By John F. Miller, Carole E. Newlands
A instruction manual to the Reception of Ovid provides greater than 30 unique essays written through major students revealing the wealthy variety of severe 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 prime students within the Humanities.
- Introduces usual and unexpected figures within the heritage of Ovidian reception.
- Demonstrates the long-lasting and transformative strength of Ovid’s poetry into smooth times.
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Additional info for A Handbook to the Reception of Ovid
Each new narrator, again like Ulysses, adds something to the received account, swelling and renewing the sound, and also historicizing epic in the sense that it allows the story to change over time (indeed the image of Fama’s house is specifically modeled on the palace of a contemporary Roman aristocrat with its throng of place-seeking clients and its Modeling Reception in Metamorphoses 27 rumormongering). 50–52), another conventional image for epic poetry (Call. Aet. fr. 20). 57). Let me turn now to one episode that illustrates the mutual transformation of epic and its Ovidian author, namely, the treatment of Polyphemus in Books 13 and 14.
15–20 to have burnt upon departing in exile the unrevised manuscript of the Metamorphoses recall Virgil’s dying wish to burn the manuscript of the Aeneid. 7 As he asserts the parity of his epic with Virgil’s, Ovid also reproaches Augustus for not approving of his poetry as he had Virgil’s (cf. Tr. 533 tuae … Aeneidos). Ovid here and elsewhere creates an image of a famous poet interrupted at the height of his career, leaving his two greatest works unfinished, the Metamorphoses (cf. Tr. 19–23) and the Fasti (Tr.
42 Ovid promises carmina laetitiae … plena (“poems full of joy”) if he is recalled from exile, poetry very different from his earlier love poetry, of which Caesar himself will approve (43–45). g. Pont. 11 consolatio). Ovid is increasingly promising praise poetry, on such themes as Augustus’ deification (Pont. 17–18) and the military triumphs of Tiberius and Germanicus (Pont. 1). In Pont. 4, a poem celebrating Tiberius’ Pannonian triumph of 12 CE, Ovid complains that his distance from Rome makes it impossible for him to offer a timely and eyewitness account of the event (essential to occasional poetry); he must instead rely on hearsay alone (Pont.