Yale University Press, 01/01/1968 - 192 páginas
Of all the poets of ancient Rome Ovid had perhaps the most influence on the art and literature of Medieval and Renaissance Europe. Even today he is probably the most accessible of all classical poets to the non-specialist, both in his subject matter and in his style. Ovid is no less fascinated than we are by the human psyche and by the ways men and women relate to each other, and many of his views on these questions seem centuries ahead of his time. Ovid’s interest in narrative technique is so much like ours that modern critical terms such as “reader-response” could have been coined for his experiments with story telling. In the creation of different personae and points of view his ingenuity is endless. For the Amores he invented a posing poet-lover; for the Art of Love, his narrator is a cynical professor of seduction who is convinced, quite wrongly, that he has love down to a science. In the Heroides, a series of verse-letters from the famous women of legend to their lovers, he brilliantly recreated great moments of heroic mythology from the feminine point of view. The longest and most enchanting of his works, the Metamorphoses, an epic-length poem on the infinite changes of mythology and history, afforded him the richest opportunities of all to experiment with narrative techniques. In this book Sara Mack introduces Ovid to the general reader. After considering Ovid’s modernity, Mack surveys his poetry chronologically. Next she examines his most influential poems: the Amores, Heroides, Art of Love, and Metamorphoses. Finally she explores Ovidian wit, concluding with a look at Ovid’s influence on the arts.
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Achilles Actaeon Aeneid Amores appearance asks Augustan Augustus battle becomes begins Briseis bull called characters claims collection comes couplet course create Daedalus death didactic early elegiac elegy epic example exile face fact father finally follow girl give gods Greek hand Hercules Heroides Homer husband Iliad included interesting Italy Jupiter language Latin least less letter live look love elegy lover matter Meta Metamorphoses moving narrative narrator nature never opening Orpheus Ovid Ovid's Penelope perhaps Perseus play poem poet poetry present Propertius rape reader reference Roman Rome says scene seems short speaker story sure tells Theseus things thought told tradition translation Tristia turns Vergil verse whole wife woman women write written wrote young
Página 6 - At chorus aequalis Dryadum clamore supremos 460 Implerunt montes ; flerunt Rhodopeiae arces Altaque Pangaea et Rhesi Mavortia tellus Atque Getae atque Hebrus et Actias Orithyia.
Página 51 - Why, man, he doth bestride the narrow world, Like a Colossus ; and we petty men Walk under his huge legs, and peep about To find ourselves dishonourable graves.
Página 168 - The Knave of Diamonds tries his wily arts, And wins (oh shameful chance !) the Queen of Hearts. At this, the blood the virgin's cheek forsook, A livid paleness spreads o'er all her look ; She sees, and trembles at th' approaching ill, Just in the jaws of ruin, and codille.
Página 99 - In nova fert animus mutatas dicere formas Corpora. Di, coeptis — nam vos mutastis et illas — Adspirate meis, primaque ab origine mundi Ad mea perpetuum deducite tempora carmen.
Página 9 - Orpheu, te turba ferarum, 45 te rigidi silices, tua carmina saepe secutae fleverunt silvae; positis te frondibus arbor tonsa comas luxit; lacrimis quoque flumina dicunt increvisse suis, obstrusaque carbasa pullo naides et dryades passosque habuere capillos.
Página 150 - Herculeae superessent semina gentis, credibile est ipsos consuluisse deos ; nam puer impubes et adhuc non utilis armis 240 unus de Fabia gente relictus erat, scilicet ut posses olim tu, Maxime, nasci, cui res cunctando restituenda foret.
Página 6 - Taenarias etiam fauces, alta ostia Ditis, et caligantem nigra formidine lucum ingressus Manesque adiit regemque tremendum nesciaque humanis precibus mansuescere corda. 470 at cantu commotae Erebi de sedibus imis umbrae ibant tenues simulacraque luce carentum, quam multa in foliis avium se...
Página 2 - Roman Poets. Before I read Virgil I was so strongly attached to Ovid, whose Metamorphoses I read at school, that I was quite in a passion whenever I found him, in books of criticism, placed below Virgil.
Página 151 - Ianua, non custos decipiendus erit. Ut tenuit domus una duos, -domus una tenebit. Oscula aperta dabas, oscula aperta dabis. Tutus eris mecum laudemque merebere culpa, 145 Tu licet in lecto conspiciare meo.
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