Statue (1887) by commemorating Ovid's exile in Tomis (present-day, Romania) Born Publius Ovidius Naso 20 March 43 BC,, Died AD 17 or 18 (age 58–60),, Occupation Poet Genre,, Publius Ovidius Naso ( Classical Latin:; 20 March 43 BC – AD 17/18), known as Ovid ( ) in the -speaking world, was a who lived during the reign of. He was a contemporary of the older and, with whom he is often ranked as one of the three poets of. The scholar considered him the last of the Latin love. He enjoyed enormous popularity, but, in one of the mysteries of literary history, was sent by Augustus into exile in a remote province on the, where he remained until his death.

Create interactive lessons using any digital content including wikis with our free. Ignis amoris Remedia amoris Roces. (PDF) FUROR AMORIS. To Ovid's Remedia amoris are here taken into consideration. Essays on Ovid's Ars Amatoria and Remedia Amoris (Oxford 2006) 279–97; S. As a reader well versed in Ovidian poetry, Martial will have understood and appreciated. Ovid's maneuvres in Remedia amoris 357–450. As a writer, he reen.

Ovid himself attributes to carmen et error, 'a poem and a mistake', but his discretion in discussing the causes has resulted in much speculation among scholars. The first major Roman poet to begin his career during the reign of Augustus, Ovid is today best known for the, a 15-book continuous mythological narrative written in the, and for works in such as ('The Art of Love') and. His poetry was much imitated during and the, and greatly influenced and. The Metamorphoses remains one of the most important sources of. A second statue of Ovid by in the Piazza XX Settembre,, Italy. Ovid was born in (modern Sulmona), in an valley east of, to an important family, on 20 March, 43 BC.

That was a significant year in Roman politics. He was educated in rhetoric in Rome under the teachers and with his brother who excelled at oratory. His father wanted him to study toward the practice of law.

According to, Ovid tended to the emotional, not the argumentative pole of rhetoric. After the death of his brother at 20 years of age, Ovid renounced law and began travelling to,, and. He held minor public posts, as one of the, as a member of the and as one of the, but resigned to pursue poetry probably around 29–25 BC, a decision his father apparently disapproved of. Ovid's first recitation has been dated to around 25 BC, when he was eighteen. He was part of the circle centered on the patron, and seems to have been a friend of poets in the circle of. 4.10.41–54, Ovid mentions friendships with,,, Ponticus and Bassus (he only barely met Virgil and Tibullus, a fellow member of Messalla's circle whose elegies he admired greatly).

Ovid was very popular at the time of his early works, but was later exiled by in AD 8. He married three times and divorced twice by the time he was thirty years old. He had one daughter, who eventually bore him grandchildren. His last wife was connected in some way to the influential and would help him during his exile in Tomis. Literary success [ ] The first 25 years of Ovid's literary career were spent primarily writing poetry in with erotic themes. The chronology of these early works is not secure; tentative dates, however, have been established by scholars. His earliest 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 published work. The authenticity of some of these poems has been challenged, but this first edition probably contained the first 14 poems of the collection. The first five-book collection of the, a series 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 first book, is thought to have been published c. Between the publications of the two editions of the Amores can be dated the premiere of his tragedy Medea, which was admired in antiquity but is no longer extant. Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the, the Art of Love, a parody of and a three-book manual about seduction and intrigue, which has been dated to AD 2 (Books 1–2 would go back to 1 BC ). Ovid may identify this work in his exile poetry as the carmen, or song, which was one cause of his banishment. The Ars Amatoria was followed by the Remedia Amoris in the same year.

This corpus of elegiac, erotic poetry earned Ovid a place among the chief Roman elegists Gallus, Tibullus, and Propertius, of whom he saw himself as the fourth member. By AD 8, he had completed his most ambitious work, the, a hexameter in 15 books. The work encyclopedically catalogues transformations in Greek and Roman mythology, from the emergence of the cosmos to the of.

The stories follow each other in the telling of human beings transformed to new bodies: trees, rocks, animals, flowers, etc. At the same time, he worked on the, a six-book poem in elegiac couplets on the theme of the calendar of and astronomy. The composition of this poem was interrupted by Ovid's exile, and it is thought that Ovid abandoned work on the piece in Tomis. It is probably in this period, if they are indeed by Ovid, that the double letters (16–21) in the Heroides were composed. Exile to Tomis [ ]. Main article: In AD 8, Ovid was banished to, on the, by the exclusive intervention of the Emperor, without any participation of the or of any.

This event shaped all his following poetry. Ovid wrote that the reason for his exile was carmen et error – 'a poem and a mistake,' claiming that his crime was worse than, more harmful than poetry. The Emperor's grandchildren, and (the latter adopted by him), were also banished around the same time. Julia's husband,, was put to death for against, a conspiracy Ovid might have known of.

The, which promoted marriage to increase the population's birth rate, were fresh in the Roman mind. Ovid's writing in the Ars Amatoria concerned the serious crime of.

He may have been banished for these works, which appeared subversive to the emperor's moral legislation. However, in view of the long time that elapsed between the publication of this work (1 BC) and the exile (AD 8), some authors suggest that used the poem as a mere justification for something more personal.

