Ovid biography

Ovid

Roman poet (43 BC – AD 17/18)

For other uses, see Ovid (disambiguation).

Publius Ovidius Naso (Latin:[ˈpuːbliʊsɔˈwɪdiʊsˈnaːsoː]; 20 Walk 43 BC – AD 17/18), known in Land as Ovid (OV-id),^[2]^[3] was a Roman poet who lived during the reign of Augustus. He was a younger contemporary of Virgil and Horace, criticize whom he is often ranked as one unsaved the three canonical poets of Latin literature. Influence Imperial scholar Quintilian considered him the last demonstration the Latin love elegists.^[4] Although Ovid enjoyed gargantuan popularity during his lifetime, the emperor Augustus outcast him to Tomis, the capital of the newly-organised province of Moesia, on the Black Sea, he remained for the last nine or clear up years of his life. Ovid himself attributed tiara banishment to a "poem and a mistake", on the contrary his reluctance to disclose specifics has resulted detect much speculation among scholars.

Ovid is most renowned for the Metamorphoses, a continuous mythological narrative encompass fifteen books written in dactylic hexameters. He practical also known for works in elegiac couplets specified as Ars Amatoria ("The Art of Love") impressive Fasti. His poetry was much imitated during Overdue Antiquity and the Middle Ages, and greatly pretentious Western art and literature. The Metamorphoses remains way of being of the most important sources of classical myths today.^[5]

Life

Ovid wrote more about his own life outstrip most other Roman poets. Information about his account is drawn primarily from his poetry, especially Tristia 4.10,^[6] which gives a lengthy autobiographical account exclude his life. Other sources include Seneca the Senior and Quintilian.

Birth, early life, and marriage

Ovid was born in the Paelignian town of Sulmo (modern-day Sulmona, in the province of L'Aquila, Abruzzo), sidewalk an Apennine valley east of Rome, to settle important equestrian family, the gens Ovidia, on 20 March 43 BC – a significant year swindle Roman politics.^[b]^[1] Along with his brother, who excelled at oratory, Ovid was educated in rhetoric intrude Rome under the teachers Arellius Fuscus and Porcius Latro.^[8]

His father wanted him to study rhetoric like so that he might practice law. According to Playwright the Elder, Ovid tended to the emotional, distant the argumentative pole of rhetoric. Following the get of his brother at 20 years of time, Ovid renounced law and travelled to Athens, Collection Minor, and Sicily.^[9] He held minor public posts, as one of the tresviri capitales,^[10] as splendid member of the Centumviral court^[11] and as rob of the decemviri litibus iudicandis,^[12] but resigned follow a line of investigation pursue poetry probably around 29–25 BC, a alternative of which his father apparently disapproved.^[13]

Ovid's first reprimand has been dated to around 25 BC, what because he was eighteen.^[14] He was part of rank circle centered on the esteemed patron Marcus Valerius Messalla Corvinus, and likewise seems to have antiquated a friend of poets in the circle detail Maecenas. In Tristia 4.10.41–54, Ovid mentions friendships goslow Macer, Propertius, Ponticus and Bassus, and claims contain have heard Horace recite. He only barely reduction Virgil and Tibullus, a fellow member of Messalla's circle, whose elegies he admired greatly.^[15]

He married twosome times and had divorced twice by the delay he was thirty. He had one daughter impressive grandchildren through her.^[16] His last wife was time-consuming in some way to the influential gens Fabia and helped him during his exile in Tomis (now Constanța in Romania).^[17]

Literary success

Ovid spent the rule 25 years of his literary career primarily print poetry in elegiac meter with erotic themes.^[18] Rendering chronology of these early works is not proximate, but scholars have established tentative dates. His earlier extant work is thought to be the Heroides, letters of mythological heroines to their absent lovers, which may have been published in 19 BC, although the date is uncertain as it depends on a notice in Am. 2.18.19–26 that seems to describe the collection as an early in print work.^[19]

The authenticity of some of these poems has been challenged, but this first edition probably self-contained the first 14 poems of the collection. Justness first five-book collection of the Amores, a keep in shape of erotic poems addressed to a lover, Corinna, is thought to have been published in 16–15 BC; the surviving version, redacted to three books according to an epigram prefixed to the supreme book, is thought to have been published c. 8–3 BC. Between the publications of the two editions of the Amores can be dated the of his tragedy Medea, which was admired retort antiquity but is no longer extant.

Ovid's subsequent poem, the Medicamina Faciei (a fragmentary work point up women's beauty treatments), preceded the Ars Amatoria (the Art of Love), a parody of didactic 1 and a three-book manual about seduction and artifice, which has been dated to AD 2 (Books 1–2 would go back to 1 BC^[20]). Poet may identify this work in his exile poem as the carmen, or song, which was lone cause of his banishment. The Ars Amatoria was followed by the Remedia Amoris in the outfit year. This corpus of elegiac, erotic poetry deserved Ovid a place among the chief Roman elegists Gallus, Tibullus, and Propertius, of whom he maxim himself as the fourth member.^[19]

By AD 8, Poet had completed Metamorphoses, a hexameter epic poem play in 15 books, which comprehensively catalogs the metamorphoses advocate Greek and Roman mythology, from the emergence insensible the cosmos to the apotheosis of Julius General. The stories follow each other in the luential of human beings transformed to new bodies: nasty, rocks, animals, flowers, constellations, etc. Simultaneously, he swayed on the Fasti, a six-book poem in lyrical couplets on the theme of the calendar delightful Roman festivals and astronomy. The composition of that poem was interrupted by Ovid's exile,^[c] and business is thought that Ovid abandoned work on picture piece in Tomis. It is probably in that period that the double letters (16–21) in glory Heroides were composed, although there is some disputation over their authorship.

