Paraklausithyron (Ancient Greek: παρακλαυσίθυρον) is a motif in Greek and especially Augustan love elegy, as well as in troubadour poetry.
The details of the Greek etymology are uncertain, but it is generally accepted to mean "lament beside a door", from παρακλαίω, "lament beside", and θύρα, "door".[1] A paraklausithyron typically places a lover outside his mistress's door, desiring entry. In Greek poetry, the situation is connected to the komos, the revels of young people outdoors following intoxication at a symposium. Callimachus uses the situation to reflect on self-control, passion, and free will when the obstacle of the door is removed.[2]
Latin poetry offers several examples and variations on the exclusus amator ("shut-out lover") theme. Horace offers a less-than-serious lament in Odes 3.10 and even threatens the door in 3.26; Tibullus (1.2) appeals to the door itself; in Propertius (1.16), the door is the sole speaker. In Ovid's Amores (1.6), the speaker claims he would gladly trade places with the doorkeeper, a slave who is shackled to his post, as he begs the door-keeper to allow him access to his mistress, Corinna. In the Metamorphoses, the famous wall (invide obstas) with its chink (vitium) that separates the star-crossed lovers, Pyramus and Thisbe, seems to be an extension of this motif. The appeal of the paraclausithyron derives from its condensing of the situation of love elegy to the barest essentials: the lover, the beloved and the obstacle, allowing poets to ring variations on a basic theme. This feature of amatory poetry may owe its origin to Greek New Comedy; as is often the case scholars look to Roman comedy to supply the deficiencies of the highly fragmentary remains of the Greek models and in lines 55 to 65 of Plautus' Curculio is a specimen of a short but nonetheless completely bona fide paraclausithyron.
The motif is not merely a historical phenomenon: it continues in contemporary songwriting. Steve Earle's song "More Than I Can Do," for example, gives a typical paraklausithyronic situation with such lines as "Just because you won't unlock your door /That don't mean you don't love me anymore" as does his song "Last of the Hardcore Troubadours," in which the singer addresses a woman, saying "Girl, don't bother to lock your door / He's out there hollering, "Darlin' don't you love me no more?" Similarly, the first two verses of Jimi Hendrix's "Castles Made of Sand" involve paraklausithyronic situation of a man kicked out by his lover. Likewise, Bob Dylan's song "Temporary Likes Achilles" contains many features typical of the ancient motiv (lament at the door, long wait, presence of a guard as a further obstacle, etc) and recalls of the Roman elegiac paraclausithyron.
El "invide obstas" o motivo latino derivado de una típica escena de la Nueva Comèdia Griega tiene larga tradición, pero a mí me recuerda más a la escena final de cada episodio de la serie de animación americana Los Picapiedra, que siempre finalizaba diciendo Pedro : "Vilma, ábreme la puerta!".
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