By Peter E. Knox
A spouse to Ovid is a complete assessment of 1 of the main influential poets of classical antiquity.• gains greater than 30 newly commissioned chapters through famous students writing of their components of specialization• Illuminates a number of points of Ovid's paintings, akin to creation, style, and style• offers interpretive essays on key poems and collections of poems• contains precise discussions of Ovid's basic literary affects and his reception in English literature• presents a chronology of key literary and old occasions in the course of Ovid's lifetime
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Additional resources for A Companion to Ovid
25 cantabimur] in our booklets, and you will provide the only sources [cf. ’ Some of Seneca’s criticisms seem to hold good for this second courtship; there are perhaps three lurches in the later part of the argument. What about Apollo’s speech in courtship of Daphne? ) First he must persuade her to stop, and he pleads that he is not a predatory animal but motivated by love—as if that would sound any less dangerous to a committed virgin. He has a good argument for persuading her to at least slow down—the risk of brambles scarring her legs (Ovid’s characterization is superb as the enamored youth declares her pretty legs don’t deserve to be hurt).
But ﬁrst let me review Seneca’s other comments. He claims Ovid was averse to all argumentation, and so preferred suasoriae to controversiae, which he seldom declaimed, and then only ethical ones. What does this mean? 11) distinguished between ethical controversiae (concerned with characterization) and ‘pathetic’, that Rhetoric and Ovid’s Poetry 29 is, emotion-rousing (he compares tragic material): his three other categories are based on the status of the evidence. Ovid’s use of vocabulary was restrained in prose, according to Seneca, but in his poems he did not so much overlook his own faults as cherish them.
The need to bring poetry closer to the concrete experience of daily life was expressed with revolutionary energy by Catullus and his young poet friends (the ‘neoterics’), who operated in Rome, but almost all of whom came from well-to-do families of Cisalpine Gaul, that is to say, from those classes that were renewing the panorama of Roman society and culture. These poets had rejected the great canonical genres, the ideology on which they were based, and their high-sounding language, and had dedicated their intense artistic efforts to the minor genres (epigrams, brief elegies, lyrics, short mythological poems) which, up to that moment, had only been the occasional pastime of the literary otium of aristocratic salons.
A Companion to Ovid by Peter E. Knox