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This is Ovid's wittily imagined version of the letters exchanged by three famous pairs of lovers. Heroides XVI-XXI constitute an artfully constructed triptych: Hero and Leander's tragedy of high romance and fleeting happiness framed by two ironic comedies, that of Paris and Helen distinctly black, that of Acontius and Cydippe ending the book on a note of tantalising ambiguity. This is the first edition of these poems with commentary in any language since 1898. It provides a substantially improved text, together with all the guidance needed by students for the understanding of Ovid's Latin and the appreciation of his poetic art. The Introduction offers the first adequate discussion ever published of the poet's treatment of his literary sources and models, and deals succinctly but decisively with the question of authorship.
Ovid's Heroides, a collection of twenty-one epistles in elegiac verse, consists of two groups, the first comprising fourteen poems addressed by heroines of mythology to their absent lovers or husbands. In this edition, Professor Knox offers a commentary on seven of these epistles, addressing problems of language and style, and focusing on the relationship of the Heroides to the classic works of Greek and Roman literature on which Ovid bases his representation of these women. In addition, he has included a commentary on the Epistula Sapphus, a separate poem of doubtful authorship which was composed in the manner of Ovid and is believed by many to be by him. The Introduction provides an account of the genre, a survey of language, style and metre, and an outline of the problems concerning the authenticity of parts of the collection.
This volume offers up-to-date translations of all 21 epistles of Ovid’s Heroides. Each letter is accompanied by a preface explaining the mythological background, and an essay offering critical remarks on the poem, and discussion of the heroine and her treatment elsewhere in Classical literature. Where relevant, reception in later literature, film, music and art, and feminist aspects of the myth are also covered. The book is augmented by an introduction covering Ovid's life and works, the Augustan background, originality of the Heroides, dating, authenticity, and reception. This is a vital new resource for anyone studying the poetry of Ovid, classical myth, or women in the ancient world. A useful glossary of characters mentioned in the Heroides concludes the book.
A Companion to Ovid is a comprehensive overview of one of the most influential poets of classical antiquity. Features more than 30 newly commissioned chapters by noted scholars writing in their areas of specialization Illuminates various aspects of Ovid's work, such as production, genre, and style Presents interpretive essays on key poems and collections of poems Includes detailed discussions of Ovid's primary literary influences and his reception in English literature Provides a chronology of key literary and historical events during Ovid's lifetime
Ovid's Heroides, a catalogue of letters by women who have been deserted, has too frequently been examined as merely a lament. In a new departure, this book portrays the women of the Heroides as a community of authors. Combining close readings of the texts and their mythological backgrounds with critical methods, the book argues that the points of similarity between the different letters of the Heroides, so often derided by modern critics, represent a brilliant exploitation of intratextuality, in which the Ovidian heroine self-consciously fashions herself as an alluding author influenced by what she has read within the Heroides. Far from being naive and impotent victims, therefore, the heroines are remarkably astute, if not always successful, at adapting textual strategies that they perceive as useful for attaining their own ends. With this new approach Professor Fulkerson shows that the Heroides articulate a fictional poetic, mirroring contemporary practices of poetic composition.
Ovid devoted about half of his poetic career to the production of several collections of amatory verse, all composed in elegiac couplets. Indeed, his irrepressible interest in love, sex and elegiac poetry is one of the defining features of his entire output. Here Rebecca Armstrong offers a thematic examination of some important aspects of the Amores, Ars Amatoria and Remedia Amoris. Starting from an investigation of the narrator's self-creation and presentation of other characters within his amatory verse, she assesses the importance of mythical and contemporary reference, as well as the influence of the erotic on Ovid's later works. By looking at the Ars and Remedia alongside the Amores, the continuities and contradictions in the poet's elegiac outlook are revealed, and a complex picture is formed of the Ovidian world of love. Ovid's erotic works present the reader with a glimpse inside the minds of both poets and lovers, mediated through eyes which are frequently inclined to comedy and even cynicism, but always sharp, perceptive and above all fascinated by human behaviour.
Brings the Amores into the forefront of scholarly discussion
Virgil, Horace and Ovid are often cited as the three great canonical poets of classical Roman literature. And of the three, arguably it is Ovid (43 BCE-CE 17/18) who has the most enduring legacy. Carole Newlands introduces her subject as an ancient author with a vital place in the modern cultural canon: and also as the inspiration behind figures as diverse as Chaucer, Titian, Dryden and Ted Hughes. She views Ovid as a Latin writer who is uniquely suitable for times of change: he appeals to postmodern sensibilities because of his interest in psychology, his fascination with cultural hybridity and his challenge to the conventional divide between animal and human. This book explores the connection between the historical poet and the works he produced: love elegies, the Metamorphoses and the Fasti. It shows that unlike Virgil - who wrote early in Augustus' reign, anticipating a golden age of peace and prosperity - Ovid was a product of the late Augustan age: one of hardening autocracy and the greater influence of Tiberius behind the scenes. His elegies and erotic myths must therefore be understood as the result of complex, shifting political circumstances.
The political allegiances of major Roman poets have been notoriously difficult to pin down, in part because they often shift the onus of political interpretation from themselves to their readers. By the same token, it is often difficult to assess their authorial powerplays in the etymologies, puns, anagrams, telestichs, and acronyms that feature prominently in their poetry. It is the premise of this volume that the contexts of composition, performance, and reception play a critical role in constructing poetic voices as either politically favorable or dissenting, and however much the individual scholars in this volume disagree among themselves, their readings try to do justice collectively to poetry’s power to shape political realities. The book is aimed not only at scholars of Roman poetry, politics, and philosophy, but also at those working in later literary and political traditions influenced by Rome's greatest poets.