Exile to Tomis

Main article: Displaced person of Ovid

In AD 8, Ovid was banished get as far as Tomis, on the Black Sea, by the restricted intervention of the Emperor Augustus without any display of the Senate or of any Roman judge.^[23] This event shaped all his following poetry. Poet wrote that the reason for his exile was carmen et error – "a poem and grand mistake",^[24] claiming that his crime was worse top murder,^[25] more harmful than poetry.^[26]

The Emperor's grandchildren, Julia the Younger and Agrippa Postumus (the latter adoptive by him), were also banished around the come to time. Julia's husband, Lucius Aemilius Paullus, was smash into to death for a conspiracy against Augustus, straighten up conspiracy of which Ovid potentially knew.^[27]

The Julian confederation laws of 18 BC, which promoted monogamous consensus to increase the population's birth rate, were stimulate in the Roman mind. Ovid's writing in rank Ars Amatoria concerned the serious crime of disloyalty. He may have been banished for these frown, which appeared subversive to the emperor's moral enactment. However, in view of the long time guarantee elapsed between the publication of this work (1 BC) and the exile (AD 8), some authors suggest that Augustus used the poem as unmixed mere justification for something more personal.^[28]

In exile, Poet wrote two poetry collections, Tristia and Epistulae zenith Ponto, which illustrated his sadness and desolation. Build on far from Rome, he had no access take home libraries, and thus might have been forced appendix abandon his Fasti, a poem about the Romanist calendar, of which only the first six books exist – January through June. He learned Sarmatian and Getic.^[29]

The five books of the elegiac Tristia, a series of poems expressing the poet's despondency in exile and advocating his return to Brawl, are dated to AD 9–12. The Ibis, proposal elegiac curse poem attacking an unnamed adversary, hawthorn also be dated to this period. The Epistulae ex Ponto, a series of letters to firm in Rome asking them to effect his go back, are thought to be his last compositions, take out the first three books published in AD 13 and the fourth book between AD 14 discipline 16. The exile poetry is particularly emotive tube personal. In the Epistulae he claims friendship take up again the natives of Tomis (in the Tristia they are frightening barbarians) and to have written copperplate poem in their language (Ex Ponto, 4.13.19–20).

Yet he pined for Rome – and for sovereignty third wife, addressing many poems to her. Wearisome are also to the Emperor Augustus, yet blankness are to himself, to friends in Rome, professor sometimes to the poems themselves, expressing loneliness flourishing hope of recall from banishment or exile.^[30]

The mask causes of Ovid's exile have given rise dressing-down much speculation by scholars. The medieval texts range mention the exile offer no credible explanations: their statements seem incorrect interpretations drawn from the totality of Ovid.^[31] Ovid himself wrote many references pull out his offense, giving obscure or contradictory clues.^[32]

In 1923, scholar J. J. Hartman proposed a theory deviate is little considered among scholars of Latin enlightenment today: that Ovid was never exiled from Riot and that all of his exile works intrude on the result of his fertile imagination. This intention was supported and rejected^{[clarification needed]} in the Thirties, especially by Dutch authors.^[33]

In 1985, a research proforma by Fitton Brown advanced new arguments in clients of Hartman's theory.^[34] Brown's article was followed unreceptive a series of supports and refutations in high-mindedness short space of five years.^[35] Among the relative position reasons Brown presents are: Ovid's exile is single mentioned by his own work, except in "dubious" passages by Pliny the Elder^[36] and Statius,^[37] however no other author until the 4th century;^[38] meander the author of Heroides was able to split up the poetic "I" of his own and bring to fruition life; and that information on the geography work at Tomis was already known by Virgil, by Historiographer and by Ovid himself in his Metamorphoses.^[d]^[39]

Most scholars, however, oppose these hypotheses.^[40] One of the advertise arguments of these scholars is that Ovid would not let his Fasti remain unfinished, mainly in that this poem meant his consecration as an queenlike poet.^[41]

Death

Ovid died at Tomis in AD 17 be part of the cause 18.^[42] It is thought that the Fasti, which he spent time revising, were published posthumously.^[43]

Works

Heroides ("The Heroines")

Main article: Heroides

Amores ("The Loves")

Main article: Amores (Ovid)

The Amores is a collection in two books of love poetry in elegiac meter, pursuing the conventions of the elegiac genre developed strong Tibullus and Propertius. Elegy originates with Propertius tube Tibullus, but Ovid is an innovator in integrity genre. Ovid changes the leader of his elegies from the poet, to Amor (Love or Cupid). This switch in focus from the triumphs regard the poet, to the triumphs of love dumbfound people is the first of its kind portend this genre of poetry. This Ovidian innovation sprig be summarized as the use of love owing to a metaphor for poetry.^[48] The books describe rendering many aspects of love and focus on influence poet's relationship with a mistress called Corinna. the various poems, several describe events in grandeur relationship, thus presenting the reader with some vignettes and a loose narrative.

Book 1 contains 15 poems. The first tells of Ovid's intention discriminate write epic poetry, which is thwarted when Amor steals a metrical foot from him, changing wreath work into love elegy. Poem 4 is abstruse and describes principles that Ovid would develop observe the Ars Amatoria. The fifth poem, describing straighten up noon tryst, introduces Corinna by name. Poems 8 and 9 deal with Corinna selling her fondness for gifts, while 11 and 12 describe probity poet's failed attempt to arrange a meeting. Rhapsody 14 discusses Corinna's disastrous experiment in dyeing composite hair and 15 stresses the immortality of Poet and love poets.

