By Philip Hardie
A significant other to 1 of the best writers of classical antiquity, and arguably the one such a lot influential historical poet for post-classical literature and tradition, is lengthy past due. Chapters by way of best specialists speak about the backgrounds and contexts for Ovid, the person works, and his effect on later literature and paintings. insurance of crucial info is mixed with fascinating new serious techniques.
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Extra info for The Cambridge Companion to Ovid (Cambridge Companions to Literature)
Sample text
Each also represents a quantum leap in scale compared to earlier treatments, such as the various Hellenistic collections of metamorphosis-stories or the elegies of Propertius’ fourth book dealing with Roman rituals. The desire to mine the full potential of a theme also marks the poetry of exile: the eventual total of nine books of Tristia and Epistulae ex Ponto dwarfs the elegiac output of Propertius and Tibullus, and in sheer volume creates an exilic counterpart to Ovid’s amatory corpus. Inclusiveness of this kind is Ovid’s particular form of novelty: innovation for him consisted less in free invention than in seeing richer possibilities in 15 18 19 16 Tac.
35 Cambridge Companions Online © Cambridge University Press, 2006 philip hardie Rhetoric One of the negative labels most frequently applied to early imperial literature is ‘rhetorical’, denoting a literature of empty verbal display, as opposed to one seriously engaged with issues in the extratextual world; a literature that aims at immediate emotional and sensationalist effects, as opposed to the subtle and allusive crafting of verbal structures. 8 This retreat from reality is symbolized in the two enclosed spaces associated with early imperial verbal performance: the declamation hall in the rhetorical school, and the recitation hall, which became the main theatre for the oral ‘publication’ of early imperial literature after the introduction to Rome of the practice of public recitation by C.
On the Callimachean resonances of the proem see Kenney (1976), Heyworth (1994) 72–6, Wheeler (1999) 8–30. 38 In one respect Ovid is strikingly at odds with both Callimachus and his previous Roman followers: he shows no interest in restricting his work to the attention of a cultivated few. Instead, from the outset Ovid sought the favour of a large public. 1 he envisages his poems being read by lovers of both sexes. 878 ore legar populi). 39 Ovid adopts this post-Virgilian outlook – which might also be called the Augustan outlook in light of Augustus’ projection of politicalideological messages to the populus Romanus – but applies it to conspicuously non-Augustan ends.