Catullus 45:
Acmen Septimius suos amores
tenens in gremio 'mea' inquit 'Acme,
ni te perdite amo atque amare porro
omnes sum assidue paratus annos,
quantum qui pote plurimum perire,
solus in Libya Indiaque tosta
caesio veniam obvius leoni.'
Hoc ut dixit, Amor sinistra ut anteexternal image romeo-and-juliet.jpg
dextra sternuit approbationem.
At Acme leviter caput reflectens
et dulcis pueri ebrios ocellos
illo purpureo ore suaviata,
'sic' inquit 'mea vita Septimille,
huic uni domino usque serviamus,
ut multo mihi maior acriorque
ignis mollibus ardet in medullis.'
Hoc ut dixit, Amor sinistra ut ante
dextra sternuit approbationem.
Nunc ab auspicio bono profecti
mutuis animis amant amantur.
Unam Septimius misellus Acmenexternal image romeo-and-juliet.jpg
mavult quam Syrias Britanniasque:
uno in Septimio fidelis Acme
facit delicias libidinisque.
quis ullos homines beatiores
vidit, quis Venerem auspicatiorem?

This photograph was taken from the 1968 film "Romeo and Juliet." Romeo and Juliet is completely analogous to Catullus 45 because both authors were talking about the same main idea. Catullus wrote about his "ideal love relationship" between Acme and Septimius. William Shakespeare wrote about two "star cross'd" lovers who shared immense passion for each other. Although Romeo and Juliet had problems with their families, nevertheless the relationship between the two is what parallels Catullus's work. Septimius talks about dying to the greatest extent in hot Libya and India. This idea is closely followed in Romeo and Juliet. Both lovers, at one point, believe that there other half is dead. They each kill themselves, with hope to meet up in the afterlife. Also, a less obvious similarity lies in the names of the lovers. Acme is considered to be the name of a Greek freedwoman. On the contrast, Septimius is a Roman name. This differentiality implies that the two were different in social class. Similarly, Romeo was of a different class than Juliet. Although Romeo and Juliet has been most widely known to parallel Pyramus and Thisbe, there are several similiarities between "Catullus 45" and Romeo and Juliet.

Catullus 84:
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Odi et amo. Quare id faciam, fortasse requiris.
Nescio, sed fieri sentio et excrucior.

I hate and I love. In what way I may do this, perhaps you ask.
I do not know, but I sense it and I am tormented.

This photograph accurately depicts Catullus in poem 84. He is
completely distraught, and does not know what to do with himself.
His vision of life is entirely vague, and completely bare. He only knows two emotions in this poem: love and hate. Analogous
to Catullus 84, this picture is completely black and white. There is
parallelism between this picture, that is legitimately black and white, Catullus's view of the world is completely black and white. In poem 84, Catullus makes a conclusion that with love comes hate and eventually torment. There is significance with Catullus's choice of words in poem 84. He uses the word "excrucior," or "I am tormented." This word itself is very symbolic. The root of the word is "crux," or "cross." Back in Catullus's day, a frequent punishment for disobedient slaves was crucifixion. By using "excrucior," Catullus is suggesting that he is a slave to love, and losing love completely demolished him. The same is true for this picture. The person is completely immobilized, and literally in the feedle position. Similarly, Catullus was completely immobilized by his lost love, Lesbia.

Horace Ode 2.10

Rectius vives, Licini, neque altum
semper urgendo, neque - dum procellas
cautus horrescis - nimium premendo
litus iniquum.

auream quisquis mediocritatem
diligit, tutus caret obsoleti
sordibus tecti, caret invidenda
sobrius aula.

saepius ventis agitatur ingens
pinus et celsae graviore casu
decidunt turres feriuntque summos
fulgura montis.

sperat inestis, metuit secundisspenderold2801_468x314.jpg
alteram sortem bene praeparatum
pectus. informis hiemes reducit
Iuppiter, idem

submovet. non, si male nunc, et olim
sic erit: quondam cithara tacentem
suscitat Musam, neque semper arcum
tendit Apollo.

rebus angustis animosus atque
fortis appare: sapienter idem
contrahes vento nimium secundo
turgida vela.

http://img.dailymail.co.uk/i/pix/2008/01_05/spenderold2801_468x314.jpg

This illustration depicts the "all-American" family of the 1950s. A typical family during the 1950s didn't care about wealth or socioeconomic status. All families, stereotypically, were of the same class, and different members of the family had "set" roles. Essentially, every family from the 1950s was part of the middle class, or as Horace describes, the "golden mean." Horace advocates this "golden mean" specifically in the third stanza. He writes that poor people are at a disadvantage because their wooden homes can easily be damaged by strong winds. Contrarily, wealthy people suffer because their gigantic houses spur envy throughout the community, and tall buildings are most often struck by lightning. Instead, families that find a perfect balance between the squalor of the poor and the envy of the rich are the ones that are pacified the most. This picture accurately portrays Horace's philosophy from 2.10 because this family does not appear to show any great wealth or poorness, and they are blissful. Even though this clan appears to be the picturesque 1950s family, they are also the idealist view of Horace's philosophy in ode 2.10.

Horace Ode 1.5
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Quis multa gracilis te puer in rosa
perfusus liquidis urget odoribus
grato, Pyrrha, sub antro?
cui flavam religas comam

simplex munditis? heu quotiens fidem
mutatosque deos flebit et aspera
nigris aequora ventis
emirabitur insolens,

qui nunc te fruitur credulus aurea,
qui semper vacuam, semper amabilem
sperat, nescius aurae
fallacis. miseri, quibus

intemptata nites. me tabula sacer
votiva paries indicat uvida
suspendisse potenti
vestimenta maris deo.


http://blog.peoplenewspapers.com/wp-content/uploads/2009/10/psycho_l.jpg

Believe it or not, the classical horror film "Psycho" actually relates back to Horace ode 1.5. Both works revolve almost entirely around the theme of deceit and deception. Horace uses the imagery of, "rosa," "antro," and "flavam," to illustrate trickery. While the inexperienced lover may believe that the redness of the roses symbolizes love, and expresses passion, the truth is that the vibrant redness actually is a warning. Later in the ode, Horace describes the couple as "under a pleasing cave." Once again, the inexperienced lover finds excitement in performing romanticizing acts in a secretive location, such as a cave, exciting and arousing. However, the inexperienced lovers are oblivious to the dark side of this. A cave is actually a place of danger. A cave is a place where the "boogieman" hides. It is a place where danger likes to lurk. Horace describes Pyrrha's hair as, "golden" to emphasize the sense of deception. According to Horace, love has many tricks up its sleeve, one of which being beauty. Horace advocates this by describing her hair as golden. Love will try to lure the oblivious into its dangerous wrath. This is quite similar to the film "Psycho." To the tired and inexperienced traveler, a somewhat sketchy motel can look like a safe haven. However, danger secretly lurks. The staff of the motel seem kind and friendly, yet they secretly are psychotic. The wary traveler thought she was getting a good deal, yet so did the inexperienced lover. The woman faced a "lure," like the inexperienced lover in Ode 1.5. The motel sign, was quite literally, a sign of welcome, similar to the rose, yet symbolically is a sign of warning. The motel itself was just like the cave. It seemed like a suitable place, possibly even exciting and adventurous, yet clandestinely holds one of the most sinister realities of humanity, death. Like the inexperienced lover, many people unfortunately fall victim to deceit.