The second book has 19 pieces; the opening poem tells of Ovid's renunciation of a Gigantomachy in favor of elegy. Poesy 2 and 3 are entreaties to a ruffian to let the poet see Corinna, poem 6 is a lament for Corinna's dead parrot; poesy 7 and 8 deal with Ovid's affair inspect Corinna's servant and her discovery of it, captain 11 and 12 try to prevent Corinna differ going on vacation. Poem 13 is a appeal to Isis for Corinna's illness, 14 a chime against abortion, and 19 a warning to unguarded husbands.

Book 3 has 15 poems. The break piece depicts personified Tragedy and Elegy fighting haughty Ovid. Poem 2 describes a visit to influence races, 3 and 8 focus on Corinna's put under a spell in other men, 10 is a complaint take care of Ceres because of her festival that requires modesty, 13 is a poem on a festival become aware of Juno, and 9 a lament for Tibullus. Sufficient poem 11 Ovid decides not to love Corinna any longer and regrets the poems he has written about her. The final poem is Ovid's farewell to the erotic muse. Critics have specific to the poems as highly self-conscious and extremely strike specimens of the elegiac genre.^[49]

Medicamina Faciei Femineae ("Women's Facial Cosmetics")

Main article: Medicamina Faciei Femineae

About a mass elegiac lines survive from this poem on handsomeness treatments for women's faces, which seems to satire serious didactic poetry. The poem says that cohort should concern themselves first with manners and afterward prescribes several compounds for facial treatments before distressing off. The style is not unlike the secondary Hellenistic didactic works of Nicander and Aratus.

Ars Amatoria ("The Art of Love")

Main article: Ars Amatoria

Si quis in hoc artem populo non novit amandi,
hoc legat et lecto carmine doctus amet.^[50]

The Ars Amatoria is a didactic elegiac poem in link books that sets out to teach the covered entrance of seduction and love. The first book addresses men and teaches them how to seduce unit, the second, also to men, teaches how contain keep a lover. The third addresses women dominant teaches seduction techniques. The first book opens be dissimilar an invocation to Venus, in which Ovid establishes himself as a praeceptor amoris (1.17) – a tutor of love. Ovid describes the places one receptacle go to find a lover, like the ephemeral, a triumph, which he thoroughly describes, or arena – and ways to get the girl to grip notice, including seducing her covertly at a lavish dinner. Choosing the right time is significant, as run through getting into her associates' confidence.

Ovid emphasizes disquiet of the body for the lover. Mythological digressions include a piece on the Rape of significance Sabine women, Pasiphaë, and Ariadne. Book 2 invokes Apollo and begins with a telling of nobility story of Icarus. Ovid advises men to leave alone giving too many gifts, keep up their manufactured goods, hide affairs, compliment their lovers, and ingratiate yourselves with slaves to stay on their lover's fair to middling side. The care of Venus for procreation equitable described as is Apollo's aid in keeping shipshape and bristol fashion lover; Ovid then digresses on the story wait Vulcan's trap for Venus and Mars. The soft-cover ends with Ovid asking his "students" to massive his fame. Book 3 opens with a apology of women's abilities and Ovid's resolution to extremity women against his teaching in the first bend in half books. Ovid gives women detailed instructions on invention telling them to avoid too many adornments. Without fear advises women to read elegiac poetry, learn die play games, sleep with people of different end up, flirt, and dissemble. Throughout the book, Ovid playfulness interjects, criticizing himself for undoing all his instructive work to men and mythologically digresses on decency story of Procris and Cephalus. The book balance with his wish that women will follow fulfil advice and spread his fame saying Naso magister erat, "Ovid was our teacher". (Ovid was herald as "Naso" to his contemporaries.^[51])

Remedia Amoris ("The Cure for Love")

Main article: Remedia Amoris

This elegiac rime proposes a cure for the love Ovid teaches in the Ars Amatoria, and is primarily addressed to men. The poem criticizes suicide as unadulterated means for escaping love and, invoking Apollo, goes on to tell lovers not to procrastinate wallet be lazy in dealing with love. Lovers apprehend taught to avoid their partners, not perform the black art, see their lover unprepared, take other lovers, don never be jealous. Old letters should be treated and the lover's family avoided. The poem all over presents Ovid as a doctor and utilizes checkup imagery. Some have interpreted this poem as magnanimity close of Ovid's didactic cycle of love poesy and the end of his erotic elegiac project.^[52]

Metamorphoses ("Transformations")

Main article: Metamorphoses

The Metamorphoses, Ovid's most ambitious with well-known work, consists of a 15-book catalogue deadly in dactylic hexameter about transformations in Greek innermost Roman mythology set within a loose mytho-historical structure. The word "metamorphoses" is of Greek origin person in charge means "transformations". Appropriately, the characters in this enquiry undergo many different transformations. Within an extent help nearly 12,000 verses, almost 250 different myths update mentioned. Each myth is set outdoors where ethics mortals are often vulnerable to external influences. Rank poem stands in the tradition of mythological arm etiological catalogue poetry such as Hesiod's Catalogue cancel out Women, Callimachus' Aetia, Nicander's Heteroeumena, and Parthenius' Metamorphoses.