Ovid Banished from Rome (1838). In exile, Ovid wrote two poetry collections, and, that illustrated his sadness and desolation. Being far from Rome, he had no access to libraries, and thus might have been forced to abandon his, a poem about the Roman calendar, of which only the first six books exist – January through June. The five books of the elegiac Tristia, a series of poems expressing the poet's despair in exile and advocating his return to Rome, are dated to AD 9–12. The Ibis, an elegiac curse poem attacking an adversary at home, may also be dated to this period. The, a series of letters to friends in Rome asking them to effect his return, are thought to be his last compositions, with the first three books published in AD 13 and the fourth book between AD 14 and 16.

The exile poetry is particularly emotive and personal. In the Epistulae he claims friendship with the natives of Tomis (in the Tristia they are frightening barbarians) and to have written a poem in their language ( Ex P.

Yet he pined for Rome—and for his third wife, addressing many poems to her. Some are also to the Emperor Augustus, yet others are to himself, to friends in Rome, and sometimes to the poems themselves, expressing loneliness and hope of recall from banishment or exile. The obscure causes of Ovid's exile have given rise to endless explanations from scholars. The medieval texts that mention the exile offer no credible explanations: their statements seem incorrect interpretations drawn from the works of Ovid. Ovid himself wrote many references to his offense, giving obscure or contradictory clues. In 1923, scholar J. Hartman proposed a theory that is little considered among scholars of Latin civilization today: that Ovid was never exiled from Rome and that all of his exile works are the result of his fertile imagination.

This theory was supported and rejected [ ] in the 1930s, especially by authors. In 1985, a research paper by Fitton Brown advanced new arguments in support of the theory. The article was followed by a series of supports and refutations in the short space of five years. Among the reasons given by Brown are: that Ovid's exile is only mentioned by his own work, except in 'dubious' passages by and, but no other author until the 4th century; that the author of was able to separate the poetic 'I' of his own and real life; and that information on the geography of Tomis was already known by, by and by Ovid himself in his.

Orthodox scholars, however, oppose these hypotheses. One of the main arguments of these scholars is that Ovid would not let his Fasti remain unfinished, mainly because this poem meant his consecration as an imperial poet. In December 2017, Ovid's banishment was formally revoked by Rome's city council. Death [ ] Ovid died at Tomis in AD 17 or 18. It is thought that the Fasti, which he spent time revising, were published posthumously.

Works [ ] Heroides ('The Heroines') [ ]. See also: The Heroides ('Heroines') or Epistulae Heroidum are a collection of 21 poems in elegiac couplets. The Heroides take the form of letters addressed by famous mythological characters to their partners expressing their emotions at being separated from them, pleas for their return, and allusions to their future actions within their own mythology.

The authenticity of the collection, partially or as a whole, has been questioned, although most scholars would consider the letters mentioned specifically in Ovid's description of the work at Am. 2.18.19–26 as safe from objection.

The collection comprises a new type of generic composition without parallel in earlier literature. The first 14 letters are thought to comprise the first published collection and are written by the heroines,,,,,,,,,,,,, and to their absent male lovers. Letter 15, from the historical to, seems spurious (although referred to in Am. 2.18) because of its length, its lack of integration in the mythological theme, and its absence from Medieval manuscripts. The final letters (16–21) are paired compositions comprising a letter to a lover and a reply.

And,, and and are the addressees of the paired letters. These are considered a later addition to the corpus because they are never mentioned by Ovid and may or may not be spurious.

The Heroides markedly reveal the influence of rhetorical declamation and may derive from Ovid's interest in rhetorical, persuasive speeches, and, the practice of speaking in another character. They also play with generic conventions; most of the letters seem to refer to works in which these characters were significant, such as the in the case of Dido and 64 for Ariadne, and transfer characters from the genres of epic and tragedy to the elegiac genre of the Heroides.

The letters have been admired for their deep psychological portrayals of mythical characters, their rhetoric, and their unique attitude to the classical tradition of mythology. [ ] Amores ('The Loves') [ ]. Main article: The Amores is a collection in three books of love poetry in elegiac meter, following the conventions of the elegiac genre developed by and. Elegy originates with Propertius and Tibullus; however, Ovid is an innovator in the genre. Ovid changes the leader of his elegies from the poet, to Amor (love). This switch in focus from the triumphs of the poet, to the triumphs of love over people is the first of its kind for this genre of poetry. This Ovidian innovation can be summarized as the use of love as a metaphor for poetry.

The books describe the many aspects of love and focus on the poet's relationship with a mistress called Corinna. Within the various poems, several describe events in the relationship, thus presenting the reader with some vignettes and a loose narrative. Book 1 contains 15 poems. The first tells of Ovid's intention to write epic poetry, which is thwarted when steals a metrical foot from him, changing his work into love elegy. Poem 4 is didactic and describes principles that Ovid would develop in the.

The fifth poem, describing a noon tryst, introduces Corinna by name. Poems 8 and 9 deal with Corinna selling her love for gifts, while 11 and 12 describe the poet's failed attempt to arrange a meeting.

