Ovid - Knowledge

1660:(2), a poem against criticism (9), and a dream of Cupid (3). Book 4, the final work of Ovid, in 16 poems talks to friends and describes his life as an exile further. Poems 10 and 13 describe Winter and Spring at Tomis, poem 14 is halfhearted praise for Tomis, 7 describes its geography and climate, and 4 and 9 are congratulations on friends for their consulships and requests for help. Poem 12 is addressed to a Tuticanus, whose name, Ovid complains, does not fit into meter. The final poem is addressed to an enemy whom Ovid implores to leave him alone. The last elegiac couplet is translated: "Where's the joy in stabbing your steel into my dead flesh?/ There's no place left where I can be dealt fresh wounds." 2161: 2329: 2915: 1191: 1012:. Elegy originates with Propertius and Tibullus, but Ovid is an innovator in the genre. Ovid changes the leader of his elegies from the poet, to Amor (Love or Cupid). 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. 3255: 51: 1179:, 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. 1146:. 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 669: 3294: 813: 3225: 1757:. The poem opens by advising Livia not to try to hide her sad emotions and contrasts Drusus' military virtue with his death. Drusus' funeral and the tributes of the imperial family are described as are his final moments and Livia's lament over the body, which is compared to birds. The laments of the city of Rome as it greets his funeral procession and the gods are mentioned, and Mars from his temple dissuades the Tiber river from quenching the pyre out of grief. 6328: 2035: 3240: 5904: 6303: 3280: 325: 3308: 1838:

allegory; the bull represents the poet, the heifer a girl, and the crow an old woman. The old woman spurs the girl to leave her lover and find someone else. The poem is known to have circulated independently and its lack of engagement with Tibullan or Propertian elegy argue in favor of its spuriousness; however, the poem does seem to be datable to the early empire.

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hopes, memories, and yearning for Rome (3, 6, 8), and his needs in exile (3). Book 2 contains impassioned requests to Germanicus (1 and 5) and various friends to speak on his behalf at Rome while he describes his despair and life in exile. Book 3 has nine poems in which Ovid addresses his wife (1) and various friends. It includes a telling of the story of

1123:(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. 1027:. 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. 1142:. 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 1474:, 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; 1569:

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

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The obscure causes of Ovid's exile have given rise to much speculation by 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

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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

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on securing his recall from exile. The poems mainly deal with requests for friends to speak on his behalf to members of the imperial family, discussions of writing with friends, and descriptions of life in exile. The first book has ten pieces in which Ovid describes the state of his health (10), his

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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

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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

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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

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About a hundred elegiac lines survive from this poem on beauty treatments for women's faces, which seems to parody serious didactic poetry. The poem says that women should concern themselves first with manners and then prescribes several compounds for facial treatments before breaking off. The style

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is 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

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Ovid has been seen as taking on a persona in his poetry that is far more emotionally detached from his mistress and less involved in crafting a unique emotional realism within the text than the other elegists. This attitude, coupled with the lack of testimony that identifies Ovid's Corinna with a

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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

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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

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In 1923, scholar J. 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

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has called the poem "a sort of gallery of these various literary genres". In this spirit, Ovid engages creatively with his predecessors, alluding 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

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In 1985, a research paper by Fitton Brown advanced new arguments in support of Hartman's theory. Brown's article was followed by a series of supports and refutations in the short space of five years. Among the supporting reasons Brown presents are: Ovid's exile is only mentioned by his own work,

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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,

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with the present barren time, in which its fruit is violently ripped off and its branches broken. In the course of this, the tree compares itself to several mythological characters, praises the peace that the emperor provides and prays to be destroyed rather than suffer. The poem is considered

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are "serious" in epic as they are not in elegy; the speeches in epic are long and infrequent compared to the short, truncated and frequent speeches of elegy; the epic writer conceals himself while the elegiac fills his narrative with familiar remarks to the reader or his characters; above all

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3.5, is considered spurious. The poet describes a dream to an interpreter, saying that he sees while escaping from the heat of noon a white heifer near a bull; when the heifer is pecked by a crow, it leaves the bull for a meadow with other bulls. The interpreter interprets the dream as a love

980:. 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. They also contribute significantly to conversations on how gender and identity were constructed in Augustan Rome. 1038:. 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 1528:

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

2193:. 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 736:

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.

1058:. 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. 721:, 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 1875:

Ovid has been considered a highly inventive love elegist who plays with traditional elegiac conventions and elaborates the themes of the genre; Quintilian even calls him a "sportive" elegist. In some poems, he uses traditional conventions in new ways, such as the

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The 20th Century British poet laureate, the late Ted Hughes, follows in the tradition of portraying a wild, immoral and violent Ovid in his free verse modern translation of the Metamorphoses and Ovid's portrayal of the fickle and immoral nature of the Gods.

6010:; 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. By 2773:(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. 2046:

Ovid's works have been interpreted in various ways over the centuries with attitudes that depended on the social, religious and literary contexts of different times. It is known that since his own lifetime, he was already famous and criticized. In the

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story in both poems. Heinze demonstrated that, "whereas in the elegiac poems a sentimental and tender tone prevails, the hexameter narrative is characterized by an emphasis on solemnity and awe..." His general line of argument has been accepted by

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are more serious and, though some of them are "quite different from anything Ovid had done before he is here also treading a very well-worn path" to relate that the motif of females abandoned by or separated from their men was a "stock motif of

661:. 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 1610:

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.

1508:(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 2134:

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

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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

487:, 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 2017:". Some scholars, such as Kenney and Clausen, have compared Ovid with Virgil. According to them, Virgil was ambiguous and ambivalent while Ovid was defined and, while Ovid wrote only what he could express, Virgil wrote for the use of 1851:

in his works that emphasizes subjectivity and personal emotion over traditional militaristic and public goals, a convention that some scholars link to the relative stability provided by the Augustan settlement. However, although

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Ovid is traditionally considered the final significant love elegist in the evolution of the genre and one of the most versatile in his handling of the genre's conventions. Like the other canonical elegiac poets Ovid takes on a

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so that he might practice law. According to Seneca the Elder, Ovid tended to the emotional, not the argumentative pole of rhetoric. Following the death of his brother at 20 years of age, Ovid renounced law and travelled to

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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 etiological catalogue poetry such as

241:, where he remained for the last nine or ten years of his life. Ovid himself attributed his banishment to a "poem and a mistake", but his reluctance to disclose specifics has resulted in much speculation among scholars. 926:

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.

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In fact, it is generally accepted in most modern classical scholarship on elegy that the poems have little connection to autobiography or external reality. See Wycke, M. "Written Women:Propertius' Scripta Puella" in

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and the other didactic love poems provide a handbook for relationships and seduction from a (mock-)"scientific" viewpoint. In his treatment of elegy, scholars have traced the influence of rhetorical education in his

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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 that the double letters (16–21) in the

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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

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real person has led scholars to conclude that Corinna was never a real person – and that Ovid's relationship with her is an invention for his elegiac project. Some scholars have even interpreted Corinna as a

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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

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is a fragmentary didactic poem in 134 poorly preserved hexameter lines and is considered spurious. The poem begins by describing how every animal possesses the ability to protect itself and how fish use

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Writers in the Middle Ages used his work as a way to read and write about sex and violence without orthodox "scrutiny routinely given to commentaries on the Bible". In the Middle Ages the voluminous

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Theodor Heinze. P. Ovidius Naso. Der XII. Heroidenbrief: Medea an Jason. Mit einer Beilage: Die Fragmente der Tragödie Medea. Einleitung, Text & Kommentar. Mnemosyne Supplement 170 Leiden:

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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

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to help themselves. The ability of dogs and land creatures to protect themselves is described. The poem goes on to list the best places for fishing, and which types of fish to catch. Although

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Peron, Goulven. L'influence des Metamorphoses d'Ovide sur la visite de Perceval au chateau du Roi Pecheur, Journal of the International Arthurian Society, Vol. 4, Issue 1, 2016, pp. 113–34.

966:, 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 5939: 2780:

on the Roman forum), Sulmona (Ovid's birthplace) and Constanta (modern day Tomis, in Romania). Broadcast on the Canadian Broadcasting Corporation, CBC Radio One, 18 and 19 December 2008.

1770:, it is now thought that they are unconnected. The date of the piece is unknown, but a date in the reign of Tiberius has been suggested because of that emperor's prominence in the poem. 539:

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.

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He married three times and had divorced twice by the time he was thirty. He had one daughter and grandchildren through her. His last wife was connected in some way to the influential

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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

4097:, 32.152: "His adiciemus ab Ovidio posita animalia, quae apud neminem alium reperiuntur, sed fortassis in Ponto nascentia, ubi id volumen supremis suis temporibus inchoavit". 2807:

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: "

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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

2928: 2295:. Baudelaire took the opportunity to write a long essay about the life of an exiled poet like Ovid. This shows that the exile of Ovid had some influence in 19th century 5223: 947:

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.

3254: 374:, on 20 March 43 BC – a significant year in Roman politics. Along with his brother, who excelled at oratory, Ovid was educated in rhetoric in Rome under the teachers 470:

with erotic themes. The chronology of these early works is not secure, but scholars have established tentative dates. His earliest extant work is thought to be the

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A popular quote from the Heroides anticipates Machiavelli's "the end justifies the means". Ovid had written "Exitus acta probat" – the result justifies the means.

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by Ovid, which was composed at Tomis near the end of Ovid's life, modern scholars believe Pliny was mistaken in his attribution and that the poem is not genuine.

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may have been inspired in part by personal experience, the validity of "biographical" readings of these poets' works is a serious point of scholarly contention.

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Tavard, George H. Juana Ines de la Cruz and the Theology of Beauty: The First Mexican theology, University of Notre Dame Press, Notre Dame, IN, 1991, pp. 104–05

7222: 474:, 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 6623: 3097: 1817:" that was the subject of human ingratitude. In a monologue asking boys not pelt it with stones to get its fruit, the tree contrasts the formerly fruitful 1603:

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.

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Montuschi, Claudia, Il tempo in Ovidio. Funzioni, meccanismi, strutture. Accademia la colombaria studi, 226. Firenze: Leo S. Olschki, 2005. p. 463.

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Ovid, Heroides, Amores; Art of Love, Cosmetics, Remedies for Love, Ibis, Walnut-tree, Sea Fishing, Consolation; Metamorphoses; Fasti; Tristia, Ex Ponto

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1.6, while other poems seem to have no elegiac precedents and appear to be Ovid's own generic innovations, such as the poem on Corinna's ruined hair (

2798:(2013) Mikhail Berman-Tsikinovsky's "To Ovid, 2000 years later, (A Road Tale)" describes the author's visits to the places of Ovid's birth and death. 4647:

Booth, J. pp. 66–68. She explains: "The text of the Amores hints at the narrator's lack of interest in depicting unique and personal emotion." p. 67

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into stopped rhyming couplets during the 17th century, when Ovid was "refashioned in its own image, one kind of Augustanism making over another".

