By John F. Miller, Carole E. Newlands
A guide to the Reception of Ovid provides greater than 30 unique essays written by means of best students revealing the wealthy variety of serious engagement with Ovid’s poetry that spans the Western culture from antiquity to the current day.
- Offers leading edge views on Ovid’s poetry and its reception from antiquity to the current day
- Features contributions from greater than 30 major students within the Humanities.
- Introduces general and unusual figures within the heritage of Ovidian reception.
- Demonstrates the iconic and transformative strength of Ovid’s poetry into smooth times.
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Additional info for A Handbook to the Reception of Ovid
4 [12 CE]) and accessions to the consulship (Pont. 9 [16 CE]). In mid-15 to late 16 Ovid began revisions to the Fasti from exile. He composed a new proem for Fasti 1, containing a dedication to Germanicus, which replaced an exordium to Augustus (Tr. 551), and made additions or changes elsewhere as well, mostly in Book 1, which reflect on his exiled condition and new political circumstances (see Syme 1978: 46; Fantham 1985; Herbert-Brown 1994: 173–212; Barchiesi 1997: 177–80; Green 2004: 15–24).
Barchiesi and Hardie suggest that “Tristia 2 is implicitly structured as a supplement to Gallus’ career, an opportunity for a victimized elegiac poet to talk back” (2010: 69). In Tr. 9, which contains a threat of poetic attack against an enemy (16 Pierides vires et sua tela dabunt, “the Muses will provide strength and their own weapons”), Ovid forcefully asserts the universal fame and immortality of his poetry in terms recognizably Gallan (20–22; Cairns 2006: 98): quodque querar notum, qua patet orbis, erit.
By this measure as well, Polyphemus becomes a powerful symbol of regression. Ovid’s appropriation of the simile also draws attention to the process of comparison itself. Virgil’s simile in the Aeneid simultaneously bestializes his hero and also raises questions about the relationship between the figurative and the literal. The bull in the Georgics is a bull, but Aeneas, from an optimistic perspective, is merely like a bull. Ovid’s simile, however, strikingly underlines the likeness of tenor and vehicle—making the essential difference implied by the figure harder to maintain.
A Handbook to the Reception of Ovid by John F. Miller, Carole E. Newlands