venus responds with an encomium to Violentilla’s beauty, which was a gift from the goddess herself. Statius does in this poem what sculptors of the Empire were doing in stone: figuring women in the guise of goddesses (e.g., as Venus, Spes, Fortuna, Luna, Ceres, Persephone, Diana) to represent their beauty and goodness.

105	illa refert vultu non aspernata rogari:
	“grande quidem rarumque viris, quos ipsa probavi,
	Pierius votum iuvenis cupit. hanc ego, formae
	egregium mirata decus cui gloria patrum
	et generis certabat honos, tellure cadentem
110	excepi fovique sinu; nec colla genasque
	comere nec pingui crinem deducere amomo
	cessavit mea, nate, manus. mihi dulcis imago
	prosiluit. celsae procul aspice frontis honores
	suggestumque comae. Latias metire quid ultra
115	emineat matres: quantum Latonia Nymphas
	virgo premit quantumque egomet Nereidas exsto.
	haec et caeruleis mecum consurgere digna
	fluctibus et nostra potuit considere concha,
	et si flammigeras potuisset scandere sedes
120	hasque intrare domos, ipsi erraretis, Amores.
	huic quamvis census dederim largita beatos,
	vincit opes animo.”

Lines 138-141: In conclusion to her reply to Cupid’s request, Venus agrees to persuade the reluctant Violentilla to marry:

	“sed dabitur iuveni, cui tu, mea summa potestas,
	nate, cupis, thalami quamvis iuga ferre secundi
140	saepe neget maerens. ipsam iam cedere sensi
	inque vicem tepuisse viro....”

Lines 266-277: The closing lines of the Epithalamium are the traditional prayers for the bride’s fertility, safe pregnancy, production of male offspring, and long-lasting beauty and youth.

	heia age, praeclaros Latio properate nepotes,
	qui leges, qui castra regant, qui carmina ludant.
	acceleret partu decimum bona Cynthia mensem,
	sed parcat Lucina, precor; tuque ipse parenti
270	parce, puer, ne mollem uterum, ne stantia laedas
	pectora; cumque tuos tacito natura recessu
	formarit vultus, multum de patre decoris,
	plus de matre feras. at tu, pulcherrima forma
	Italidum, tandem merito possessa marito,
275	vincla diu quaesita fove: sic damna decoris
	nulla tibi; longe virides sic flore iuventae
	perdurent vultus, tardeque haec forma senescat.

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