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spurious because it incorporates allusions to Ovid's works in an uncharacteristic way, although the piece is thought to be contemporary with Ovid.

694:, which illustrated his sadness and desolation. Being far from Rome, he had no access to libraries, and thus might have been forced to abandon his 5756:. Introduction, text and commentary. (ARCA: Classical and Medieval Texts, Papers and Monographs, 47). Cambridge: Francis Cairns, 2006. pp. x, 409. 2776:(2008) "The Love Song of Ovid", a two-hour radio documentary by Damiano Pietropaolo, recorded on location in Rome (the recently restored house of 3512: 2194: 6145:

with enhanced browsing facility, downloadable in HTML, PDF, or MS Word DOC formats. Site also includes wide selection of works by other authors.

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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

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Ovid wrote more about his own life than most other Roman poets. Information about his biography is drawn primarily from his poetry, especially

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Martin Amann, Komik in den Tristien Ovids. (Schweizerische Beiträge zur Altertumswissenschaft, 31). Basel: Schwabe Verlag, 2006. pp. 296.

4837: 1626:, 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. 7109: 6103: 7651: 6974: 6604: 4223: 3102: 2766: 3457:

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.

7693: 7681: 6797: 4014:: "Little book – for I don't begrudge it – go on to the city without me; Alas for me, because your master is not allowed to go with you!" 445:, Ponticus and Bassus. (He only barely met Virgil and Tibullus, a fellow member of Messalla's circle, whose elegies he admired greatly). 421:

Ovid's first recitation has been dated to around 25 BC, when he was eighteen. He was part of the circle centered on the esteemed patron

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to his succession, most researchers agree that this work is the clearest testimony of support of Augustan ideals by Ovid (E. Fantham,

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2.18.19–26 as safe from objection. The collection comprises a new type of generic composition without parallel in earlier literature.

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Os Clássicos Latinos nas Antologias Escolares dos Jesuítas nos Primeiros Ciclos de Estudos Pré-Elementares No Século XVI em Portugal

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in 15 books, which comprehensively catalogs the metamorphoses in Greek and Roman mythology, from the emergence of the cosmos to the

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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

9028: 7666: 5927: 2536: 50: 1764:. The poem ends with an address by Drusus to Livia assuring him of his fate in Elysium. Although this poem was connected to the 8973: 7661: 7395: 2749:, a drama, part of a trilogy, which speculates on the crime that sent Ovid into exile. Broadcast 11 April on BBC Radio 4, with 851:

been questioned, although most scholars would consider the letters mentioned specifically in Ovid's description of the work at

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See chapters II and IV in P. Gatti, Ovid in Antike und Mittelalter. Geschichte der philologischen Rezeption, Stuttgart 2014,

4357: 4196: 3824: 2652:'s translation. The songs are "Workingman's Blues #2", "Ain't Talkin'", "The Levee's Gonna Break", and "Spirit on the Water". 2053:, Ovid reports criticism from people who considered his books insolent. Ovid responded to this criticism with the following: 6952: 3745: 1004:

is a collection in three books of love poetry in elegiac meter, following the conventions of the elegiac genre developed by

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Most scholars, however, oppose these hypotheses. One of the main arguments of these scholars is that Ovid would not let his

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Grief is expressed for his lost military honors, his wife, and his mother. The poet asks Livia to look for consolation in

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Federica Bessone. P. Ovidii Nasonis Heroidum Epistula XII: Medea Iasoni. Florence: Felice Le Monnier, 1997. pp. 324.

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Book 1 Verse 1, 2: "If you do not know the art of love, read my book, and you will be a 'doctor' of love in the future".

3330: 3322: 2575:(Berlin, 1922), refers to Ovid's book. Mandelstam's collection is about his hungry, violent years immediately after the 1618:

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

711:, a series of poems expressing the poet's despair in exile and advocating his return to Rome, are dated to AD 9–12. The 7285: 5131: 5104: 5059: 5019: 4927: 4883: 4863: 4763: 4233: 4206: 3988: 3739: 3581: 3366: 3160: 1965:

perhaps, epic narrative is continuous and symmetrical... whereas elegiac narrative displays a marked asymmetry ...

1898: 629: 190: 2464: 9099: 8953: 7713: 7280: 7275: 7251: 7102: 6485: 5714: 5622: 4126:(I, 24: "Nam poetam Ovidium, qui et Naso, pro eo, quod tres libellos amatoriae artis conscripsit, exilio damnavit"). 3982: 3604: 2823: 1543:, a seer. He also seems to emphasize unsavory, popular traditions of the festivals, imbuing the poem with a popular, 422: 181: 9074: 8968: 7641: 7290: 7217: 6967: 6873: 6003: 5971: 4161:

Although some authors such as Martin (P. M. Martin, "À propos de l'exil d'Ovide... et de la succession d'Auguste",

1537:. Ovid uses direct inquiry of gods and scholarly research to talk about the calendar and regularly calls himself a 4122:, 2033, an. Tiberii 4, an. Dom. 17: "Ovidius poeta in exilio diem obiit et iuxta oppidum Tomos sepelitur") and in 858:

The first fourteen letters are thought to comprise the first published collection and are written by the heroines

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P. Ovidius Naso A.D. XII Kalend. April Sulmone in Pelignis natus est, quo anno ... P. Hirtius et C. Pansa Coss.

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Some commentators have also noted the influence of Ovid's interest in love elegy in his other works, such as the

418:, but resigned to pursue poetry probably around 29–25 BC, a decision of which his father apparently disapproved. 3941:(Alianza Editorial, Madrid, 2002). The scholars also add that it was no more indecent than many publications by 9079: 7988: 7913: 7671: 6598: 6546: 6538: 6370: 6204: 5079: 5055: 5031: 5015: 4923: 4879: 4871: 4759: 3577: 2640: 1340: 700:, a poem about the Roman calendar, of which only the first six books exist – January through June. He learned 9084: 8484: 5771: 5589: 3061: 1890:

1.14). Ovid has been traditionally seen as far more sexually explicit in his poetry than the other elegists.

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Book 1 contains 15 poems. The first tells of Ovid's intention to write epic poetry, which is thwarted when

553: 3338: 3264: 1109: hoc legat et lecto carmine doctus amet. 954:

markedly reveal the influence of rhetorical declamation and may derive from Ovid's interest in rhetorical

9023: 8948: 8707: 7763: 7646: 7192: 6960: 6916: 5787: 2803: 2328: 3224: 2160: 1190: 976:

64 for Ariadne, and transfer characters from the genres of epic and tragedy to the elegiac genre of the

8983: 8647: 8539: 8309: 8081: 7903: 7811: 7676: 7619: 7017: 6783: 6291: 5633: 4411: 2067:

After such criticism subsided, Ovid became one of the best known and most loved Roman poets during the

1335:. The sixth book is a collection of stories about the rivalry between gods and mortals, beginning with 1070: 5530: 651:

marriage to increase the population's birth rate, were fresh in the Roman mind. Ovid's writing in the

9003: 8096: 8051: 7978: 7898: 7846: 7836: 7788: 7135: 6704: 6363: 5324: 5299: 4915: 3361: 2826:

is based on the Syrinx and Pan scene from Metamorphoses, with performances in Amsterdam (2017, 2019).

2431: 2174: 6025: 5582:

Ovid Renewed: Ovidian Influences on Literature and Art from the Middle Ages to the Twentieth Century

5495:, Vol. I-VI, (Cambridge, Massachusetts/London: HUP, 1977–1989, revised ed.) (Loeb Classical Library) 5239:"Elegy XI: Weary at Length of His Mistress' Infidelities, He Swears that He Will Love Her No Longer" 2080: 1600:

Ovid apologizes for the quality and tone of his book, a sentiment echoed throughout the collection.

8604: 8514: 8023: 8003: 7998: 7983: 7936: 7876: 7831: 7633: 6466: 5664: 3152: 2271: 2231: 2169: 2002: 1288: 1127: 883: 617:– "a poem and a mistake", claiming that his crime was worse than murder, more harmful than poetry. 4834: 3778:

The most recent chart that describes the dating of Ovid's works is in Knox. P. "A Poet's Life" in

2484: 414: 9013: 8993: 8933: 8923: 8913: 8319: 8008: 7908: 7888: 7803: 7793: 7498: 7438: 7418: 7130: 6908: 6011: 5746: 5349: 3569: 2945: 2649: 2617: 2239: 1368: 353: 92: 17: 6865: 5852: 5828: 2914: 1533:

initially, but perhaps the death of the emperor prompted Ovid to change the dedication to honor

1428: 1143: 1126:

Ovid emphasizes care of the body for the lover. Mythological digressions include a piece on the

9089: 9018: 9008: 8958: 8938: 8752: 8727: 8692: 8574: 8299: 7946: 7708: 7239: 6762: 6355: 5863:

University of Virginia, "Ovid Illustrated: The Renaissance Reception of Ovid in Image and Text"

4452: 2894: 2862: 633: 715:, an elegiac curse poem attacking an unnamed adversary, may also be dated to this period. The 9059: 8988: 8918: 8742: 8494: 8294: 8289: 8086: 7993: 7918: 7881: 7866: 7841: 7821: 7723: 6982: 6720: 6696: 6387: 4956: 4148:

J. M. Claassen, "Error and the imperial household: an angry god and the exiled Ovid's fate",

3239: 2857: 2601: 2435: 1961: 1766: 1388: 1324: 31: 6805: 6630: 5842: 5818: 5444:

Ovidius, Carmina Amatoria. Amores. Medicamina faciei femineae. Ars amatoria. Remedia amoris.

5121: 4402:

Herbert-Brown, G. "Fasti: the Poet, the Prince, and the Plebs" in Knox, P. (2009) pp. 126ff.

4011:

Parve – nec invideo – sine me, liber, ibis in urbem; ei mihi, quod domino non licet ire tuo!

2374: 8998: 8963: 8652: 8519: 8419: 8344: 8209: 8172: 7548: 7212: 6940: 6581: 6503: 5782:

The Poetics of Power in Augustan Rome: Latin Poetic Responses to Early Imperial Iconography

3816: 3179: 3116: 3006: 2972: 2940: 2445: 2379: 2366: 2093: 2006: 1754: 1384: 1280: 1249: 1154:. The book ends with his wish that women will follow his advice and spread his fame saying 887: 613:. This event shaped all his following poetry. Ovid wrote that the reason for his exile was 72: 8642: 2288: 8: 9094: 9064: 8928: 8777: 8579: 8449: 8399: 7718: 7315: 7044: 6712: 6412: 5928:

SORGLL: Ovid, Metamorphoses VIII, 183–235, (Daedalus & Icarus); read by Stephen Daitz

5505: 5370: 4907: 3626: 3285: 2449: 2427: 2423: 2419: 2334: 2214:

during the early 17th century, and in this period Brazilian students read works like the

2139: 2113: 2109: 2105: 1994: 1680:

admired the work a great deal and considered it a prime example of Ovid's poetic talent.