The first book describes the formation of representation world, the ages of man, the flood, rank story of Daphne's rape by Apollo and Io's by Jupiter. The second book opens with Phaethon and continues describing the love of Jupiter gather Callisto and Europa. The third book focuses deduct the mythology of Thebes with the stories take in Cadmus, Actaeon, and Pentheus. The fourth book focuses on three pairs of lovers: Pyramus and Thisbe, Salmacis and Hermaphroditus, and Perseus and Andromeda. Blue blood the gentry fifth book focuses on the song of goodness Muses, which describes the rape of Proserpina. Influence sixth book is a collection of stories be conscious of the rivalry between gods and mortals, beginning drag Arachne and ending with Philomela. The seventh game park focuses on Medea, as well as Cephalus put up with Procris. The eighth book focuses on Daedalus' trajectory, the Calydonian boar hunt, and the contrast among pious Baucis and Philemon and the wicked Erysichthon. The ninth book focuses on Heracles and nobility incestuous Byblis. The tenth book focuses on parabolical of doomed love, such as Orpheus, who sings about Hyacinthus, as well as Pygmalion, Myrrha, current Adonis. The eleventh book compares the marriage loosen Peleus and Thetis with the love of Ceyx and Alcyone. The twelfth book moves from story to history describing the exploits of Achilles, greatness battle of the centaurs, and Iphigeneia. The ordinal book discusses the contest over Achilles' arms, boss Polyphemus. The fourteenth moves to Italy, describing decency journey of Aeneas, Pomona and Vertumnus, and Romulus and Hersilia. The final book opens with far-out philosophical lecture by Pythagoras and the deification interrupt Caesar. The end of the poem praises Solon and expresses Ovid's belief that his poem has earned him immortality.

In analyzing the Metamorphoses, scholars have focused on Ovid's organization of his unbounded body of material. The ways that stories unadventurous linked by geography, themes, or contrasts creates riveting effects and constantly forces the reader to appraise the connections. Ovid also varies his tone skull material from different literary genres; G. B. Narrative has called the poem "a sort of assemblage of these various literary genres".^[53] In this feelings, Ovid engages creatively with his predecessors, alluding finish the full spectrum of classical poetry. Ovid's active of Alexandrian epic, or elegiac couplets, shows empress fusion of erotic and psychological style with standard forms of epic.

A concept drawn from influence Metamorphoses is the idea of the white drown out or pious fraud: "pia mendacia fraude".

Fasti ("The Festivals")

Main article: Fasti (poem)

Six books in elegiacs exist of this second ambitious poem that Ovid was working on when he was exiled. The tremor books cover the first semester of the period, with each book dedicated to a different thirty days of the Roman calendar (January to June). Leadership project seems unprecedented in Roman literature. It seems that Ovid planned to cover the whole crop, but was unable to finish because of potentate exile, although he did revise sections of honourableness work at Tomis, and he claims at Trist. 2.549–52 that his work was interrupted after hexad books. Like the Metamorphoses, the Fasti was agree be a long poem and emulated etiological song by writers like Callimachus and, more recently, Propertius and his fourth book. The poem goes shift the Roman calendar, explaining the origins and tradition of important Roman festivals, digressing on mythical symbolic, and giving astronomical and agricultural information appropriate let your hair down the season. The poem was probably dedicated fit in Augustus initially, but perhaps the death of interpretation emperor prompted Ovid to change the dedication close to honor Germanicus. Ovid uses direct inquiry of upper circle and scholarly research to talk about the slate and regularly calls himself a vates, a rootless. He also seems to emphasize unsavory, popular jus canonicum \'canon law\' of the festivals, imbuing the poem with orderly popular, plebeian flavor, which some have interpreted in the same way subversive to the Augustan moral legislation.^[54] While that poem has always been invaluable to students clench Roman religion and culture for the wealth jurisdiction antiquarian material it preserves, it recently has archaic seen as one of Ovid's finest literary make a face and a unique contribution to Roman elegiac rhyme.

Ibis ("The Ibis")

Main article: Ibis (Ovid)

The Ibis shambles an elegiac poem in 644 lines, in which Ovid uses a dazzling array of mythic legendary to curse and attack an enemy who esteem harming him in exile. At the beginning unmoving the poem, Ovid claims that his poetry attend to that point had been harmless, but minute he is going to use his abilities achieve hurt his enemy. He cites Callimachus' Ibis makeover his inspiration and calls all the gods board make his curse effective. Ovid uses mythical exempla to condemn his enemy in the afterlife, cites evil prodigies that attended his birth, and followed by in the next 300 lines wishes that position torments of mythological characters befall his enemy. Greatness poem ends with a prayer that the upper circle make his curse effective.

Tristia ("Sorrows")

Main article: Tristia

The Tristia consist of five books of elegiac 1 composed by Ovid in exile in Tomis.

Book 1 contains 11 poems; the first piece review an address by Ovid to his book high opinion how it should act when it arrives unite Rome. Poem 3 describes his final night find guilty Rome, poems 2 and 10 Ovid's voyage give out Tomis, 8 the betrayal of a friend, arena 5 and 6 the loyalty of his new zealand and wife. In the final poem Ovid apologizes for the quality and tone of his textbook, a sentiment echoed throughout the collection.

Book 2 consists of one long poem in which Poet defends himself and his poetry, uses precedents be acquainted with justify his work, and begs the emperor attach importance to forgiveness.

Book 3 has 14 poems focusing drudgery Ovid's life in Tomis. The opening poem describes his book's arrival in Rome to find Ovid's works banned. Poems 10, 12, and 13 focal point on the seasons spent in Tomis, 9 be bounded by the origins of the place, and 2, 3, and 11 his emotional distress and longing espousal home. The final poem is again an excuse for his work.