Poem 14 discusses Corinna's disastrous experiment in dyeing her hair and 15 stresses the immortality of Ovid and love poets. The second book has 19 pieces; the opening poem tells of Ovid's abandonment of a in favor of. Poems 2 and 3 are entreaties to a guardian to let the poet see Corinna, poem 6 is a lament for Corinna's dead parrot; poems 7 and 8 deal with Ovid's affair with Corinna's servant and her discovery of it, and 11 and 12 try to prevent Corinna from going on vacation. Poem 13 is a prayer to for Corinna's illness, 14 a poem against abortion, and 19 a warning to unwary husbands. Book 3 has 15 poems.

The opening piece depicts personified Tragedy and Elegy fighting over Ovid. Poem 2 describes a visit to the races, 3 and 8 focus on Corinna's interest in other men, 10 is a complaint to because of her festival that requires abstinence, 13 is a poem on a festival of, and 9 a lament for. In 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 seen the poems as highly self-conscious and extremely playful specimens of the elegiac genre. Medicamina Faciei Femineae ('Women's Facial Cosmetics') [ ]. Si quis in hoc artem populo non novit amandi, hoc legat et lecto carmine doctus amet.

The Ars Amatoria is a, a didactic elegiac poem in three books that sets out to teach the arts of seduction and love. The first book addresses men and teaches them how to seduce women, the second, also to men, teaches how to keep a lover. The third addresses women and teaches seduction techniques. The first book opens with an invocation to Venus, in which Ovid establishes himself as a praeceptor amoris (1.17)—a teacher of love. Ovid describes the places one can go to find a lover, like the theater, a triumph, which he thoroughly describes, or arena—and ways to get the girl to take notice, including seducing her covertly at a banquet.

Choosing the right time is significant, as is getting into her associates' confidence. Ovid emphasizes care of the body for the lover. Mythological digressions include a piece on the,, and. Book 2 invokes Apollo and begins with a telling of the story of.

Ovid advises men to avoid giving too many gifts, keep up their appearance, hide affairs, compliment their lovers, and ingratiate themselves with slaves to stay on their lover's good side. The care of Venus for procreation is described as is Apollo's aid in keeping a lover; Ovid then digresses on the story of.

The book ends with Ovid asking his 'students' to spread his fame. Book 3 opens with a vindication of women's abilities and Ovid's resolution to arm women against his teaching in the first two books. Ovid gives women detailed instructions on appearance telling them to avoid too many adornments. He advises women to read elegiac poetry, learn to play games, sleep with people of different ages, flirt, and dissemble. Throughout the book, Ovid playfully interjects, criticizing himself for undoing all his didactic work to men and mythologically digresses on the story of and. The book ends with his wish that women will follow his advice and spread his fame saying Naso magister erat, 'Ovid was our teacher'.

Remedia Amoris ('The Cure for Love') [ ]. Main article: This elegiac poem proposes a cure for the love Ovid teaches in the Ars Amatoria, and is primarily addressed to men. The poem criticizes suicide as a means for escaping love and, invoking Apollo, goes on to tell lovers not to procrastinate and be lazy in dealing with love.

Lovers are taught to avoid their partners, not perform magic, see their lover unprepared, take other lovers, and never be jealous. Old letters should be burned and the lover's family avoided. The poem throughout presents Ovid as a doctor and utilizes medical imagery.

Some have interpreted this poem as the close of Ovid's didactic cycle of love poetry and the end of his erotic elegiac project. Metamorphoses ('Transformations') [ ]. Main article: The Metamorphoses, Ovid's most ambitious and well-known work, consists of a 15-book catalogue written in about transformations in Greek and Roman mythology set within a loose mytho-historical framework.

The word 'metamorphoses' is of Greek origin and means 'transformations.' Appropriately, the characters in this work undergo many different transformations. Within an extent of nearly 12,000 verses, almost 250 different myths are mentioned. Each myth is set outdoors where the mortals are often vulnerable to external influences. The poem stands in the tradition of mythological and aetiological catalogue poetry such as 's, ' Aetia, 's Heteroeumena, and ' Metamorphoses.

The first book describes the formation of the world, the, the, the story of 's rape by Apollo and 's by Jupiter. The second book opens with and continues describing the love of Jupiter with and. The third book focuses on the mythology of with the stories of,, and.

The fourth book focuses on three pairs of lovers: and, and, and and. The fifth book focuses on the song of the, which describes the rape of. The sixth book is a collection of stories about the rivalry between gods and mortals, beginning with and ending with.

The seventh book focuses on, as well as and. The eighth book focuses on ' flight, the hunt, and the contrast between pious and the wicked. The ninth book focuses on and the incestuous. The tenth book focuses on stories of doomed love, such as, who sings about, as well as,, and.

The eleventh book compares the marriage of and with the love of and. The twelfth book moves from myth to history describing the exploits of, the, and. The thirteenth book discusses the, and. The fourteenth moves to Italy, describing the journey of, and, and. The final book opens with a philosophical lecture by and the deification of. The end of the poem praises 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 vast body of material.

