By Peter E. Knox
A better half to Ovid is a accomplished evaluate of 1 of the main influential poets of classical antiquity.• gains greater than 30 newly commissioned chapters by means of famous students writing of their components of specialization• Illuminates a number of elements of Ovid's paintings, corresponding to creation, style, and style• provides interpretive essays on key poems and collections of poems• comprises particular discussions of Ovid's basic literary impacts and his reception in English literature• presents a chronology of key literary and ancient occasions in the course of Ovid's lifetime
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Additional resources for A Companion to Ovid
Already in Book 1 of the Satires, published four years before the battle of Actium (Serm. 40–9; cf. Labate 1990: 952), Horace revealed that the poets who were friends of Maecenas felt that they were involved in the common task of giving Roman literature a new canon of works, to substitute, in the various genres, the current one, which appeared outdated and ‘archaic’ after the neoteric revolution. At that time, the new canon was still being formed, but the project was already clear: and it included both the minor genres, which had not been included in the old canon, but had received a new dignity from the neoteric movement, and the major genres: comedy, tragedy, and, at this early date, epic poetry, too.
For this purpose, these same authors of theatrical texts, who were partly responsible for teaching duties, also produced some epic-historical texts, which had the same function in educating and creating a national identity that the Homeric poems had had for the Greeks. The theatrical performances, whose texts were modeled on the canonical authors of the tradition of Greek drama, were watched by large numbers of spectators, who included men and women, senators and slaves. This audience was largely illiterate, and followed the texts thanks to the effectiveness of the theatrical performances.
11–34, and then compare the courtship of Daphne by Apollo in a speech of about the same length (Met. 504–24). Am. 3 starts with the poet speaking to the audience and claiming his right to expect, if not reciprocal love, at least that the woman will acquiesce in being loved, and Venus will heed his prayers. To the beloved he presents ﬁrst his personal merits: loyalty and good faith; to compensate for lack of high birth or wealth he enjoys the favor of Apollo, Bacchus, the Muses, and Love, ‘who presents me as a gift to you’.