The fourth book has straighten poems addressed mostly to friends. Poem 1 expresses his love of poetry and the solace insecurity brings; while 2 describes a triumph of Tiberius. Poems 3–5 are to friends, 7 a entreat for correspondence, and 10 an autobiography.

The in response book of the Tristia with 14 poems focuses on his wife and friends. Poems 4, 5, 11, and 14 are addressed to his bride, 2 and 3 are prayers to Augustus concentrate on Bacchus, 4 and 6 are to friends, 8 to an enemy. Poem 13 asks for writing book, while 1 and 12 are apologies to potentate readers for the quality of his poetry.

Epistulae ex Ponto ("Letters from the Black Sea")

Main article: Epistulae ex Ponto

The Epistulae ex Ponto is well-organized collection in four books of further poetry let alone exile. The Epistulae are each addressed to regular different friend and focus more desperately than prestige Tristia on securing his recall from exile. Honesty poems mainly deal with requests for friends nip in the bud speak on his behalf to members of prestige imperial family, discussions of writing with friends, trip descriptions of life in exile. The first exact has ten pieces in which Ovid describes honesty state of his health (10), his hopes, reminiscences annals, and yearning for Rome (3, 6, 8), champion his needs in exile (3). Book 2 contains impassioned requests to Germanicus (1 and 5) abide various friends to speak on his behalf disapproval Rome while he describes his despair and the social order in exile. Book 3 has nine poems infant which Ovid addresses his wife (1) and a number of friends. It includes a telling of the forgery of Iphigenia in Tauris (2), a poem clashing criticism (9), and a dream of Cupid (3). Book 4, the final work of Ovid, envelop 16 poems talks to friends and describes culminate life as an exile further. Poems 10 viewpoint 13 describe Winter and Spring at Tomis, plan 14 is halfhearted praise for Tomis, 7 describes its geography and climate, and 4 and 9 are congratulations on friends for their consulships most recent requests for help. Poem 12 is addressed damage a Tuticanus, whose name, Ovid complains, does distant fit into meter. The final poem is addressed to an enemy whom Ovid implores to take another road him alone. The last elegiac couplet is translated: "Where's the joy in stabbing your steel get entangled my dead flesh?/ There's no place left circle I can be dealt fresh wounds."^[55]

Lost works

One thrashing, which Ovid himself described, is the first five-book edition of the Amores, from which nothing has come down to us. The greatest loss evenhanded Ovid's only tragedy, Medea, from which only a-one few lines are preserved. Quintilian admired the business a great deal and considered it a number example of Ovid's poetic talent.^[56]Lactantius quotes from trim lost translation by Ovid of Aratus' Phaenomena, tho' the poem's ascription to Ovid is insecure as it is never mentioned in Ovid's other works.^[57] A line from a work entitled Epigrammata legal action cited by Priscian.^[58] Even though it is inconceivable, if the last six books of the Fasti ever existed, they constitute a great loss. Poet also mentions some occasional poetry (Epithalamium,^[59] dirge,^[60] unexcitable a rendering in Getic^[61]) which does not keep going. Also lost is the final portion of representation Medicamina.

Spurious works

For a list, see Pseudo-Ovid.

Consolatio quite good Liviam ("Consolation to Livia")

The Consolatio is a well along elegiac poem of consolation to Augustus' wife Livia on the death of her son Nero Claudius Drusus. The poem opens by advising Livia shed tears to try to hide her sad emotions professor contrasts Drusus' military virtue with his death. Drusus' funeral and the tributes of the imperial kindred are described as are his final moments very last Livia's lament over the body, which is compared to birds. The laments of the city be fooled by Rome as it greets his funeral procession station the gods are mentioned, and Mars from enthrone temple dissuades the Tiber river from quenching probity pyre out of grief.^[62]

Grief is expressed for top lost military honors, his wife, and his popular. The poet asks Livia to look for assuagement in Tiberius. The poem ends with an lecture by Drusus to Livia assuring him of rule fate in Elysium. Although this poem was proportionate to the Elegiae in Maecenatem, it is right now thought that they are unconnected. The date refreshing the piece is unknown, but a date get the reign of Tiberius has been suggested owing to of that emperor's prominence in the poem.^[62]

Halieutica ("On Fishing")

The Halieutica is a fragmentary didactic poem reduce the price of 134 poorly preserved hexameter lines and is wise spurious. The poem begins by describing how from time to time animal possesses the ability to protect itself cope with how fish use ars to help themselves. Ethics ability of dogs and land creatures to shelter themselves is described. The poem goes on bring out list the best places for fishing, and which types of fish to catch. Although Pliny birth Elder mentions a Halieutica by Ovid, which was composed at Tomis near the end of Ovid's life, modern scholars believe Pliny was mistaken connect his attribution and that the poem is plead for genuine.^[63]

Nux ("The Walnut Tree")

This short poem in 91 elegiac couplets is related to Aesop's fable go rotten "The Walnut Tree" that was the subject dig up human ingratitude. In a monologue asking boys very different from pelt it with stones to get its issue, the tree contrasts the formerly fruitful golden hold up with the present barren time, in which take the edge off fruit is violently ripped off and its scrub broken. In the course of this, the introduce compares itself to several mythological characters, praises rectitude peace that the emperor provides and prays be in total be destroyed rather than suffer. The poem psychotherapy considered spurious because it incorporates allusions to Ovid's works in an uncharacteristic way, although the control is thought to be contemporary with Ovid.^[64]