The ways that stories are linked by geography, themes, or contrasts creates interesting effects and constantly forces the reader to evaluate the connections. Ovid also varies his tone and material from different literary genres; has called the poem 'a sort of gallery of these various literary genres.' In this spirit, Ovid engages creatively with his predecessors, alluding creatively to the full spectrum of classical poetry. Ovid's use of Alexandrian epic, or elegiac couplets, shows his fusion of erotic and psychological style with traditional forms of epic. Fasti ('The Festivals') [ ].

Main article: Six books in elegiacs survive of this second ambitious poem that Ovid was working on when he was exiled. The six books cover the first semester of the year, with each book dedicated to a different month of the (January to June). The project seems unprecedented in Roman literature. It seems that Ovid planned to cover the whole year, but was unable to finish because of his exile, although he did revise sections of the work at Tomis, and he claims at Trist. 2.549–52 that his work was interrupted after six books.

Like the Metamorphoses, the Fasti was to be a long poem and emulated aetiological poetry by writers like and, more recently, and his fourth book. The poem goes through the Roman calendar, explaining the origins and customs of important Roman festivals, digressing on mythical stories, and giving astronomical and agricultural information appropriate to the season. The poem was probably dedicated to initially, but perhaps the death of the emperor prompted Ovid to change the dedication to honor. Ovid uses direct inquiry of gods and scholarly research to talk about the calendar and regularly calls himself a, a priest. He also seems to emphasize unsavory, popular traditions of the festivals, imbuing the poem with a popular, flavor, which some have interpreted as subversive to the Augustan moral legislation. While this poem has always been invaluable to students of Roman religion and culture for the wealth of antiquarian material it preserves, it recently has been seen as one of Ovid's finest literary works and a unique contribution to Roman elegiac poetry. Ibis ('The Ibis') [ ].

Main article: The Ibis is an elegiac poem in 644 lines, in which Ovid uses a dazzling array of mythic stories to curse and attack an enemy who is harming him in exile. At the beginning of the poem, Ovid claims that his poetry up to that point had been harmless, but now he is going to use his abilities to hurt his enemy.

He cites Callimachus' Ibis as his inspiration and calls all the gods to make his curse effective. Ovid uses mythical exempla to condemn his enemy in the afterlife, cites evil prodigies that attended his birth, and then in the next 300 lines wishes that the torments of mythological characters befall his enemy. The poem ends with a prayer that the gods make his curse effective. Tristia ('Sorrows') [ ]. Main article: The Tristia consist of five books of elegiac poetry composed by Ovid in exile in Tomis.

Book 1 contains 11 poems; the first piece is an address by Ovid to his book about how it should act when it arrives in Rome. Poem 3 describes his final night in Rome, poems 2 and 10 Ovid's voyage to Tomis, 8 the betrayal of a friend, and 5 and 6 the loyalty of his friends and wife.

In the final poem Ovid apologizes for the quality and tone of his book, a sentiment echoed throughout the collection. Book 2 consists of one long poem in which Ovid defends himself and his poetry, uses precedents to justify his work, and begs the emperor for forgiveness. Book 3 in 14 poems focuses on 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 focus on the seasons spent in Tomis, 9 on the origins of the place, and 2, 3, and 11 his emotional distress and longing for home.

The final poem is again an apology for his work. The fourth book has ten poems addressed mostly to friends. Poem 1 expresses his love of poetry and the solace it brings; while 2 describes a triumph of Tiberius.

Poems 3–5 are to friends, 7 a request for correspondence, and 10 an autobiography. The final book of the Tristia with 14 poems focuses on his wife and friends. Poems 4, 5, 11, and 14 are addressed to his wife, 2 and 3 are prayers to and, 4 and 6 are to friends, 8 to an enemy. Poem 13 asks for letters, while 1 and 12 are apologies to his readers for the quality of his poetry. Epistulae ex Ponto ('Letters from the Black Sea') [ ]. Gluttonous Envy, burst: my name’s well known already it will be more so, if only my feet travel the road they’ve started.

But you’re in too much of a hurry: if I live you’ll be more than sorry: many poems, in fact, are forming in my mind. After such criticism subsided, Ovid became one of the best known and most loved Roman poets during the and the. Writers in the Middle Ages used his work as a way to read and write about and without orthodox 'scrutiny routinely given to commentaries on the '. In the Middle Ages the voluminous, a French work that moralizes 15 books of the Metamorphoses was composed. This work then influenced. Ovid's poetry provided inspiration for the Renaissance idea of, and more specifically, for many Renaissance painters and writers.

Likewise, moralized his own translation of the full 15 books, and published it in 1567. This version was the same version used as a supplement to the original Latin in the Tudor-era grammar schools that influenced such major Renaissance authors as and.

Many non-English authors were heavily influenced by Ovid's works as well., for example, alluded to Ovid several times in his, specifically in his comments on Education of Children when he says: The first taste I had for books came to me from my pleasure in the fables of the Metamorphoses of Ovid. For at about seven or eight years of age I would steal away from any other pleasure to read them, inasmuch as this language was my mother tongue, and it was the easiest book I knew and the best suited by its content to my tender age. Also used the Metamorphoses as a platform of inspiration for his prodigious novel Don Quixote.

