'If Clodia despised Catullus, you can very well, Dionysus, despise Ariadne': classical receptions and Roman elegy in Hilda Hilst's Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969).

This article focuses on the reinterpretation of the myth of Ariadne, particularly through the lens of Modernist Brazilian author Hilda Hilst’s 1969 poetry cycle *Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus*. It examines how Hilst reimagines Ariadne not only as the classical abandoned woman (relicta) left by Theseus and later by Dionysus but also as a learned poet who embraces her abandonment as a source of creative inspiration, blending elegiac tradition with personal and metaphysical reflections. The analysis situates Hilst’s work within the broader reception history of Ariadne’s myth, highlighting its intertextual dialogue with Roman elegy, especially Catullus 64 and Ovid’s *Heroides*, while also drawing parallels between Ariadne’s poetic voice and Hilst’s own biography as an underappreciated, iconoclastic female artist. The article includes the first complete English translation of Hilst’s poems, emphasizing their complex, lyrical exploration of love, loss, artistic identity, and the paradoxical relationship between absence and creation.