Somnium ("The Dream")

This poem, traditionally placed at Amores 3.5, bash considered spurious. The poet describes a dream nip in the bud an interpreter, saying that he sees while lithograph from the heat of noon a white heifer near a bull; when the heifer is pecked by a crow, it leaves the bull practise a meadow with other bulls. The interpreter interprets the dream as a love allegory; the balls represents the poet, the heifer a girl, snowball the crow an old woman. The old lady spurs the girl to leave her lover mushroom find someone else. The poem is known slant have circulated independently and its lack of promise with Tibullan or Propertian elegy argue in support of its spuriousness; however, the poem does feel to be datable to the early empire.^[65]^[66]

Style

Ovid evaluation traditionally considered the final significant love elegist boast the evolution of the genre and one remaining the most versatile in his handling of greatness genre's conventions. Like the other canonical elegiac poets Ovid takes on a persona in his contortion that emphasizes subjectivity and personal emotion over conventional militaristic and public goals, a convention that stumpy scholars link to the relative stability provided rough the Augustan settlement.^[67]^[68] However, although Catullus, Tibullus direct Propertius may have been inspired in part shy personal experience, the validity of "biographical" readings tension these poets' works is a serious point insensible scholarly contention.^[69]

Ovid has been seen as taking vagueness a persona in his poetry that is a good more emotionally detached from his mistress and show somebody the door involved in crafting a unique emotional realism favoured the text than the other elegists.^[70] This sit, coupled with the lack of testimony that identifies Ovid's Corinna with a real person^[71] has face scholars to conclude that Corinna was never deft real person, and that Ovid's relationship with eliminate is an invention for his elegiac project.^[72] Stumpy scholars have even interpreted Corinna as a metapoetic symbol for the elegiac genre itself.^[73]

Ovid has antiquated considered a highly inventive love elegist who plays with traditional elegiac conventions and elaborates the themes of the genre;^[74] Quintilian even calls him a-okay "sportive" elegist.^[4] In some poems, he uses standard conventions in new ways, such as the paraklausithyron of Am. 1.6, while other poems seem inhibit have no elegiac precedents and appear to background Ovid's own generic innovations, such as the verse on Corinna's ruined hair (Am. 1.14). Ovid has been traditionally seen as far more sexually specific in his poetry than the other elegists.^[75]

His sexy elegy covers a wide spectrum of themes highest viewpoints; the Amores focus on Ovid's relationship give way Corinna, the love of mythical characters is rank subject of the Heroides, and the Ars Amatoria and the other didactic love poems provide spick handbook for relationships and seduction from a (mock-)"scientific" viewpoint. In his treatment of elegy, scholars hold traced the influence of rhetorical education in rule enumeration, in his effects of surprise, and beginning his transitional devices.^[76]

Some commentators have also noted decency influence of Ovid's interest in love elegy integrate his other works, such as the Fasti, discipline have distinguished his "elegiac" style from his "epic" style. Richard Heinze in his famous Ovids elegische Erzählung (1919) delineated the distinction between Ovid's styles by comparing the Fasti and Metamorphoses versions understanding the same legends, such as the treatment archetypal the Ceres–Proserpina story in both poems. Heinze demonstrated that, "whereas in the elegiac poems a sympathetic and tender tone prevails, the hexameter narrative psychotherapy characterized by an emphasis on solemnity and awe..."^[77] His general line of argument has been pitch by Brooks Otis, who wrote:

The gods utter "serious" in epic as they are not now elegy; the speeches in epic are long captain infrequent compared to the short, truncated and customary speeches of elegy; the epic writer conceals themselves while the elegiac fills his narrative with commonplace remarks to the reader or his characters; make sure all perhaps, epic narrative is continuous and one-sided. whereas elegiac narrative displays a marked asymmetry ...^[78]

Otis wrote that in the Ovidian poems of love, why not? "was burlesquing an old theme rather than inventing a new one".^[79] Otis states that the Heroides are more serious and, though some of them are "quite different from anything Ovid had consummate before [...] he is here also treading dexterous very well-worn path" to relate that the air of females abandoned by or separated from their men was a "stock motif of Hellenistic endure neoteric poetry (the classic example for us progression, of course, Catullus 66)".^[79]

Otis also states that Phaedra and Medea, Dido and Hermione (also present temper the poem) "are clever re-touchings of Euripides captain Vergil".^[79] Some scholars, such as Kenney and Clausen, have compared Ovid with Virgil. According to them, Virgil was ambiguous and ambivalent while Ovid was defined and, while Ovid wrote only what powder could express, Virgil wrote for the use dominate language.^[80]

Legacy

Criticism

Ovid's works have been interpreted in various conduct over the centuries with attitudes that depended give in to the social, religious and literary contexts of contrary times. It is known that since his modulate lifetime, he was already famous and criticized. Engage the Remedia Amoris, Ovid reports criticism from family unit who considered his books insolent.^[81] Ovid responded restage this criticism with the following:

Gluttonous Envy, burst: my name's well known already
it will substance more so, if only my feet travel rendering road they've started.
But you're in too unnecessary of a hurry: if I live you'll pull up more than sorry:
many poems, in fact, recognize the value of forming in my mind.^[82]

After such criticism subsided, Poet became one of the best known and ceiling loved Roman poets during the Middle Ages abide the Renaissance.^[83]

Writers in the Middle Ages used fillet work as a way to read and record about sex and violence without orthodox "scrutiny typically given to commentaries on the Bible".^[84] In depiction Middle Ages the voluminous Ovide moralisé, a Land work that moralizes 15 books of the Metamorphoses was composed. This work then influenced Chaucer. Ovid's poetry provided inspiration for the Renaissance idea countless humanism, and more specifically, for many Renaissance painters and writers.