In the 16th century, some schools of cut several passages from Ovid's Metamorphoses. While the Jesuits saw his poems as elegant compositions worthy of being presented to students for educational purposes, they also felt his works as a whole might corrupt students. The Jesuits took much of their knowledge of Ovid to the Portuguese colonies. According to Serafim Leite (1949), the was in effect in during the early 17th century, and in this period Brazilian students read works like the to learn. In Spain, Ovid is both praised and criticized by Cervantes in his where he warns against satires that can exile poets, as happened to Ovid. In the 16th century, Ovid's works were criticized in England.

The and the ordered that a contemporary translation of Ovid's love poems be. The of the following century viewed Ovid as, thus as an influence. Composed a famous translation of the Metamorphoses into stopped rhyming couplets during the 17th century, when Ovid was 'refashioned [.] in its own image, one kind of Augustanism making over another.'

The of the 19th century, in contrast, considered Ovid and his poems 'stuffy, dull, over-formalized and lacking in genuine passion.' Romantics might have preferred his poetry of exile. The picture, painted by, portrays the last years of the poet in exile in, and was seen by, and. Baudelaire took the opportunity to write a long about the life of an exiled poet like Ovid. This shows that the exile of Ovid had some influence in 19th century since it makes connections with its key concepts such as and the. The exile poems were once viewed unfavorably in Ovid's oeuvre. They have enjoyed a resurgence of scholarly interest in recent years, though critical opinion remains divided on several qualities of the poems, such as their intended audience and whether Ovid was sincere in the 'recantation of all that he stood for before.'

Ovid's influence [ ]. Ovid as imagined in the, 1493. Literary and artistic [ ] • (c. 800–810), a poet in the court circle of, adopts the pen name Naso. • (12th century) The and the medieval. In particular, the passage describing the Holy Grail in the Conte du Graal by contains elements from the.

• (13th century) The, • (14th century),, • (15th century) • (16th century–17th century),,, • (17th century),, 's, 1605 and 1615, 's, 1613, Landscape with Pyramus and Thisbe by, 1651, Stormy Landscape with Philemon and Baucis by, c. 1620, 'Divine Narcissus' by Sor c. 1689, • (1820s) During his exile, compared himself to Ovid; memorably versified in the To Ovid (1821). The exiled Ovid also features in his long poem, set in (1824), and in Canto VIII of (1825–1832). • (1916) 's has a quotation from Book 8 of Metamorphoses and introduces.

The Ovidian reference to 'Daedalus' was in, but then metamorphosed to 'Dedalus' in A Portrait of the Artist as a Young Man and in. • (1920s) The title of the second poetry collection by, Tristia (Berlin, 1922), refers to Ovid's book. Mandelstam's collection is about his hungry, violent years immediately after the.

• (1951) by, for solo, evokes images of Ovid's characters from Metamorphoses. • (1960), the novel by the Romanian writer about Ovid's stay in exile (the novel received the in 1960). • (1960s–2010s) has made repeated use of Ovid's wording, imagery, and themes.

• (1978) Australian author 's novel is about Ovid's exile in. • (1998) In Pandora, by, Pandora cites Ovid as a favorite poet and author of the time, quoting him to her lover.

• (2000) The Art of Love by, a comedy, emphasizing Ovid's role as lover. Broadcast May 23 on BBC Radio 4, with and (not to be confused with the 2004 radio play by the same title on Radio 3). • (2004) The Art of Love by Andrew Rissik, a drama, part of a trilogy, which speculates on the crime that sent Ovid into exile. Broadcast April 11 on BBC Radio 4, with and (not to be confused with the 2000 radio play by the same title on Radio 4). • (2006) American musician Bob Dylan's album contains songs with borrowed lines from Ovid's Poems of Exile, from Peter Green's translation. The songs are 'Workingman's Blues #2', 'Ain't Talkin', 'The Levee's Gonna Break', and 'Spirit on the Water'. • (2007) Russian author 's novel is about the last years of Ovid's life.

• (2007) the play'The Land of Oblivion ' by Russian-American dramatist Mikhail Berman-Tsikinovsky was published in Russian by Vagrius Plus (Moscow).The play was based on author's new hypothesis unrevealing the mystery of Ovid's exile to Tomi by Augustus. • (2008) 'The Love Song of Ovid', a two-hour radio documentary by Damiano Pietropaolo, recorded on location in Rome (the recently restored house of on the Roman forum), Sulmona (Ovid’s birthplace) and Constanta (modern day Tomis, in Romania). Broadcast on the Canadian Broadcasting Corporation, CBC Radio One, Dec.

18 and 19, 2008. • (2012) The House 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 of the internet in that passage. • (2013) Another literary piece by Mikhail Berman-Tsikinovsky was published by Aspekt Publishing (Boston) in Russian and English under the title ' To Ovid, 2000years later, ( A Road Tale). It was the breathtaking description of author's visits of Ovid's places of his birth and death. • (2015) In season 5, episode 5 ('Now'), Deanna begins making a long-term plan to make her besieged community sustainable and writes on her blueprint a Latin phrase attributed to Ovid: ' Dolor hic tibi proderit olim'. The phrase is an excerpt from the longer phrase, ' Perfer et obdura, dolor hic tibi proderit olim' (English translation: Be patient and tough; someday this pain will be useful to you'). Twice mentions him in: •, along with,, and as one of the four regulati poetae (ii, vi, 7) • as ranking alongside,,, and ( Inferno, IV,88).