1364: 1236: 907: 871: 863: 293: 7009: 5649:. Die Antike und ihr Weiterleben, Band 5. Remscheid: Gardez! Verlag, 2003. pp. 304. 5404:(Norman: University of Oklahoma Press, 2011) (Oklahoma Series in Classical Culture, 41). 3175: 2815:" (English translation: Be patient and tough; someday this pain will be useful to you"). 2276: 2164: 1657: 1215:, Ovid's most ambitious and well-known work, consists of a 15-book catalogue written in 1042:

for Corinna's illness, 14 a poem against abortion, and 19 a warning to unwary husbands.

784:

remain unfinished, mainly because this poem meant his consecration as an imperial poet.

404: 308:

4.10, which gives a lengthy autobiographical account of his life. Other sources include

8978: 8702: 8509: 8364: 8304: 8224: 8167: 8031: 7267: 7246: 6984: 6662: 6554: 6277: 6197: 5238: 4312: 3527: 3142: 3037: 2712: 2576: 2513: 2216: 1704:

ever existed, they constitute a great loss. Ovid also mentions some occasional poetry (

1638: 1440: 1284: 1226: 1216: 717: 701: 690: 628:(the latter adopted by him), were also banished around the same time. Julia's husband, 365: 357: 285: 251: 8617: 6087: 5862: 2459: 1151: 225:. Although Ovid enjoyed enormous popularity during his lifetime, the emperor Augustus 8612: 8464: 8219: 8179: 8157: 7365: 6442: 6434: 5880: 5710: 5546: 5176: 5166: 5127: 5100: 5093: 5075: 5051: 5011: 4919: 4875: 4859: 4755: 4363: 4353: 4229: 4202: 3978: 3820: 3735: 3600: 3573: 3299: 2694: 2501: 2473: 2413: 2266: 1944: 1810: 1475: 1047: 928: 621: 438: 409: 4421:, a translation of all of Ovid's exile poetry can be found here by A. S. Kline, 2003 2795:

12.39–63, and the author muses on Ovid's prediction of the internet in that passage.

2730:, a comedy, emphasizing Ovid's role as lover. Broadcast 23 May on BBC Radio 4, with 1672:, from which nothing has come down to us. The greatest loss is Ovid's only tragedy, 1061: 8677: 8637: 8569: 8504: 8429: 8424: 8196: 8119: 8066: 7861: 7856: 7745: 7604: 7553: 7513: 7483: 7478: 7473: 7463: 7385: 7332: 7325: 7310: 7305: 7229: 7157: 7069: 6688: 6519: 5889: 5600: 5536: 4997:, Second Series, Vol. 24, No. 1 (Apr. 1977), pp. 57–70. Cambridge University Press. 4304: 3430: 3313: 3231: 3164: 2761: 2715:

uses anachronisms to weave together parts of Ovid's biography and stories from the

2589: 2403: 2388: 2235: 2199: 2089: 1878: 1051: 936: 625: 309: 210: 158: 5654:

Poetic Memory. Allusion in the Poetry of Callimachus and the Metamorphoses of Ovid

5647:

Ovid: An Adaptation of the Metamorphoses in the Augustan Age of English Literature

9104: 8772: 8584: 8564: 8524: 8459: 8409: 8404: 8279: 8229: 8137: 7971: 7951: 7871: 7320: 7145: 6881: 6746: 6313: 6168: 6032: 6007: 5975: 5871: 5430:

P. Ovidi Nasonis Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris

5377: 4894:

Robert Levine, "Exploiting Ovid: Medieval Allegorizations of the Metamorphoses",

4841: 4682:

Keith, A. "Corpus Eroticum: Elegiac Poetics and Elegiac Puellae in Ovid's 'Amores

4418: 3937:(Editorial Gredos, Madrid, 1992), p. 10 and Rafael Herrera Montero (trans.), Ov. 3809: 3729: 3594: 3429:

regime. After Caesar's death, a series of civil wars and alliances followed (See

3426: 3418: 3405: 3351: 3246: 3188: 3130: 3081: 3066: 2986: 2881: 2849: 2750: 2735: 2568: 2560: 2545: 2469: 2393: 2211: 2206: 2130:

The first taste I had for books came to me from my pleasure in the fables of the

1814: 1791: 1360: 1107: Si quis in hoc artem populo non novit amandi, 1030:

The second book has 19 pieces; the opening poem tells of Ovid's abandonment of a

833: 750: 676: 668: 571: 522: 466:

Ovid spent the first 25 years of his literary career primarily writing poetry in

375: 255: 6655: 6157: 1050:

because of her festival that requires abstinence, 13 is a poem on a festival of

8827: 8469: 8204: 8152: 8124: 8071: 8056: 8036: 7851: 7826: 7783: 7773: 7599: 7573: 7503: 7488: 7453: 7413: 7174: 7025: 6889: 6751: 6248: 5914: 5876: 5777: 5564: 5470: 4977: 3356: 3120: 3032: 2993: 2981: 2959: 2707: 2672: 2658: 2100: 2049: 1926: 1848: 1505: 1316: 1272: 1170: 729:

they are frightening barbarians) and to have written a poem in their language (

434: 426: 391: 329: 273: 147: 76: 5761:

The Art of Love: Bimillennial Essays on Ovid's Ars Amatoria and Remedia Amoris

5357: 2837:

collaborated on a free homophonic translation of the first 88 lines of Ovid's

2819: 1668:

One loss, which Ovid himself described, is the first five-book edition of the

1629: 812: 9054: 9048: 8359: 8329: 8244: 7778: 7755: 7568: 7423: 7408: 7355: 7162: 6993: 6812: 6458: 6397: 6331: 6233: 6226: 6190: 5180: 5099:. Translated by Green, Peter. University of California Press. p. xxxvi. 4367: 3422: 3196: 3025: 2933: 2909: 2754: 2746: 2681: 2667: 2621: 2610: 2606: 2523: 1939: 1869: 1651:

are each addressed to a different friend and focus more desperately than the

1460: 1420: 1206: 1195: 995: 932: 773: 588: 561: 557: 544: 483: 478:

2.18.19–26 that seems to describe the collection as an early published work.

379: 246: 226: 206: 130: 3964: 3397: 2157:, where he warns against satires that can exile poets, as happened to Ovid. 2112:. Many non-English authors were heavily influenced by Ovid's works as well. 1596:

consist of five books of elegiac poetry composed by Ovid in exile in Tomis.

8837: 8697: 8142: 8091: 8046: 8041: 7893: 7703: 7589: 7533: 7528: 7300: 7184: 7118: 6562: 6263: 6240: 6046: 6015: 5847: 5823: 4734:

Quoted by Theodore F. Brunner, "Deinon vs. eleeinon: Heinze Revisited" In:

4596: 3070: 3049: 2998: 2964: 2757:(not to be confused with the 2000 radio play by the same title on Radio 4). 2738:(not to be confused with the 2004 radio play by the same title on Radio 3). 2727: 2689: 2625: 2550: 1908: 1706: 1498: 1100: 1031: 1022: 911: 696: 606: 566: 512: 268: 261: 214: 96: 5656:. Mnemosyne, Supplementa 258. Leiden: Brill Publishers, 2004. pp. ix, 215. 2699: 1733: 1158:"Ovid was our teacher". (Ovid was known as "Naso" to his contemporaries.) 594: 455: 230: 88: 8632: 8254: 8076: 7966: 7360: 6934: 6728: 6648: 6417: 6284: 5867: 5439:. Cambridge Greek and Latin Classics. (Cambridge University Press, 2009). 4779: 4747: 3438: 3135: 2834: 2788: 2531: 2454: 2441: 2355: 2296: 2292: 2255: 2148: 2072: 2068: 1987: 1979: 1953: 1933:(1919) delineated the distinction between Ovid's styles by comparing the 1915: 1727: 1560: 1521: 1483: 1415:. The twelfth book moves from myth to history describing the exploits of 1260: 1231: 1077: 820: 369: 281: 277: 118: 6000: 5453:(Berlin & New York: de Gruyter, 1971) (Texte und Kommentare; Bd. 6). 4316: 4295:

Athanassaki, Lucia (1992). "The Triumph of Love in Ovid's Amores 1, 2".

3470:

in I 64, II 224, V 649, VII 407, VIII 788, XV 285, 359, 460, and others.

2845:

premiered by the vocal ensemble Ekmeles in New York on 22 February 2018.

1276: 1131: 579:

were composed, although there is some contention over their authorship.

8857: 8797: 8762: 8554: 8489: 8479: 8374: 8259: 8147: 7730: 7698: 7443: 7370: 7202: 7197: 6450: 5968: 5477:

Cambridge Greek and Latin Classics. (Cambridge University Press, 1998).

5277: 5048:

The simplest of signs: Victor Hugo and the language of images in France

4165:

45 (1986), pp. 609–11.) and Porte (D. Porte, "Un épisode satirique des

4150:

Acta classica: proceedings of the Classical Association of South Africa

3942: 3346: 3086: 2830: 2731: 2362: 2284: 2061:

But you're in too much of a hurry: if I live you'll be more than sorry:

1948: 1861: 1818: 1681: 1677: 1534: 1525: 1482:

A concept drawn from the Metamorphoses is the idea of the white lie or

1456: 1432: 1424: 1332: 1264: 1009: 450: 395: 313: 218: 7087: 6342: 5541: 4660:

10 provides the real names for every elegist's mistress except Ovid's.

4563: 3441:(leading supporter of Caesar), from which arose a new political order. 2034: 1893:

His erotic elegy covers a wide spectrum of themes and viewpoints; the

1520:

was to be a long poem and emulated etiological poetry by writers like

1467:

and expresses Ovid's belief that his poem has earned him immortality.

1147: 570:, a six-book poem in elegiac couplets on the theme of the calendar of 8887: 8882: 8842: 8767: 8737: 8717: 8594: 8534: 8444: 8394: 8389: 8314: 8274: 8162: 8132: 7941: 7816: 7609: 7493: 7468: 7347: 5698:. Mnemosyne Suppl., 276. Leiden: Brill Publishers, 2006. p. 326. 5696:

Founding the Year: Ovid's Fasti and the Poetics of the Roman Calendar

5160: 4722: 4308: 3171: 2632: 2407: 2010: 1970: 1711: 1444: 962: 891: 879: 768: 644: 610: 598: 549: 425:, and likewise seems to have been a friend of poets in the circle of 238: 5300:"Huygens-Fokker Foundation | concert Fokker organ | 13 January 2019" 5072:

A View to a Death in the Morning: Hunting and Nature Through History

2096:, and more specifically, for many Renaissance painters and writers. 2059:

it will be more so, if only my feet travel the road they've started.