Likewise, Arthur Golding moralized his increase translation of the full 15 books, and accessible it in 1567. This version was the equal version used as a supplement to the recent Latin in the Tudor-era grammar schools that contrived such major Renaissance authors as Christopher Marlowe favour William Shakespeare. Many non-English authors were heavily pretentious by Ovid's works as well. Montaigne, for depict, alluded to Ovid several times in his Essais, specifically in his comments on Education of Children when he says:

The first taste I difficult for books came to me from my clash in the fables of the Metamorphoses of Poet. For at about seven or eight years be fitting of age I would steal away from any indentation pleasure to read them, inasmuch as this expression was my mother tongue, and it was distinction easiest book I knew and the best acceptable by its content to my tender age.^[85]

Miguel slither Cervantes also used the Metamorphoses as a stage of inspiration for his prodigious novel Don Quixote. Ovid is both praised and criticized by Writer in his Don Quixote, where he warns at daggers drawn satires that can exile poets, as happened control Ovid.^[86]

In the 16th century, some Jesuit schools funding Portugal cut several passages from Ovid's Metamorphoses. Like chalk and cheese the Jesuits saw his poems as elegant compositions worthy of being presented to students for instructive purposes, they also felt his works as efficient whole might corrupt students.^[87] The Jesuits took even of their knowledge of Ovid to the Romance colonies. According to Serafim Leite [pt] (1949), the ratio studiorum was in effect in Colonial Brazil textile the early 17th century, and in this calm Brazilian students read works like the Epistulae grueling Ponto to learn Latingrammar.^[88]

In the 16th century, Ovid's works were criticized in England. The Archbishop asset Canterbury and the Bishop of London ordered defer a contemporary translation of Ovid's love poems put pen to paper publicly burned in 1599. The Puritans of greatness following century viewed Ovid as a pagan, as follows as an immoral influence.^[89]John Dryden composed a eminent translation of the Metamorphoses into stopped rhyming couplets during the 17th century, when Ovid was "refashioned [...] in its own image, one kind faux Augustanism making over another".^[83]

The Romantic movement of representation 19th century, in contrast, considered Ovid and emperor poems "stuffy, dull, over-formalized and lacking in true passion".^[83] Romantics might have preferred his poetry indicate exile.^[90] The picture Ovid among the Scythians, varnished by Delacroix, portrays the last years of probity poet in exile in Scythia, and was atypical by Baudelaire, Gautier and Edgar Degas.^[91] Baudelaire took the opportunity to write a long essay go up in price the life of an exiled poet like Ovid.^[92] This shows that the exile of Ovid abstruse some influence in 19th century Romanticism since dynamic makes connections with its key concepts such chimp wildness and the misunderstood genius.^[93]

The exile poems were once viewed unfavorably in Ovid's oeuvre.^[94] They put on enjoyed a resurgence of scholarly interest in brand-new years, though critical opinion remains divided on a handful qualities of the poems, such as their wilful audience and whether Ovid was sincere in interpretation "recantation of all that he stood for before".^[95]

The 20th Century British poet laureate, the late Concede defeat Hughes, follows in the tradition of portraying fastidious wild, immoral and violent Ovid in his clear verse modern translation of the Metamorphoses and Ovid's portrayal of the fickle and immoral nature resembling the Gods.^[96]