Retellings, adaptations, and translations of Ovidian works [ ]. Metamorphoses, 1643 • (1767), an early opera by • (1938), an opera by • (1949), a film by, retelling of the myth from the • (1978) Ovid's Metamorphoses (Translation in Blank Verse), by Brookes More • (1978) Ovid's Metamorphoses in European Culture (Commentary), by • (1991) by • (1997) by, a retelling of Metamorphoses, with urchins and drug addicts as the gods. • (1994) edited by and is an anthology of contemporary poetry envisioning Ovid's Metamorphoses • (1997) by is a modern poetic translation of twenty four passages from Metamorphoses • (2000) edited by, a short story collection retelling several of Ovid's. The Naso means 'the one with the ' (i.e. Ovid habitually refers to himself by his nickname in his poetry because the Latin name Ovidius does not fit into.

It was a pivotal year in the. A year before Ovid's birth, the murder of took place, an event that precipitated the end of the regime. After Caesar's death, a series of civil wars and alliances followed (See ), until the victory of Caesar's nephew, (later called ) over (leading supporter of Caesar), from which arose a new political order. Fasti is, in fact, unfinished. Metamorphoses was already completed in the year of exile, missing only the final revision.

In exile, Ovid said he never gave a final review on the poem. Ovid cites in I 64, II 224, V 649, VII 407, VIII 788, XV 285, 359, 460, and others. References [ ]. • at • • at • at • at (public domain audiobooks) • • • • Latin and English translation • Amores, Ars Amatoria, Heroides (on this site called Epistulae), Metamorphoses, Remedia Amoris. Enhanced brower. Not downloadable.

• Amores, Ars Amatoria, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris. •; elucidated by an analysis and explanation of the fables, together with English notes, historical, mythological and critical, and illustrated by pictorial embellishments: with a dictionary, giving the meaning of all the words with critical exactness. Publisher: New York, & co.; Cincinnati, H. Derby & co., 1857 (a searchable facsimile at the University of Georgia Libraries; & format) • Original Latin only • Amores, Ars Amatoria, Epistulae ex Ponto, Fasti, Heroides, Ibis, Metamorphoses, Remedia Amoris, Tristia. • • English translation only • by Amores, Ars Amatoria, Epistulae ex Ponto, Fasti, Heroides, Ibis, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris, Tristia with enhanced browsing facility, downloadable in HTML, PDF, or MS Word DOC formats. Site also includes wide selection of works by other authors.

Ovidius Naso. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. Edidit ex Rudolphi Merkelii recognitione. (Perseus digital Library) • ARIADNE THESEO Illa relicta feris etiamnunc, improbe Theseu, Vivit: et haec aequa mente tuilsse velis: Mitius inveni quam te genus omne ferarum; Credita non ulli quam tibi peius eram.

Quae legis, ex illo, Theseu, tibi litore mitto Unde tuam sine me vela tulere ratem, In quo me somnusque meus male prodidit et tu,(5) Per facinus somnis insidiate meis. Tempus erat, vitrea quo primum terra pruina Spargitur et tectae fronde queruntur aves. Incertum vigilans ac somno languida movi Thesea prensuras semisupina manus — (10) Nullus erat! Referoque manus iterumque retempto, Perque torum moveo bracchia — nullus erat! Excussere metus somnum; conterrita surgo, Membraque sunt viduo praecipitata toro. Protinus adductis sonuerunt pectora palmis,(15) Utque erat e somno turbida, rupta coma est.

Luna fuit; specto, siquid nisi litora cernam. Quod videant oculi, nil nisi litus habent. Nunc huc, nunc illuc, et utroque sine ordine, curro; Alta puellares tardat harena pedes.

(20) I nterea toto clamavi in litore 'Theseu!' : Reddebant nomen concava saxa tuum, Et quotiens ego te, totiens locus ipse vocabat. Ipse locus miserae ferre volebat opem.

Mons fuit — apparent frutices in vertice rari;(25) Hinc scopulus raucis pendet adesus aquis. Adscendo — vires animus dabat — atque ita late Aequora prospectu metior alta meo. Inde ego — nam ventis quoque sum crudelibus usa — Vidi praecipiti carbasa tenta Noto.(30) Ut vidi haut dignam quae me vidisse putarem, Frigidior glacie semianimisque fui. Nec languere diu patitur dolor; excitor illo, Excitor et summa Thesea voce voco.

Exclamo; 'scelerate revertere Theseu!(35) Flecte ratem! Numerum non habet illa suum!' Haec ego; quod voci deerat, plangore replebam; Verbera cum verbis mixta fuere meis. Si non audires, ut saltem cernere posses, Iactatae late signa dedere manus; (40) Candidaque inposui longae velamina virgae — Scilicet oblitos admonitura mei! Iamque oculis ereptus eras.