1973:

an old theme rather than inventing a new one". Otis states that the

1119:

with an invocation to Venus, in which Ovid establishes himself as a

8847: 8832: 8822: 8807: 8722: 8712: 8682: 8672: 8667: 8657: 8559: 8474: 8354: 8339: 8269: 8249: 8239: 8234: 8214: 8013: 7594: 7558: 7448: 7375: 7207: 6857: 6256: 5898: 5894: 5726: 5467:(Stuttgart & Leipzig: Teubner, 1997) (Bibliotheca Teubneriana). 4282:

Mail and Female: Epistolary Narrative and Desire in Ovid's Heroides

4178: 3946: 3434: 3390: 3209: 2777: 2676: 2518: 2399: 2300: 2186: 2018: 1983: 1857: 1853: 1761: 1746: 1697: 1619: 1544: 1530: 1464: 1452: 1416: 1372: 1356: 1348: 1312: 1300: 1241: 1175:

This elegiac poem proposes a cure for the love Ovid teaches in the

1081: 1055: 1005: 973: 956: 940: 859: 827: 759: 665:

used the poem as a mere justification for something more personal.

662: 658: 648: 637: 602: 386: 341: 194: 6302: 5518:(Stuttgart & Leipzig: Teubner 1990) (Bibliotheca Teubneriana). 5502:(Stuttgart & Leipzig: Teubner 1995) (Bibliotheca Teubneriana). 5325:"Huygens-Fokker Foundation | concert Fokker organ | 23 April 2017" 2230:

In the 16th century, Ovid's works were criticized in England. The

1925:

and have distinguished his "elegiac" style from his "epic" style.

1138:. Book 2 invokes Apollo and begins with a telling of the story of 250:, a continuous mythological narrative in fifteen books written in 8867: 8862: 8852: 8817: 8812: 8802: 8747: 8732: 8549: 8544: 8529: 8499: 8454: 8434: 8414: 8369: 8101: 7956: 7735: 7543: 7538: 7428: 6270: 3467: 3002: 2968: 2870: 2505: 2280: 2251: 2243: 2224: 2092:. Ovid's poetry provided inspiration for the Renaissance idea of 1623: 1587: 1512:

2.549–52 that his work was interrupted after six books. Like the

1448: 1412: 1380: 1352: 1336: 1320: 1304: 1296: 1161: 1135: 944: 895: 867: 754: 684: 467: 349: 333: 68: 6385: 6182: 6020:(a searchable facsimile at the University of Georgia Libraries; 4055:

H. Hofmann, "The unreality of Ovid's Tomitan exile once again",

3433:), until the victory of Caesar's nephew, Octavius (later called 2238:

ordered that a contemporary translation of Ovid's love poems be

1714:) which does not survive. Also lost is the final portion of the 1647:

is a collection in four books of further poetry from exile. The

757:, but no other author until the 4th century; that the author of 509:(a fragmentary work on women's beauty treatments), preceded the 8877: 8757: 8687: 8627: 8622: 8589: 8349: 8334: 8284: 8264: 7686: 7563: 7458: 6832: 6827: 6756: 5642:. Edited by Geraldine Herbert-Brown. Oxford, OUP, 2002, 327 pp. 4804: 3950: 3927: 2898: 2890: 2866: 2497: 2351: 2304: 2182: 2118: 2014: 1918:, in his effects of surprise, and in his transitional devices. 1685: 1436: 1404: 1400: 1396: 1392: 1376: 1308: 1292: 1268: 1221: 1139: 1085: 968: 915: 899: 875: 764: 442: 399: 234: 202: 198: 5672:

Ovid's Art and the Wife of Bath: The Ethics of Erotic Violence

5446:(München & Leipzig: Saur, 2006) (Bibliotheca Teubneriana). 5395:

Ovid: Amores. Text, Prolegomena and Commentary in four volumes

3728:

Hornblower, Simon; Spawforth, Antony; Eidinow, Esther (2014).

2635:

has made repeated use of Ovid's wording, imagery, and themes.

2369:. In particular, the passage describing the Holy Grail in the 1182: 846:

are a collection of twenty-one poems in elegiac couplets. The

324: 8662: 8384: 8111: 7403: 6849: 6099: 5679:

Ovid's Lovers: Desire, Difference, and the Poetic Imagination

5578:

Marshall Jones Company, Francestown, NH, Revised Edition 1978

5571:

Marshall Jones Company, Francestown, NH, Revised Edition 1978

5165:. Faber & Faber Poetry, an imprint of Faber & Faber. 4960: 3192:) and drawing parallels between mythology and current affairs 3106: 2886: 2247: 2221: 1998: 1750: 1539: 1344: 1328: 1091: 1035: 1016: 919: 903: 816: 796:, which he spent time revising, were published posthumously. 345: 222: 114: 5681:. Cambridge: Cambridge University Press, 2006. pp. 235. 5187: 4522:

Knox, P. "Lost and Spurious Works" in Knox, P. (2009) p. 214

4083:

Exilio y elegía latina entre la Antigüedad y el Renacimiento

3089:

is a modern poetic translation of twenty four passages from

1379:. The tenth book focuses on stories of doomed love, such as 914:

to their absent male lovers. Letter 15, from the historical

8872: 8379: 7961: 7337: 6021: 4980:, Instituto Nacional do Livro, 1949, pp. 151–52 – Tomo VII. 4608:

A. Guillemin, "L'élement humain dans l'élégie latine". In:

3558: 3178:

song written and performed by Ian Crause (former leader of

1943:

versions of the same legends, such as the treatment of the

1700:. Even though it is unlikely, if the last six books of the 1435:. The fourteenth moves to Italy, describing the journey of 1408: 1039: 494:–3 BC. Between the publications of the two editions of the 361: 5768:

Ovid before Exile: Art and Punishment in the Metamorphoses

5270:"5 Things You Might Have Missed in The Walking Dead 'Now'" 5050:, 1850–1950 (University of Delaware Press, 2004), p. 127. 4833:. VI, 389-392. Translated by A. S. Kline and available in 3806: 3727: 3073:

is an anthology of contemporary poetry envisioning Ovid's

2910:

Retellings, adaptations, and translations of Ovidian works

792:

Ovid died at Tomis in AD 17 or 18. It is thought that the

502:, which was admired in antiquity but is no longer extant. 164: 7433: 4177:(2.371–80) an Ovidian attitude contrary to the wishes of 4135:

A. D. F. Brown, "The unreality of Ovid's Tomitan exile",

4068:

A. D. F. Brown, "The unreality of Ovid's Tomitan exile",

3629:

by Paulo Farmhouse Alberto, Livros Cotovia, Intro, p. 11.

2592:, for solo oboe, evokes images of Ovid's characters from 2299:

since it makes connections with its key concepts such as

1259:

The first book describes the formation of the world, the

170: 5910:

Nihon University, "Ovid Metamorphoses: Paris 1651 (1619)

5535:. Dickinson College commentaries. Open Book Publishers. 5267: 4942:(Toronto: University of Toronto Press, 2010), pp. 11–12. 4297:

Materiali e Discussioni per l'Analisi dei Testi Classici

2153:

Ovid is both praised and criticized by Cervantes in his

5674:. Ithaca: Cornell University Press, 2006. pp. 232. 5397:, Vol. I–III (Liverpool, 1987–1998) (ARCA, 20, 22, 36). 4535:

32.11 and 32.152 and Knox, P. "Lost" in Knox, P. (2009)

3721: 3105:, a short story collection retelling several of Ovid's 2511:(1821). The exiled Ovid also features in his long poem 2009:(also present in the poem) "are clever re-touchings of 1897:

focus on Ovid's relationship with Corinna, the love of

1455:. The final book opens with a philosophical lecture by 725:

he claims friendship with the natives of Tomis (in the

5763:. Oxford: Oxford University Press, 2006. pp. 375. 5736:

Madness Transformed: A Reading of Ovid's Metamorphoses

5707:

Metamorfosi e corpo: poesia ovidiana e arti figurative

5569:

Ovid's Metamorphoses in European Culture (Commentary),

4518: 4516: 4173:

43 (1984), pp. 284–306.) detected in a passage of the

3547: 3545: 3425:

took place, an event that precipitated the end of the

2932:, a retelling and interpretation of Ovidian fables by 2146:

as a platform of inspiration for his prodigious novel

1969:

Otis wrote that in the Ovidian poems of love, he "was

1773: 1575:

with a prayer that the gods make his curse effective.

804: 529:, or song, which was one cause of his banishment. The 5640:

Ovid's Fasti: Historical Readings at its Bimillennium

5608:

Poetic Allusion and Poetic Embrace in Ovid and Virgil

5095:

The Poems of Exile: Tristia and the Black Sea Letters

5008:

The poems of exile: Tristia and the Black Sea letters

4868:

The poems of exile: Tristia and the Black Sea letters

3767:

Brill's New Pauly: Encyclopaedia of the Ancient World

3022:

Ovid's Metamorphoses in European Culture (Commentary)

2811:". The phrase is an excerpt from the longer phrase, " 2567:(1920s) The title of the second poetry collection by 2504:

compared himself to Ovid; memorably versified in the

2472:, 1651, Stormy Landscape with Philemon and Baucis by 1809:

This short poem in 91 elegiac couplets is related to

182: 5770:. (Wisconsin Studies in Classics). Madison, WI: The 3920:

Norwood, Frances, "The Riddle of Ovid's Relegatio",

3275: 2116:, for example, alluded to Ovid several times in his 2057:

Gluttonous Envy, burst: my name's well known already

1801: 1489: 1303:. The fourth book focuses on three pairs of lovers: 173: 167: 6018:& co.; Cincinnati, H. W. Derby & co., 1857 5463:Alton, E.H.; Wormell, D.E.W.; Courtney, E. (eds.), 4513: 4347: 3790: 3788: 3542: 3141:(2008) Tristes Pontiques, translated from Latin by 2609:about Ovid's stay in exile (the novel received the 205:, with whom he is often ranked as one of the three 161: 5576:Ovid's Metamorphoses (Translation in Blank Verse), 5213: 5092: 5030:"Recent Acquisitions, A Selection: 2007–2008", in 3808: 2279:, portrays the last years of the poet in exile in 1986:poetry (the classic example for us is, of course, 1825: 1279:and continues describing the love of Jupiter with 319: 151:; 20 March 43 BC – AD 17/18), known in English as 4109:, 1.2, 254–55: "nec tristis in ipsis Naso Tomis". 3494:Ovid (1800). J. Juvencius & M.A. Amar (ed.). 3159:was performed by Pants on Fire, presented by the 3015:Ovid's Metamorphoses (Translation in Blank Verse) 2822:" for 31-tone organ and mezzosoprano by composer 986: 233:, the capital of the newly-organised province of 9046: 6162:with introductory essay and notes by Jon Corelis 5933: 5010:(University of California Press, 2005), p. xiv. 3785: 1578: 4081:Cf. the summary provided by A. Alvar Ezquerra, 3599:. Johns Hopkins University Press. p. 340. 2644:contains songs with borrowed lines from Ovid's 2084:, a French work that moralizes 15 books of the 640:, a conspiracy of which Ovid potentially knew. 601:, by the exclusive intervention of the Emperor 5923:Ovid's "Metamorphoses": A Common Core Exemplar 5587:Richard A. Dwyer "Ovid in the Middle Ages" in 5528: 5074:, Harvard University Press, 1996, pp. 118–19. 3731:The Oxford Companion to Classical Civilization 3167:in New York City and toured the United Kingdom 2813:Perfer et obdura, dolor hic tibi proderit olim 1551: 454:and helped him during his exile in Tomis (now 7103: 6968: 6791: 6371: 6198: 5794:(Cambridge: Cambridge University Press, 1955) 5784:(Cambridge: Cambridge University Press, 2018) 5432:(Oxford: OUP, 1994) (Oxford Classical Texts). 5425:(Norman: University of Oklahoma Press, 1972). 5418:(Norman: University of Oklahoma Press, 1996). 5411:(Oxford: OUP, 2004) (Oxford Classical Texts). 4553:Knox, P. "Lost" in Knox, P. (2009) pp. 210–11 4544:Knox, P. "Lost" in Knox, P. (2009) pp. 212–13 2548:. The Ovidian reference to "Daedalus" was in 2468:, 1613, Landscape with Pyramus and Thisbe by 2063:many poems, in fact, are forming in my mind. 1676:, from which only a few lines are preserved. 1399:. The eleventh book compares the marriage of 1287:. The third book focuses on the mythology of 682:In exile, Ovid wrote two poetry collections, 292:remains one of the most important sources of 5729:: A political reading of Ovid's erotic poems 5268:Faherty, Allanah Faherty (9 November 2015). 4854: 4852: 4850: 4725:: Ariel, 1985), p. 278 and Barsby, pp. 23ff. 4628:Fictus Adulter: Poet as Auctor in the Amores 4350:Ovid's Metamorphoses : a reader's guide 3807:Hornblower, Simon; Antony Spawforth (1996). 3782:ed. Peter Knox (Oxford, 2009) pp. xvii–xviii 3513:Random House Webster's Unabridged Dictionary 3421:. A year before Ovid's birth, the murder of 3056:, with urchins and drug addicts as the gods. 1327:. The fifth book focuses on the song of the 402:. He held minor public posts, as one of the 6246: 6093: 5704: 4294: 4009: 1906: 1020: 652: 530: 510: 433:4.10.41–54, Ovid mentions friendships with 259: 7110: 7096: 6975: 6961: 6798: 6784: 6378: 6364: 6205: 6191: 5738:. Lanham, Maryland: Lexington Books, 2011. 5584:. Ed. Charles Martindale. Cambridge, 1988. 4612:(Paris: Les Belles Lettres, 1940), p. 288. 4582:, Vol. 12, No. 1, pp. 1–31; see pp. 11–13. 4384:trans. J. Solodow (Baltimore, 1994) p. 346 4036:About 33 mentions, according to Thibault ( 2246:of the following century viewed Ovid as a 1684:quotes from a lost translation by Ovid of 1275:'s by Jupiter. The second book opens with 922:, seems spurious (although referred to in 221:considered him the last of the Latin love 49: 6001:The Metamorphoses of Publius Ovidius Naso 5688:. Burlington: Ashgate, 2005. p. 302. 5540: 4847: 4738:, Vol. 92, No. 2 (Apr. 1971), pp. 275–84. 3977:(in Hungarian). Püski Kiadó. p. 13. 3489: 3487: 3001:based on his 1926 play, retelling of the 2554:, but then metamorphosed to "Dedalus" in 1745:is a long elegiac poem of consolation to 498:can be dated the premiere of his tragedy 5516:P. Ovidi Nasonis Ex Ponto libri quattuor 5211: 5119: 4974:História da Companhia de Jesus no Brasil 4775: 4773: 4771: 4279: 3734:. Oxford University Press. p. 562. 2913: 2327: 2323: 2159: 2088:was composed. This work then influenced 2033: 1189: 811: 667: 564:, etc. Simultaneously, he worked on the 323: 7117: 6347: 5731:. London: Duckworth, 2006. p. 183. 5709:. Rome: Giorgio Bretschneider Editore. 3994:from the original on 18 September 2021. 3564:Mark P.O. Morford, Robert J. Lenardon, 2770:is about the last years of Ovid's life. 2556:A Portrait of the Artist as a Young Man 2537:A Portrait of the Artist as a Young Man 14: 9047: 6040: 5460:(Alessandria: Edizioni del'Orso, 1999) 5158: 3484: 1548:contribution to Roman elegiac poetry. 272:. His poetry was much imitated during 7091: 6956: 6779: 6359: 6346: 6186: 5402:Ovid's Amores, Book One: A Commentary 5249:from the original on 13 November 2015 5226:from the original on 11 January 2022. 4768: 4630:(Amsterdam, 1989) and Booth, J. "The 4221: 4198:Ancient Rome: An Anthology of Sources 4194: 3962: 3592: 2258:composed a famous translation of the 1872:symbol for the elegiac genre itself. 1363:hunt, and the contrast between pious 146: 5965:. Enhanced brower. Not downloadable. 5451:Epistulae Heroidum / P. Ovidius Naso 5140:from the original on 23 January 2023 5090: 4564:"The Manuscript Tradition of Ovid's 4284:. The University of Wisconsin Press. 3953:that circulated freely in that time. 3933:José González Vázquez (trans.), Ov. 3845:Àgora. Estudos Clássicos em Debate 4 3748:from the original on 23 January 2023 3493: 1427:. The thirteenth book discusses the 148:[ˈpuːbliʊsɔˈwɪdiʊsˈnaːso(ː)] 5465:P. Ovidi Nasonis Fastorum libri sex 5400:Ryan, M. B.; Perkins, C. A. (ed.), 5212:Reynolds, Gillian (13 April 2004). 4222:Green, Steven J. (1 January 2004). 4049:A. W. J. Holleman, "Ovid's exile", 3971:Who are we? Where did we come from? 3815:. Oxford University Press. p. 2605:, the novel by the Romanian writer 2318: 1833:This poem, traditionally placed at 461: 197:. He was a younger contemporary of 24: 5759:R. Gibson, S. Green, S. Sharrock, 5645:Susanne Gippert, Joseph Addison's 5522: 5484:. (Oxford University Press, 2013). 5215:"Tune in, and turn back the clock" 3525: 3182:) in Greek epic style, based on a 3161:Carol Tambor Theatrical Foundation 2954:translation by Frank Justus Miller 2122:, specifically in his comments on 1607:is again an apology for his work. 25: 9121: 6486:Pygmalion, ou La Statue de Chypre 6212: 6174:Perseus/Tufts: Commentary on the 5798: 5623:University of Massachusetts Press 5123:Ovid Revisited: The Poet in Exile 4914:(translated by Donald M. Frame), 4799:(Cambridge University), vol. II. 4797:História de la literatura clásica 4736:The American Journal of Philology 4195:Smith, R. Scott (15 March 2014). 4027:(Berkeley-L. A. 1964), pp. 20–32. 3170:(2012) "The Song of Phaethon", a 2189:cut several passages from Ovid's 1721: 605:without any participation of the 582: 423:Marcus Valerius Messalla Corvinus 6327: 6326: 6301: 5915:Dickinson College Commentaries: 5902: 5480:Wiseman, Anne and Peter Wiseman 5423:Ovid's Metamorphoses, Books 6–10 5364: 5342: 5317: 5292: 5261: 5236: 5230: 5205: 5196: 4912:The complete essays of Montaigne 4795:Kenney, E. J. y ClausenL, W. V. 4593:Historia de la literatura latina 4250:Ovid's Heroides: Select Epistles 3306: 3292: 3278: 3253: 3238: 3223: 2354:, a poet in the court circle of 1144:Vulcan's trap for Venus and Mars 749:except in "dubious" passages by 254:. He is also known for works in 157: 55:Anonymous 18th-century engraving 6158:English translations of Ovid's 5705:Sciaramenti, Benedetta (2023). 5630:The Cambridge Companion to Ovid 5511:Oxford University Press, 2010). 