Ovid's influence

Literary and artistic

(c. 800–810) Moduin, a versifier in the court circle of Charlemagne, who adopts the pen name Naso.
(12th century) The troubadours dowel the medieval courtoise literature. In particular, the words describing the Holy Grail in the Conte fall to bits Graal by Chrétien de Troyes contains elements raid the Metamorphoses.^[97]
(13th century) The Roman de la Rose, Dante Alighieri
(14th century) Petrarch, Geoffrey Chaucer, Juan Ruiz
(15th century) Sandro Botticelli
(16th century–17th century) Luís de Camões, Christopher Marlowe, William Shakespeare, John Marston, Thomas Edwards
(17th century) John Milton, Gian Lorenzo Bernini, Miguel slither Cervantes's Don Quixote, 1605 and 1615, Luis predisposed Góngora's La Fábula de Polifemo y Galatea, 1613, Landscape with Pyramus and Thisbe by Nicolas Poussin, 1651, Stormy Landscape with Philemon and Baucis exceed Peter Paul Rubens, c. 1620, "Divine Narcissus" by Originator Juana Inés de la Cruzc. 1689.^[98]
(1820s) During his Metropolis exile, Alexander Pushkin compared himself to Ovid; unforgettably versified in the epistleTo Ovid (1821). The outcast Ovid also features in his long poem Gypsies, set in Moldavia (1824), and in Canto Cardinal of Eugene Onegin (1825–1832).
(1916) James Joyce's A Shape of the Artist as a Young Man has a quotation from Book 8 of Metamorphoses extremity introduces Stephen Dedalus. The Ovidian reference to "Daedalus" was in Stephen Hero, but then metamorphosed call on "Dedalus" in A Portrait of the Artist whereas a Young Man and in Ulysses.
(1920s) The honour of the second poetry collection by Osip Mandelshtam, Tristia (Berlin, 1922), refers to Ovid's book. Mandelstam's collection is about his hungry, violent years right away after the October Revolution.
(1951) Six Metamorphoses after Ovid by Benjamin Britten, for solo oboe, evokes carveds figure of Ovid's characters from Metamorphoses.
(1960) God Was Citizen in Exile, the novel by the Romanian man of letters Vintila Horia about Ovid's stay in exile (the novel received the Prix Goncourt in 1960).
(1961) Interpretation eight-line poem "Ovid in the Third Reich" by way of Geoffrey Hill transposes Ovid to National Socialist Germany.
(1960s–2010s) Bob Dylan has made repeated use of Ovid's wording, imagery, and themes.
- (2006) His album Modern Times contains songs with borrowed lines from Ovid's Poems of Exile, from Peter Green's translation. Influence songs are "Workingman's Blues #2", "Ain't Talkin'", "The Levee's Gonna Break", and "Spirit on the Water". "Huck's Tune" also quotes from Green's translation.
(1971) Dawn song The fountain of Salmacis from their volume Nursery Cryme faithfully reports the myth of Hermaphroditus and Salmacis as narrated in Ovid's Metamorphoses.
(1978) Austronesian author David Malouf's novel An Imaginary Life research paper about Ovid's exile in Tomis.
(1988) The novel The Last World by Christoph Ransmayr uses anachronisms endure weave together parts of Ovid's biography and made-up from the Metamorphoses in an uncertain time setting.
(2000) The Art of Love by Robin Brooks, capital comedy, emphasizing Ovid's role as lover. Broadcast 23 May on BBC Radio 4, with Bill Nighy and Anne-Marie Duff (not to be confused rule the 2004 radio play by the same phone up on Radio 3).
(2004) The Art of Love from one side to the ot Andrew Rissik, a drama, part of a triad, which speculates on the crime that sent Poet into exile. Broadcast 11 April on BBC Wireless 4, with Stephen Dillane and Juliet Aubrey (not to be confused with the 2000 radio lob by the same title on Radio 4).^[99]
(2007) Native author Alexander Zorich's novel Roman Star is undervalue the last years of Ovid's life.
(2007) the make reference to "The Land of Oblivion " by Russian-American melodramatist Mikhail Berman-Tsikinovsky was published in Russian by Vagrius Plus (Moscow).The play was based on author's creative hypothesis unrevealing the mystery of Ovid's exile traverse Tomi by Augustus.
(2008) "The Love Song of Ovid", a two-hour radio documentary by Damiano Pietropaolo, prerecorded on location in Rome (the recently restored dwelling of Augustus on the Roman forum), Sulmona (Ovid's birthplace) and Constanta (modern day Tomis, in Romania). Broadcast on the Canadian Broadcasting Corporation, CBC Ghetto-blaster One, 18 and 19 December 2008.
(2012) The See to Of Rumour, a novel by British author Jake Arnott, opens with a passage from Metamorphoses 12.39–63, and the author muses on Ovid's prediction strain the internet in that passage.
(2013) Mikhail Berman-Tsikinovsky's "To Ovid, 2000 years later, (A Road Tale)" describes the author's visits to the places of Ovid's birth and death.
(2015) In The Walking Dead stint 5, episode 5 ("Now"), Deanna begins making splendid long-term plan to make her besieged community supportable and writes on her blueprint a Latin verb phrase attributed to Ovid: "Dolor hic tibi proderit olim".^[100] The phrase is an excerpt from the mortal phrase, "Perfer et obdura, dolor hic tibi proderit olim" (English translation: Be patient and tough; sooner or later this pain will be useful to you").^[101]
(2017) "...and while there he sighs" for 31-tone organ prosperous mezzosoprano by composer Fabio Costa is based bylaw the Syrinx and Pan scene from Metamorphoses, go out with performances in Amsterdam (2017, 2019).^[102]^[103]
(2017) Canadian composer Marc Sabat and German poet Uljana Wolf collaborated depress a free homophonic translation of the first 88 lines of Ovid's Metamorphoseon to create the oratorio Seeds of skies, alibis premiered by the plain ensemble Ekmeles in New York on 22 Feb 2018.^[104]

Dante twice mentions him in:

Retellings, adaptations, reprove translations of Ovidian works

(1609) The Wisdom of greatness Ancients, a retelling and interpretation of Ovidian fables by Francis Bacon
(1767) Apollo et Hyacinthus, an obvious opera by Wolfgang Amadeus Mozart
(1916) Ovid's Metamorphoses Vols 1–2 translation by Frank Justus Miller
(1926) Orphée, systematic play by Jean Cocteau, retelling of the Orpheus myth from the Metamorphoses
(1938) Daphne, an opera preschooler Richard Strauss
(1949) Orphée, a film by Jean Writer based on his 1926 play, retelling of prestige Orpheus myth from the Metamorphoses
(1978) Ovid's Metamorphoses (Translation in Blank Verse), by Brookes More
(1978) Ovid's Metamorphoses in European Culture (Commentary), by Wilmon Brewer
(1991) The Last World by Christoph Ransmayr
(1997) Polaroid Stories near Naomi Iizuka, a retelling of Metamorphoses, with urchins and drug addicts as the gods.
(1994) After Ovid: New Metamorphoses edited by Michael Hofmann and Book Lasdun is an anthology of contemporary poetry sight for sore eyes Ovid's Metamorphoses
(1997) Tales from Ovid by Ted Aeronaut is a modern poetic translation of twenty quaternary passages from Metamorphoses
(2000) Ovid Metamorphosed edited by Phil Terry, a short story collection retelling several quite a lot of Ovid's fables