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5 results

  • THE BONES OF TIBULLUS: OVID, AMORES 3.9.59

  • Kyle Gervais
  • Journal:
    The Classical Quarterly / Volume 74 / Issue 1 / May 2024
    Published online by Cambridge University Press:
    18 September 2024, pp. 349-354
    Print publication:
    May 2024
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  • This article argues for an emendation to Ovid, Amores 3.9, Ovid's lament for Tibullus. The transmitted text of line 59 would seem to present a contradiction: Ovid speculates about aliquid nisi nomen et umbra surviving death, and then proceeds in the next few lines to identify that aliquid as, precisely, Tibullus’ umbra. Ovid's original text was most likely aliquid nisi nomen et ossa, referring to a burial site and funerary inscription; with this text, Ovid reproduces details from Tibullus 1.3, a poem which he reworks throughout his elegy.

  • NAPE VERTIT: A NOTE ON OVID, AMORES 1.12

  • Natalie J. Swain
  • Journal:
    The Classical Quarterly / Volume 73 / Issue 1 / May 2023
    Published online by Cambridge University Press:
    16 June 2023, pp. 477-481
    Print publication:
    May 2023
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  • The hairdresser who carries Ovid's invitation to his puella in Amores 1.11 is almost immediately blamed for his rejection in 1.12, before that blame is transferred to the tablets carrying that invitation. Nape (the enslaved hairdresser of the puella) has been linked to the character Dipsas, appearing in 1.7, specifically through the descriptor sobria. By focussing on the use of the verb uerto, the reference to the mythical strix, and curses related to the old age of both Dipsas and the tablets in 1.7 and 1.12, this note demonstrates that the supernatural word choice further connects Nape with Dipsas.

  • Chapter 4 - The Ovidian Unmasking of the Elegiac Grotesque

  • Mariapia Pietropaolo, McMaster University, Ontario
  • Book:
    The Grotesque in Roman Love Elegy
    Published online:
    10 September 2020
    Print publication:
    17 September 2020, pp 82-113

  • Summary

    This chapter is concerned with the idea that the elegiac grotesque is rooted in the character of the puella herself and may manifest itself as a consequence of her role in the genre. The repeated use of cosmetics in order to enhance her erotic appeal may cause her to lose her hair and hence her beauty, forcing her to studiously cover up her ugliness. Sex may also result in an unwanted pregnancy, forcing her to have an abortion in order to remain in the elegiac world. Pregnancy and loss of beauty are both anti-elegiac motifs, though they are always potentially present in the very conception of the puella. Elegiac love can cause the puella to cross the boundaries of elegy and to have recourse to anti-elegiac measures in order to re-enter her role in the genre. This is particularly evident in the abortion poems. There the grotesque enters deeply into the elegiac genre, since it is used to restore the condition that can make elegiac love possible again; though it does not become the main point of the elegy, it represents a destabilizing nucleus in its narrative core.

Loving Writing/Ovid's Amores
  • Ellen Oliensis
  • Published online:
    01 July 2019
    Print publication:
    11 July 2019
  • This book offers a fresh reading of the Amores centered on the aggressive, opportunistic, endlessly fluent, pleasure-seeking character, the poet-lover of the collection, here called Naso. Resisting the scholarly tendency to segregate the poet from the lover, Ellen Oliensis teases out the compromising affiliations between Naso's most 'poetic' performances and his seamy erotic adventures and shows that his need to write the script of his own subjection, far from delegitimizing his desire, tallies with other features of his generally masochistic profile. The book concludes with an exploration of the masochistic pleasures of the elegiac writing project as such, thereby effectively re-uniting Ovid with his surrogate within the collection.

  • 21 - Ovid

  • from PART IV - THE AGE OF AUGUSTUS
  • Edited by E. J. Kenney, W. V. Clausen
  • Book:
    The Cambridge History of Classical Literature
    Published online:
    28 March 2008
    Print publication:
    18 March 1982, pp 420-457

  • Summary

    The design and execution of the Amores can be properly understood only in relation to Ovid's predecessors. The chronology of Ovid's early poetry is perplexed and obscure, so that the composition of the Heroides cannot be exactly placed in a sequence with the two editions of the Amores and with the Ars amatoria. The material of the Heroides comes principally from Greek epic and tragedy. Ovid's language implies that the Metamorphoses will manage to be both Callimachean and un-Callimachean at once. Attempts have been made to detect a unity and hence a message in such aspects of the poem as its structure or its symbolism, even in its very diversity. In the technical sphere Ovid left a mark on the Latin poetic tradition that still endures: for the modern composer of elegiac couplets is normally expected to abide by the Ovidian rules.