5416:Ovid's Metamorphoses, Books 1–5 5152: 5113: 5084: 5064: 5040: 5024: 5000: 4983: 4966: 4945: 4932: 4901: 4888: 4823: 4810: 4789: 4741: 4728: 4711: 4702: 4693: 4676: 4663: 4650: 4641: 4615: 4602: 4585: 4562:See also Kenney, E. J. (1962). 4556: 4547: 4538: 4525: 4501: 4489: 4477: 4461: 4441: 4424: 4405: 4396: 4387: 4374: 4341: 4332: 4323: 4288: 4273: 4264: 4255: 4242: 4215: 4188: 4155: 4142: 4129: 4112: 4100: 4088: 4075: 4062: 4043: 4030: 4017: 3998: 3956: 3914: 3901: 3888: 3875: 3862: 3850: 3833: 3800: 3772: 3760: 3709: 3697: 3685: 3669: 3657: 3645: 3632: 3460: 3444: 2671:faithfully reports the myth of 2540:has a quotation from Book 8 of 2465:La Fábula de Polifemo y Galatea 2358:, who adopts the pen name Naso. 657:concerned the serious crime of 385:His father wanted him to study 320:Birth, early life, and marriage 6599:Pygmalion and the Image series 6547:Galatea, or Pygmalion Reversed 6539:Pygmalion; or, The Statue Fair 5940:Perseus/Tufts: P. Ovidius Naso 5458:Publio Ovidio Nasone, Heroides 5409:P. Ovidi Nasonis Metamorphoses 5032:The Metropolitan Museum of Art 4951:Agostinho de Jesus Domingues, 4872:University of California Press 3613: 3586: 3519: 3505: 3411: 3383: 3186:tale (as recounted in Hughes' 1633:("Letters from the Black Sea") 1463:. The end of the poem praises 1343:. The seventh book focuses on 1331:, which describes the rape of 1200:Ovid's Metamorphoses Englished 707:The five books of the elegiac 593:In AD 8, Ovid was banished to 193:who lived during the reign of 13: 1: 6874:Gli amori d'Apollo e di Dafne 6149:Two translations from Ovid's 5934:Latin and English translation 5772:University of Wisconsin Press 5590:Dictionary of the Middle Ages 5442:Ramírez de Verger, A. (ed.), 4451:2.5.24. Another quotation by 3841:O mistério do exílio ovidiano 3477: 3417:It was a pivotal year in the 3261:Scythians at the Tomb of Ovid 3147:(2011) A stage adaptation of 3062:After Ovid: New Metamorphoses 2952:Ovid's Metamorphoses Vols 1–2 2719:in an uncertain time setting. 2521:(1824), and in Canto VIII of 2487: 2477: 2344: 1710:, dirge, even a rendering in 1663: 1355:. The eighth book focuses on 645:Julian marriage laws of 18 BC 620:The Emperor's grandchildren, 488: 27:Roman poet (43 BC – AD 17/18) 7682:Frontiers and fortifications 5853:Resources in other libraries 5829:Resources in other libraries 5612:University of Michigan Press 5126:. A&C Black. p. 2. 5037:, v. 66, no. 2 (Fall, 2008). 4940:Ovid in the Age of Cervantes 4754:(CUP Archive, 1970), p. 24. 4348:Liveley, Genevieve. (2011). 4118:Short references in Jerome ( 3966:Kik vagyunk? Honnan jöttünk? 3125:Circle in the Square Theatre 2809:Dolor hic tibi proderit olim 2791:, opens with a passage from 2787:, a novel by British author 2616:(1961) The eight-line poem " 2585:Six Metamorphoses after Ovid 2483:, "Divine Narcissus" by Sor 2418:(16th century–17th century) 2029: 1371:. The ninth book focuses on 1065:("Women's Facial Cosmetics") 542:By AD 8, Ovid had completed 415:decemviri litibus iudicandis 332:in the Piazza XX Settembre, 244:Ovid is most famous for the 7: 7741:Decorations and punishments 5901:(public domain audiobooks) 5868:Works by Ovid in eBook form 5387: 5120:Claassen, Jo-Marie (2013). 4252:(Cambridge, 1995) pp. 14ff. 4225:Ovid, Fasti 1: A Commentary 4137:Liverpool Classical Monthly 4070:Liverpool Classical Monthly 4057:Liverpool Classical Monthly 4051:Liverpool Classical Monthly 4025:The Mystery of Ovid's Exile 4004:The first two lines of the 3811:Oxford Classical Dictionary 3596:Latin Literature: A History 3593:Conte, Gian Biagio (1987). 3271: 2820:...and while there he sighs 2377:contains elements from the 2042:, edition by Colard Mansion 1479:traditional forms of epic. 1429:contest over Achilles' arms 960:, persuasive speeches, and 771:and by Ovid himself in his 10: 9126: 9070:1st-century BC Roman poets 8648:Dionysius of Halicarnassus 7223:historiography of the fall 7013:(1726 Francoeur and Rebel) 6292:Medicamina Faciei Femineae 6131:Medicamina Faciei Femineae 5987:Medicamina Faciei Femineae 5969:Sacred Texts Archive: Ovid 5752:Andreas N. Michalopoulos, 5634:Cambridge University Press 4382:Latin Literature a History 4280:Lindheim, Sara H. (2003). 3530:. Encyclopaedia Britannica 3216: 2929:The Wisdom of the Ancients 2626:National Socialist Germany 2181:In the 16th century, some 1725: 1636: 1585: 1558: 1496: 1204: 1198:'s 1632 London edition of 1168: 1098: 1076:is not unlike the shorter 1071:Medicamina Faciei Femineae 1068: 1063:Medicamina Faciei Femineae 993: 831: 825: 586: 29: 9029:External wars and battles 8896: 8790: 8603: 8195: 8188: 8110: 8022: 7927: 7802: 7754: 7632: 7582: 7521: 7512: 7394: 7346: 7266: 7183: 7153: 7144: 7126: 7063:A Midsummer Night's Dream 7054: 7036: 7001: 6927: 6900: 6841: 6820: 6806:"Apollo and Daphne" from 6739: 6672: 6640: 6615: 6591: 6573: 6530: 6495: 6477: 6426: 6405: 6353: 6322: 6310: 6299: 6221: 5848:Resources in your library 5824:Resources in your library 5619:The Metamorphoses of Ovid 4916:Stanford University Press 4898:XIV (1989), pp. 197–213. 4185:(Cambridge 1998), p. 42.) 4085:(Huelva, 1997), pp. 23–24 3939:Tristes; Cartas del Ponto 3453:is, in fact, unfinished. 3362:Sexuality in ancient Rome 3265:Johann Heinrich Schönfeld 3207:), new poetic version of 2829:(2017) Canadian composer 2698:is about Ovid's exile in 2688:(1978) Australian author 2175:National Gallery (London) 2024: 1931:Ovids elegische Erzählung 1486:: "pia mendacia fraude". 1194:Engraved frontispiece of 632:, was put to death for a 280:, and greatly influenced 125: 110: 102: 82: 60: 48: 41: 9100:Golden Age Latin writers 6094:English translation only 5665:Cornell University Press 5500:P. Ovidi Nasonis Tristia 5350:"Seeds of skies, alibis" 4972:Serafim da Silva Leite, 4955:(Faculdade de Letras da 4638:(Oxford, 2009) pp. 70ff. 4610:Revue des études Latines 4599:: Losada, 1952), p. 309. 4008:communicate his misery: 3839:Carlos de Miguel Moura. 3396:means "the one with the 3376: 3111:(2002) An adaptation of 2663:The fountain of Salmacis 2332:Ovid as imagined in the 2272:Ovid among the Scythians 2232:Archbishop of Canterbury 2170:Ovid among the Scythians 1841: 1753:on the death of her son 1737:("Consolation to Livia") 1128:Rape of the Sabine women 972:in the case of Dido and 799: 787: 741:or contradictory clues. 266:("The Art of Love") and 9075:1st-century Roman poets 9024:Roman–Iranian relations 7499:Optimates and populares 6014:. Publisher: New York, 6012:Nathan Covington Brooks 5974:22 October 2012 at the 5754:Ovid Heroides 16 and 17 5747:Oxford University Press 5743:Oxford Readings in Ovid 5593:, 1989, pp. 312–14 5529:William Turpin (2016). 5514:Richmond, J. A. (ed.), 5380:, Review: Metamorphoses 5376:22 January 2005 at the 4938:Frederick A. De Armas, 4866:; Peter Green (trad.), 4840:23 January 2023 at the 4673:(Oxford, 1973) pp.16ff. 4634:: Ovid Making Love" in 4580:The Classical Quarterly 4434:10.1.98. Cfr. Tacitus, 4412:PoetryInTranslation.com 4139:10.2 (1985), pp. 20–21. 4072:10.2 (1985), pp. 18–22. 3625:, Ovid, translation to 3570:Oxford University Press 2946:Wolfgang Amadeus Mozart 2852:twice mentions him in: 2618:Ovid in the Third Reich 2240:publicly burned in 1599 1459:and the deification of 673:Ovid Banished from Rome 630:Lucius Aemilius Paullus 299: 86:AD 17 or 18 (age 59–61) 9034:Civil wars and revolts 8300:Sextus Pompeius Festus 7947:Conflict of the Orders 7306:Legislative assemblies 6317:(authorship uncertain) 6247: 5886:Works by or about Ovid 5694:Pasco-Pranger, Molly, 5659:Ziolkowski, Theodore, 5561:textbook for download. 5407:Tarrant, R. J. (ed.), 5329:www.huygens-fokker.org 5304:www.huygens-fokker.org 4993:, Alan H. F. Griffin, 4807:: Gredos, w/d, p. 502. 4417:8 January 2020 at the 4201:. Hackett Publishing. 4010: 3963:Bakay, Kornél (2004). 3331:List of characters in 3323:Cultural influence of 2922: 2843:Seeds of skies, alibis 2841:to create the cantata 2760:(2007) Russian author 2679:as narrated in Ovid's 2339: 2311:he stood for before". 2178: 2137: 2043: 1993:Otis also states that 1967: 1907: 1901:is the subject of the 1614:The final book of the 1421:battle of the centaurs 1271:'s rape by Apollo and 1202: 1112: 1021: 823: 679: 653: 531: 511: 505:Ovid's next poem, the 337: 260: 9080:Ancient Roman equites 8743:Simplicius of Cilicia 8495:Quintus Curtius Rufus 7724:Siege in Ancient Rome 7333:Executive magistrates 6681:Pygmalion and Galatea 6605:Pygmalion and Galatea 6512:Pygmalion and Galatea 5953:(on this site called 5766:Johnson, Patricia J. 5741:Peter E. Knox (ed.), 5667:, 2005. pp. 262. 