The Cambridge Companion to Ovid by Philip Hardie

By Philip Hardie

A significant other to 1 of the best writers of classical antiquity, and arguably the only such a lot influential historical poet for post-classical literature and tradition, is lengthy past due. Chapters by way of top specialists speak about the backgrounds and contexts for Ovid, the person works, and his impact on later literature and artwork. insurance of crucial info is mixed with interesting new serious ways. The ebook is key examining for all attracted to Ovid and his impact.

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49 Recalling Aeneas’ narrative of his past, she wryly observes that he had already shown his faithlessness by abandoning Creusa at Troy (83–5). When she reflects on her encounter with Aeneas in the cave, Ovid gives her an awareness of the event’s meaning that in Virgil is reserved to the narrator (93–6, cf. Aen. 169–72), and even allows her to ‘correct’ the facts as related in the Aeneid, if only at the rhetorical level (‘I thought it was the nymphs howling’ – as Virgil says it was – ‘rather the Eumenides were giving the signal for my doom’).

19 Like so much else in early imperial poetry, this occasional court poetry has Alexandrian precedents, in the poetry celebrating the power and culture of the Ptolemaic court. 20 Imperial epic and historiography work overtime in what had always been a central goal of these genres, the verbal evocation of striking visual impressions (enargeia). In his exile poetry Ovid has an urgent personal need for a visual illusionism that might conjure up visions of distant Rome, but a heavy investment in the gaze also marks his earlier works, above all the Metamorphoses which strives to give the reader a vivid sense of viewing the bizarre events unfolding in often sensual landscapes, through a variety of techniques, including empathy with the emotional reactions of internal spectators.

14). 74 Trist. 1–10, Pont. 5–10. Hinds (1999a) 124–8. 16. Each passage, in addition to its immediate function, reasserts Ovid’s standing in the Roman literary world. But even as Ovid repeats his claim to poetic recognition, the terms of the claim become significantly more modest. Whether as a form of captatio misericordiae or because of a genuinely chastened outlook, the poet who had asserted equality with Homer and Virgil now asks only to be accepted among the poets of his time. In Trist. 125–8 Ovid says that fame was ‘not unkind’ (non .

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