Over the course of his career Horace shows a variety of ways of referring to the way that readers are reacting to his work. In the Satires and Epistles he regularly makes references to his reception, but in the Epodes and Odes—following archaic and classical Greek precedent—he never does. The chapter argues that the main reason for these choices is that Horace was simultaneously keen to be famous and appalled at the idea of his poetry being vulgarised by a mass audience.

In this chapter we extend our analysis of the lena to the poetry of Tibullus and Ovid, where the narrative focus is not as much on her appearance or her poetic skill. Tibullus concentrates his readers’ attention on the grotesque actions that the poet–lover visualizes the lena performing, while Ovid focuses on her intention to degrade elegiac love itself. Though they do not have the profile of Acanthis, these lenae are grotesque figures integral to the Tibullan and the Ovidian conceptions of elegy. The images of ugly, sinister, and disgusting actions with which they are associated are for the reader scripts of aversion integral to elegy. Tibullus constructs his script in the subtle manner typical of his style, by making effective use of the reader’s literary memory, which, through a dynamic play of inter- and intra-textual allusion, he engages in the creation of his elegiac grotesque. Ovid constructs his more economically and with bold strokes, presenting his lena with powerful grotesque images– nocturnal, and savage, under the canopy of a bleeding sky – that leave no doubt concerning his intent to use her to subvert with horrid imagery the idealizing purport of love elegy itself.