5636:, 2002. pp. xvi, 408. 5628:Philip Hardie (ed.), 5625:, 2001. pp. 498. 5532:Ovid, Amores (Book 1) 5437:Ovid Metamorphoses 14 5428:Kenney, E. J. (ed.), 5006:Peter Green (trad.), 4957:Universidade do Porto 4352:. London: Continuum. 4228:. Brill. p. 22. 4152:30 (1987), pp. 31–47. 4124:Epitome de Caesaribus 3843:. In Portuguese. In: 3526:Kenney, Edward John. 3123:was performed at the 2917: 2885:as ranking alongside 2858:De vulgari eloquentia 2602:God Was Born in Exile 2485:Juana Inés de la Cruz 2331: 2324:Literary and artistic 2163: 2128: 2124:Education of Children 2037: 1958: 1767:Elegiae in Maecenatem 1193: 1165:("The Cure for Love") 1104: 1054:, and 9 a lament for 815: 671: 408:, as a member of the 340:Ovid was born in the 327: 32:Ovid (disambiguation) 9085:Ancient Roman exiles 8753:Stephanus Byzantinus 8658:Eusebius of Caesaria 8520:Sidonius Apollinaris 8210:Ammianus Marcellinus 7549:Tribune of the plebs 6941:The Wood of Suicides 6167:9 March 2020 at the 6031:5 March 2006 at the 6006:22 July 2007 at the 5749:, 2006. p. 541. 5661:Ovid and the Moderns 5614:, 1997. pp. ix, 226. 5603:, 1997. pp. xi, 288. 5506:Ingleheart, Jennifer 5159:Hughes, Ted (2009). 5046:Timothy Bell Raser, 4835:Ovid: Cures for Love 4784:Ovid as an epic poet 4752:Ovid as an epic poet 4183:Ovid: Fasti. Book IV 4169:et l'exil d'Ovide", 3157:Ovid's Metamorphoses 2944:, an early opera by 2941:Apollo et Hyacinthus 2446:Gian Lorenzo Bernini 2367:courtoise literature 2305:misunderstood genius 1755:Nero Claudius Drusus 1735:Consolatio ad Liviam 1524:and, more recently, 1291:with the stories of 535:was followed by the 354:province of L'Aquila 140:Publius Ovidius Naso 64:Publius Ovidius Naso 30:For other uses, see 9110:People from Sulmona 8929:Distinguished women 8580:Velleius Paterculus 8420:Nicolaus Damascenus 8400:Marcellus Empiricus 7789:Republican currency 7045:Amoryus and Cleopes 6467:Die schöne Galathée 6348:Associated subjects 6047:Latin Library: Ovid 6041:Original Latin only 5774:, 2008. pp. x, 184. 5670:Desmond, Marilynn, 5652:Heather van Tress, 5456:Fornaro, P. (ed.), 5360:on 30 October 2021. 5280:on 17 November 2015 5220:The Daily Telegraph 4908:Michel de Montaigne 4636:A Companion to Ovid 4626:1987 and Davis, J. 4059:12.2 (1987), p. 23. 4053:10.3 (1985), p. 48. 3922:Classical Philology 3847:(2002), pp. 99–117. 3780:A Companion to Ovid 3566:Classical Mythology 3286:Ancient Rome portal 2967:, retelling of the 2873:as one of the four 2785:The House Of Rumour 2624:transposes Ovid to 2496:(1820s) During his 2450:Miguel de Cervantes 2428:William Shakespeare 2424:Christopher Marlowe 2386:(13th century) The 2361:(12th century) The 2335:Nuremberg Chronicle 2140:Miguel de Cervantes 2110:William Shakespeare 2106:Christopher Marlowe 2038:A 1484 figure from 1899:mythical characters 1805:("The Walnut Tree") 1658:Iphigenia in Tauris 1570:cites Callimachus' 1375:and the incestuous 1365:Baucis and Philemon 1186:("Transformations") 1156:Naso magister erat, 1095:("The Art of Love") 702:Sarmatian and Getic 294:classical mythology 252:dactylic hexameters 8703:Phlegon of Tralles 8510:Seneca the Younger 7984:Naming conventions 7714:Personal equipment 7247:Later Roman Empire 7018:Pyramus and Thisbe 6985:Pyramus and Thisbe 6705:One Touch of Venus 6663:Fall Out Toy Works 6631:A Mulher Invisível 6555:One Touch of Venus 6278:Epistulae ex Ponto 6115:Epistulae ex Ponto 6058:Epistulae ex Ponto 5677:Rimell, Victoria, 5498:Hall, J.B. (ed.), 5449:Dörrie, H. (ed.), 5393:McKeown, J. (ed), 5371:TalkinBroadway.com 4874:, 2005), p. xiii. 4270:Knox, P. pp. 18ff. 4261:Knox, P. pp. 12–13 4095:Naturalis Historia 3935:Tristes e Pónticas 3909:Epistulae ex Ponto 3896:Epistulae ex Ponto 3572:US, 1999), p. 25. 3404:does not fit into 3367:Tragedy in Ovid's 3143:Marie Darrieussecq 3098:Ovid Metamorphosed 3038:Christoph Ransmayr 2923: 2713:Christoph Ransmayr 2577:October Revolution 2375:Chrétien de Troyes 2340: 2283:, and was seen by 2217:Epistulae ex Ponto 2179: 2044: 1645:Epistulae ex Ponto 1639:Epistulae ex Ponto 1631:Epistulae ex Ponto 1383:, who sings about 1227:Catalogue of Women 1217:dactylic hexameter 1203: 1080:didactic works of 844:Epistulae Heroidum 824: 718:Epistulae ex Ponto 691:Epistulae ex Ponto 680: 412:and as one of the 405:tresviri capitales 364:, to an important 356:, Abruzzo), in an 338: 328:Statue of Ovid by 9042: 9041: 9004:Pontifices maximi 8786: 8785: 8643:Diogenes Laërtius 8465:Pliny the Younger 8220:Asconius Pedianus 8180:Romance languages 8052:Civil engineering 7794:Imperial currency 7667:Political control 7628: 7627: 7262: 7261: 7085: 7084: 7079: 7078: 6950: 6949: 6917:Apollo and Daphne 6773: 6772: 6624:If I Had a Hammer 6340: 6339: 5881:Project Gutenberg 5805:Library resources 5788:Patrick Wilkinson 5734:Lee Fratantuono, 5617:Michael Simpson, 5610:. Ann Arbor; The 5552:978-1-78374-162-5 5542:10.11647/OBP.0067 5509:Tristia Book 2. ( 5421:Anderson, W. S., 5414:Anderson, W. S., 5172:978-0-571-25889-5 4995:Greece & Rome 4801:Literatura Latina 4719:Literatura latina 4359:978-1-4411-7081-1 3826:978-0-19-866172-6 3300:Literature portal 3052:, a retelling of 3017:, by Brookes More 2705:(1988) The novel 2695:An Imaginary Life 2665:from their album 2638:(2006) His album 2502:Alexander Pushkin 2474:Peter Paul Rubens 2458:, 1605 and 1615, 2414:Sandro Botticelli 2365:and the medieval 2267:Romantic movement 2210:was in effect in 1493:("The Festivals") 1470:In analyzing the 1407:with the love of 1121:praeceptor amoris 819:in a fresco from 647:, which promoted 622:Julia the Younger 507:Medicamina Faciei 410:Centumviral court 137: 136: 16:(Redirected from 9117: 8994:Magistri equitum 8909:Cities and towns 8902: 8828:Constantinopolis 8638:Diodorus Siculus 8570:Valerius Maximus 8505:Seneca the Elder 8425:Nonius Marcellus 8193: 8192: 7746:Hippika gymnasia 7709:Infantry tactics 7615:Consular tribune 7605:Magister equitum 7554:Military tribune 7519: 7518: 7479:Pontifex maximus 7474:Princeps senatus 7464:Magister militum 7230:Byzantine Empire 7151: 7150: 7112: 7105: 7098: 7089: 7088: 7070:Romeo and Juliet 7010:Pirame et Thisbé 6977: 6970: 6963: 6954: 6953: 6800: 6793: 6786: 6777: 6776: 6689:The Tinted Venus 6380: 6373: 6366: 6357: 6356: 6344: 6343: 6330: 6329: 6305: 6252: 6207: 6200: 6193: 6184: 6183: 6100:New translations 5906: 5905: 5890:Internet Archive 5720: 5686:Spenser and Ovid 5601:Brill Publishers 5556: 5544: 5381: 5368: 5362: 5361: 5356:. 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2371:Conte du Graal 2359: 2325: 2322: 2320: 2317: 2142:also used the 2126:when he says: 2101:Arthur Golding 2081:Ovide moralisé 2055: 2050:Remedia Amoris 2040:Ovide Moralisé 2031: 2028: 2026: 2023: 1929:in his famous 1927:Richard Heinze 1843: 1840: 1830: 1824: 1806: 1800: 1778: 1777:("On Fishing") 1772: 1738: 1732: 1723: 1722:Spurious works 1720: 1665: 1662: 1637:Main article: 1634: 1628: 1586:Main article: 1583: 1577: 1559:Main article: 1556: 1550: 1506:Roman calendar 1497:Main article: 1494: 1488: 1359:' flight, the 1317:Hermaphroditus 1205:Main article: 1187: 1181: 1171:Remedia Amoris 1169:Main article: 1166: 1163:Remedia Amoris 1160: 1105: 1099:Main article: 1096: 1090: 1069:Main article: 1066: 1060: 994:Main article: 991: 985: 826:Main article: 809: 803: 801: 798: 789: 786: 587:Main article: 584: 583:Exile to Tomis 581: 562:constellations 548:, a hexameter 537:Remedia Amoris 463: 460: 330:Ettore Ferrari 321: 318: 301: 298: 274:Late Antiquity 135: 134: 127: 123: 122: 112: 108: 107: 104: 100: 99: 84: 80: 79: 77:Roman Republic 66:20 March 43 BC 62: 58: 57: 54: 46: 45: 42: 26: 9: 6: 4: 3: 2: 9122: 9111: 9108: 9106: 9103: 9101: 9098: 9096: 9093: 9091: 9090:Elegiac poets 9088: 9086: 9083: 9081: 9078: 9076: 9073: 9071: 9068: 9066: 9063: 9061: 9058: 9056: 9053: 9052: 9050: 9035: 9032: 9030: 9027: 9025: 9022: 9020: 9017: 9015: 9012: 9010: 9007: 9005: 9002: 9000: 8997: 8995: 8992: 8990: 8987: 8985: 8982: 8980: 8977: 8975: 8972: 8970: 8967: 8965: 8962: 8960: 8957: 8955: 8952: 8950: 8947: 8945: 8942: 