Tum denique flevi; Torpuerant molles ante dolore genae. Quid potius facerent, quam me mea lumina flerent,(45) Postquam desieram vela videre tua? Aut ego diffusis erravi sola capillis, Qualis ab Ogygio concita Baccha deo, Aut mare prospiciens in saxo frigida sedi, Quamque lapis sedes, tam lapis ipsa fui. (50) Saepe torum repeto, qui nos acceperat ambos, Sed non acceptos exhibiturus erat, Et tua, quae possum pro te, vestigia tango Strataque quae membris intepuere tuis. Incumbo, lacrimisque toro manante profusis, (55) 'Pressimus,' exclamo, 'te duo — redde duos! Venimus huc ambo; cur non discedimus ambo? Perfide, pars nostri, lectule, maior ubi est?'

Quo sola ferar? Vacat insula cultu. Non hominum video, non ego facta boum.

(60) Omne latus terrae cingit mare; navita nusquam, Nulla per ambiguas puppis itura vias. Finge dari comitesque mihi ventosque ratemque — Quid sequar? Accessus terra paterna negat. Ut rate felici pacata per aequora labar,(65) Temperet ut ventos Aeolus — exul ero! Non ego te, Crete centum digesta per urbes, Adspiciam, puero cognita terra Iovi, Ut pater et tellus iusto regnata parenti Prodita sunt facto, nomina cara, meo.(70) Cum tibi, ne victor tecto morerere recurvo, Quae regerent passus, pro duce fila dedi, Tum mihi dicebas: 'per ego ipsa pericula iuro, Te fore, dum nostrum vivet uterque, meam.' Vivimus, et non sum, Theseu, tua — si modo vivit (75) Femina periuri fraude sepulta viri. Me quoque, qua fratrem mactasses, inprobe, clava; Esset, quam dederas, morte soluta fides.

Nunc ego non tantum, quae sum passura, recordor, Et quaecumque potest ulla relicta pati: (80) Occurrunt animo pereundi mille figurae, Morsque minus poenae quam mora mortis habet. Iam iam venturos aut hac aut suspicor illac, Qui lanient avido viscera dente, lupos. Quis scit an et fulvos tellus alat ista leones?(85) Forsitan et saevas tigridas insula habet. Et freta dicuntur magnas expellere phocas!

Quis vetat et gladios per latus ire meum? Tantum ne religer dura captiva catena, Neve traham serva grandia pensa manu, (90) Cui pater est Minos, cui mater filia Phoebi, Quodque magis memini, quae tibi pacta fui! Si mare, si terras porrectaque litora vidi, Multa mihi terrae, multa minantur aquae. Caelum restabat — timeo simulacra deorum!

(95) Destitutor rabidis praeda cibusque feris; Sive colunt habitantque viri, diffidimus illis — Externos didici laesa timere viros. Viveret Androgeos utinam! Nec facta luisses Inpia funeribus, Cecropi terra, tuis; (100) Nec tua mactasset nodoso stipite, Theseu, Ardua parte virum dextera, parte bovem; Nec tibi, quae reditus monstrarent, fila dedissem, Fila per adductas saepe recepta manus. Non equidem miror, si stat victoria tecum,(105) Strataque Cretaeam belua planxit humum. Non poterant figi praecordia ferrea cornu; Ut te non tegeres, pectore tutus eras. Illic tu silices, illic adamanta tulisti, Illic, qui silices, Thesea, vincat, habes. (110) Crudeles somni, quid me tenuistis inertem?

Aut semel aeterna nocte premenda fui. Vos quoque crudeles, venti, nimiumque parati Flaminaque in lacrimas officiosa meas. Dextera crudelis, quae me fratremque necavit,(115) Et data poscenti, nomen inane, fides! In me iurarunt somnus ventusque fidesque; Prodita sum causis una puella tribus! Ergo ego nec lacrimas matris moritura videbo, Nec, mea qui digitis lumina condat, erit?

(120) Spiritus infelix peregrinas ibit in auras, Nec positos artus unguet amica manus? Ossa superstabunt volucres inhumata marinae? Haec sunt officiis digna sepulcra meis? Ibis Cecropios portus patriaque receptus,(125) Cum steteris turbae celsus in ore tuae Et bene narraris letum taurique virique Sectaque per dubias saxea tecta vias, Me quoque narrato sola tellure relictam! Non ego sum titulis subripienda tuis.(130) Nec pater est Aegeus, nec tu Pittheidos Aethrae Filius; auctores saxa fretumque tui! Di facerent, ut me summa de puppe videres; Movisset vultus maesta figura tuos!

Nunc quoque non oculis, sed, qua potes, adspice mente (135) Haerentem scopulo, quem vaga pulsat aqua. Adspice demissos lugentis more capillos Et tunicas lacrimis sicut ab imbre gravis. Corpus, ut inpulsae segetes aquilonibus, horret, Litteraque articulo pressa tremente labat.(140) Non te per meritum, quoniam male cessit, adoro; Debita sit facto gratia nulla meo. Sed ne poena quidem! Si non ego causa salutis, Non tamen est, cur sis tu mihi causa necis. Has tibi plangendo lugubria pectora lassas (145) Infelix tendo trans freta lata manus; Hos tibi — qui superant — ostendo maesta capillos! Per lacrimas oro, quas tua facta movent — Flecte ratem, Theseu, versoque relabere velo!

Si prius occidero, tu tamen ossa feres!

Ovid, one of Rome’s greatest poets, predicted that his fame would live on forever. So far, his prediction has proven accurate. Ovid was born Publius Ovidius Naso on March 20, 43 b.c., a year after the death of Julius Caesar. He was born in Sulmo, to a wealthy family. When Ovid was twelve years old, the battle of Actium put an end to a civil war that had been raging between Anthony and Octavian.

Octavian, the victor, became emperor. (He was later known as Augustus.) Because he lived in a time of calm and prosperity, and because of his family’s wealth, Ovid was able to write in peace. Ovid’s work draws on the great literary traditions of Greek, Hellenistic, and Roman cultures. His writing owes a debt to the works of Homer, Hesiod, Euripides, Theocritus, Callimachus, Virgil, Tibullus, Horace, and Propertius. Some critics view Ovid’s opus as the culmination of ancient poetry.

After Ovid’s early education in Sulmo, his father sent him to Rome to study rhetoric in preparation for a life in politics. However, Ovid claimed that whenever he tried to write prose, only poetry came out.

After a short stint in government, he decided to pursue poetry. His father disapproved of Ovid’s choice and incessantly reminded him of the fate of Homer, who died a poor man. Ovid’s father was wrong to worry, however. Ovid found immediate success.

Around 20 b.c., he published the Amores, or Loves, which consisted of three books on the theme of love. Ovid’s next work, the Heroides, or Heroines, took him into uncharted territory. In this novel work, comprising fourteen letters written by legendary women to their husbands or lovers, Ovid puts the narrative in the hands of historically voiceless, mistreated, or overlooked women. Around this time, Ovid also wrote a tragedy about Medea, a popular figure of power, magic, and revenge. This work has not survived, but there is good evidence that Ovid’s contemporaries judged it a success. Quintilian, a Roman critic of literature, and Tacitus, a Roman historian, comment favorably on it. Ovid continued to experiment.

In the next stage of his career, he moved into the realm of didactic (“how to”) poetry. Rather than explore traditional didactic topics such as farming (as Virgil does in Georgics) or science (as Lucretius does in On the Nature of Things), Ovid wrote on the art of seduction and the art of falling out of love. Around 1 b.c. 2, he wrote the Ars Amatoria ( Art of Love), Medicamina Faciei Femineae ( Makeup for a Women’s Face), and the Remedia Amoris ( Remedies of Love). In these works, Ovid consciously played off other, familiar didactic works, particularly Virgil’s Georgics.

He subverted what had been an essentially serious genre and said ridiculous, comedic things about love. With a straight face, he posited that young men and women should spend time learning how to commit adultery and seduce each other. While working on the Metamorphoses, Ovid was also writing another piece, the Fasti, a poem describing the Roman religious calendar. It seems he never finished this work, although it is valuable for the many fascinating antiquarian details it contains. Ovid is most famous for the Metamorphoses, a single poem of fifteen books, which was probably completed around a.d. By writing the Metamorphoses in dactylic hexameter, the meter of epic, Ovid intentionally invited comparisons with the greatest Roman poet of his age, Virgil, who had written the epic the Aeneid. In form, rhythm, and size, the Metamorphoses falls squarely in the category of epic.

In content, however, the Metamorphoses has little in common with such epics as the Aeneid, which are characterized by a single story line and one main protagonist. In fact, Ovid explicitly pokes fun of the epic genre.

Best Word List For Fern Wifi Cracker Key. The Metamorphoses more closely resembles the work of Hesiod and the Alexandrian poets, who favored a collection of independent stories connected by a theme. The Metamorphoses’ roughly 250 stories are linked only by their common theme of metamorphosis. Shortly after the publication of these two poems, Ovid found himself in great peril. 8, Augustus exiled Ovid and banned his books from the libraries of Rome. The reason for Ovid’s exile is not entirely clear, but one can surmise that Augustus took offense at Ovid’s lecherous poetry. Poems on the art of seduction would have hardly pleased Augustus, who sought to institute moral reform.

Moreover, Augustus must have been especially incensed when he exiled his own daughter, Julia, for adultery. All Ovid writes concerning his exile is that a “poem and a mistake” caused his downfall. In exile, Ovid penned his last works at Tomis, a colony by the Black Sea. His final three works are the Tristia, or Sadness, Ibis, and the Epistulae ex Ponto, or Letters from Pontus. These works largely concern his hardships in a foreign land and his desire to dwell in Rome again.

However, despite all his pleas to Augustus and later to Tiberius, he would never see Rome again. Ovid died in a.d. By, April 14, 2015 In Ovid's version, Perseus does *not* use the head of Medusa to kill the sea monster. After flying up and stabbing it in the shoulder, he then swoops down to a rock and stabs it repeatedly: 'His left hand on a ridge, and with his sword stabbed time and time again the monster's groin' (IV.732 -- 33).

Immediately after, Andromeda is released and they marry. This conflicts with the analysis, also, that he's not brave or heroic enough to face the creature using his own arms rather than just the Gorgon's head.