8940: 8937: 8935: 8932: 8930: 8927: 8925: 8922: 8920: 8917: 8915: 8912: 8910: 8907: 8906: 8904: 8895: 8889: 8886: 8884: 8881: 8879: 8876: 8874: 8871: 8869: 8866: 8864: 8861: 8859: 8856: 8854: 8851: 8849: 8846: 8844: 8841: 8839: 8836: 8834: 8831: 8829: 8826: 8824: 8821: 8819: 8816: 8814: 8811: 8809: 8806: 8804: 8801: 8799: 8796: 8795: 8793: 8789: 8779: 8776: 8774: 8771: 8769: 8766: 8764: 8761: 8759: 8756: 8754: 8751: 8749: 8746: 8744: 8741: 8739: 8736: 8734: 8731: 8729: 8726: 8724: 8721: 8719: 8716: 8714: 8711: 8709: 8706: 8704: 8701: 8699: 8696: 8694: 8691: 8689: 8686: 8684: 8681: 8679: 8676: 8674: 8671: 8669: 8666: 8664: 8661: 8659: 8656: 8654: 8651: 8649: 8646: 8644: 8641: 8639: 8636: 8634: 8631: 8629: 8626: 8624: 8621: 8619: 8616: 8614: 8611: 8610: 8608: 8606: 8602: 8596: 8593: 8591: 8588: 8586: 8583: 8581: 8578: 8576: 8573: 8571: 8568: 8566: 8563: 8561: 8558: 8556: 8553: 8551: 8548: 8546: 8543: 8541: 8538: 8536: 8533: 8531: 8528: 8526: 8523: 8521: 8518: 8516: 8513: 8511: 8508: 8506: 8503: 8501: 8498: 8496: 8493: 8491: 8488: 8486: 8483: 8481: 8478: 8476: 8473: 8471: 8468: 8466: 8463: 8461: 8458: 8456: 8453: 8451: 8448: 8446: 8443: 8441: 8438: 8436: 8433: 8431: 8428: 8426: 8423: 8421: 8418: 8416: 8413: 8411: 8408: 8406: 8403: 8401: 8398: 8396: 8393: 8391: 8388: 8386: 8383: 8381: 8378: 8376: 8373: 8371: 8368: 8366: 8363: 8361: 8360:Julius Paulus 8358: 8356: 8353: 8351: 8348: 8346: 8343: 8341: 8338: 8336: 8333: 8331: 8328: 8326: 8323: 8321: 8318: 8316: 8313: 8311: 8308: 8306: 8303: 8301: 8298: 8296: 8295:Fabius Pictor 8293: 8291: 8288: 8286: 8283: 8281: 8278: 8276: 8273: 8271: 8268: 8266: 8263: 8261: 8258: 8256: 8253: 8251: 8248: 8246: 8243: 8241: 8238: 8236: 8233: 8231: 8228: 8226: 8223: 8221: 8218: 8216: 8213: 8211: 8208: 8206: 8203: 8202: 8200: 8198: 8194: 8191: 8187: 8181: 8178: 8174: 8171: 8169: 8166: 8164: 8161: 8159: 8156: 8154: 8151: 8149: 8146: 8144: 8141: 8139: 8136: 8134: 8131: 8130: 8128: 8126: 8123: 8121: 8118: 8117: 8115: 8113: 8109: 8103: 8100: 8098: 8095: 8093: 8090: 8088: 8085: 8083: 8080: 8078: 8075: 8073: 8070: 8068: 8065: 8063: 8060: 8058: 8055: 8053: 8050: 8048: 8045: 8043: 8040: 8038: 8035: 8033: 8032:Amphitheatres 8030: 8029: 8027: 8025: 8021: 8015: 8012: 8010: 8007: 8005: 8002: 8000: 7997: 7995: 7992: 7990: 7987: 7985: 7982: 7980: 7977: 7973: 7970: 7969: 7968: 7965: 7963: 7960: 7958: 7955: 7953: 7950: 7948: 7945: 7943: 7940: 7938: 7935: 7934: 7932: 7930: 7926: 7920: 7917: 7915: 7912: 7910: 7907: 7905: 7902: 7900: 7897: 7895: 7892: 7890: 7887: 7883: 7880: 7879: 7878: 7875: 7873: 7870: 7868: 7865: 7863: 7860: 7858: 7855: 7853: 7850: 7848: 7845: 7843: 7840: 7838: 7835: 7833: 7830: 7828: 7825: 7823: 7820: 7818: 7815: 7813: 7810: 7809: 7807: 7805: 7801: 7795: 7792: 7790: 7787: 7785: 7782: 7780: 7777: 7775: 7772: 7770: 7769:Deforestation 7767: 7765: 7762: 7761: 7759: 7757: 7753: 7747: 7744: 7742: 7739: 7737: 7734: 7732: 7729: 7725: 7722: 7720: 7719:Siege engines 7717: 7715: 7712: 7710: 7707: 7705: 7702: 7701: 7700: 7697: 7695: 7692: 7688: 7685: 7684: 7683: 7680: 7678: 7675: 7673: 7670: 7668: 7665: 7663: 7660: 7658: 7655: 7653: 7652:Establishment 7650: 7648: 7645: 7643: 7640: 7639: 7637: 7635: 7631: 7621: 7618: 7616: 7613: 7611: 7608: 7606: 7603: 7601: 7598: 7596: 7593: 7591: 7588: 7587: 7585: 7583:Extraordinary 7581: 7575: 7572: 7570: 7569:Promagistrate 7567: 7565: 7562: 7560: 7557: 7555: 7552: 7550: 7547: 7545: 7542: 7540: 7537: 7535: 7532: 7530: 7527: 7526: 7524: 7520: 7517: 7515: 7511: 7505: 7502: 7500: 7497: 7495: 7492: 7490: 7487: 7485: 7482: 7480: 7477: 7475: 7472: 7470: 7467: 7465: 7462: 7460: 7457: 7455: 7452: 7450: 7447: 7445: 7442: 7440: 7437: 7435: 7432: 7430: 7427: 7425: 7422: 7420: 7417: 7415: 7412: 7410: 7407: 7405: 7402: 7401: 7399: 7397: 7393: 7387: 7384: 7382: 7379: 7377: 7374: 7372: 7369: 7367: 7364: 7362: 7359: 7357: 7356:Twelve Tables 7354: 7353: 7351: 7349: 7345: 7339: 7336: 7334: 7331: 7327: 7324: 7322: 7319: 7317: 7314: 7312: 7309: 7308: 7307: 7304: 7302: 7299: 7297: 7294: 7292: 7289: 7287: 7284: 7282: 7279: 7277: 7274: 7273: 7271: 7269: 7265: 7253: 7250: 7249: 7248: 7245: 7241: 7238: 7236: 7233: 7232: 7231: 7228: 7224: 7221: 7219: 7216: 7215: 7214: 7211: 7209: 7206: 7204: 7201: 7199: 7196: 7194: 7191: 7190: 7188: 7186: 7182: 7176: 7173: 7169: 7166: 7165: 7164: 7161: 7159: 7156: 7155: 7152: 7149: 7147: 7143: 7137: 7134: 7132: 7129: 7128: 7125: 7120: 7113: 7108: 7106: 7101: 7099: 7094: 7093: 7090: 7072: 7071: 7067: 7065: 7064: 7060: 7059: 7057: 7053: 7046: 7042: 7041: 7039: 7035: 7028: 7027: 7023: 7020: 7019: 7015: 7012: 7011: 7007: 7006: 7004: 7000: 6996: 6995: 6994:Metamorphoses 6990: 6986: 6978: 6973: 6971: 6966: 6964: 6959: 6958: 6955: 6943: 6942: 6938: 6936: 6933: 6932: 6930: 6926: 6919: 6918: 6914: 6911: 6910: 6906: 6905: 6903: 6899: 6892: 6891: 6887: 6884: 6883: 6879: 6876: 6875: 6871: 6868: 6867: 6863: 6860: 6859: 6855: 6852: 6851: 6847: 6846: 6844: 6840: 6834: 6831: 6829: 6826: 6825: 6823: 6819: 6815: 6814: 6813:Metamorphoses 6809: 6801: 6796: 6794: 6789: 6787: 6782: 6781: 6778: 6765: 6764: 6760: 6758: 6755: 6753: 6750: 6748: 6745: 6744: 6742: 6738: 6731: 6730: 6726: 6723: 6722: 6718: 6715: 6714: 6710: 6707: 6706: 6702: 6699: 6698: 6694: 6691: 6690: 6686: 6683: 6682: 6678: 6677: 6675: 6671: 6665: 6664: 6660: 6658: 6657: 6653: 6651: 6650: 6646: 6645: 6643: 6639: 6633: 6632: 6628: 6625: 6621: 6620: 6618: 6614: 6607: 6606: 6602: 6600: 6597: 6596: 6594: 6590: 6584: 6583: 6579: 6578: 6576: 6572: 6565: 6564: 6560: 6557: 6556: 6552: 6549: 6548: 6544: 6541: 6540: 6536: 6535: 6533: 6529: 6522: 6521: 6517: 6514: 6513: 6509: 6506: 6505: 6501: 6500: 6498: 6494: 6488: 6487: 6483: 6482: 6480: 6476: 6469: 6468: 6464: 6461: 6460: 6459:Il Pigmalione 6456: 6453: 6452: 6448: 6445: 6444: 6440: 6437: 6436: 6432: 6431: 6429: 6425: 6419: 6416: 6414: 6411: 6410: 6408: 6404: 6400: 6399: 6398:Metamorphoses 6394: 6390: 6389: 6381: 6376: 6374: 6369: 6367: 6362: 6361: 6358: 6352: 6345: 6333: 6325: 6324: 6321: 6316: 6315: 6309: 6304: 6294: 6293: 6289: 6287: 6286: 6282: 6280: 6279: 6275: 6273: 6272: 6268: 6266: 6265: 6261: 6259: 6258: 6254: 6251: 6250: 6245: 6243: 6242: 6238: 6236: 6235: 6231: 6229: 6228: 6227:Metamorphoses 6224: 6223: 6220: 6216: 6208: 6203: 6201: 6196: 6194: 6189: 6188: 6185: 6179: 6177: 6172: 6170: 6166: 6163: 6161: 6156: 6154: 6152: 6147: 6144: 6140: 6136: 6135:Metamorphoses 6132: 6128: 6124: 6120: 6116: 6112: 6108: 6105: 6101: 6098: 6097: 6089: 6088:Works by Ovid 6086: 6083: 6079: 6075: 6074:Metamorphoses 6071: 6067: 6063: 6059: 6055: 6051: 6048: 6045: 6044: 6036: 6034: 6030: 6027: 6023: 6017: 6013: 6009: 6005: 6002: 5999: 5996: 5992: 5991:Metamorphoses 5988: 5984: 5980: 5977: 5973: 5970: 5967: 5964: 5960: 5959:Metamorphoses 5956: 5952: 5948: 5944: 5941: 5938: 5937: 5929: 5926: 5924: 5921: 5919: 5918: 5917:Amores Book 1 5913: 5911: 5908: 5900: 5896: 5895:Works by Ovid 5893: 5891: 5887: 5884: 5882: 5878: 5877:Works by Ovid 5875: 5873: 5869: 5866: 5864: 5861: 5860: 5854: 5851: 5849: 5846: 5844: 5841: 5840: 5838: 5830: 5827: 5825: 5822: 5820: 5817: 5816: 5811: 5806: 5793: 5792:Ovid Recalled 5789: 5786: 5783: 5779: 5776: 5773: 5769: 5765: 5762: 5758: 5755: 5751: 5748: 5744: 5740: 5737: 5733: 5730: 5728: 5723:P. J. Davis, 5722: 5718: 5716:9788876893438 5712: 5708: 5703: 5700: 5697: 5693: 5690: 5687: 5683: 5680: 5676: 5673: 5669: 5666: 5662: 5658: 5655: 5651: 5648: 5644: 5641: 5638: 5635: 5632:. Cambridge: 5631: 5627: 5624: 5620: 5616: 5613: 5609: 5606:R. A. Smith. 5605: 5602: 5598: 5595: 5592: 5591: 5586: 5583: 5580: 5577: 5573: 5570: 5566: 5563: 5560: 5554: 5548: 5543: 5538: 5534: 5533: 5527: 5526: 5517: 5513: 5510: 5507: 5504: 5501: 5497: 5494: 5490: 5487:Goold, G.P., 5486: 5483: 5479: 5476: 5472: 5469: 5466: 5462: 5459: 5455: 5452: 5448: 5445: 5441: 5438: 5434: 5431: 5427: 5424: 5420: 5417: 5413: 5410: 5406: 5403: 5399: 5396: 5392: 5391: 5379: 5375: 5372: 5367: 5359: 5355: 5351: 5345: 5330: 5326: 5320: 5305: 5301: 5295: 5279: 5275: 5271: 5264: 5248: 5244: 5240: 5233: 5225: 5221: 5216: 5208: 5199: 5190: 5182: 5178: 5174: 5168: 5164: 5163: 5155: 5139: 5135: 5129: 5125: 5124: 5116: 5108: 5102: 5097: 5096: 5091:Ovid (2005). 5087: 5081: 5077: 5073: 5067: 5061: 5057: 5053: 5049: 5043: 5036: 5033: 5027: 5021: 5017: 5013: 5009: 5003: 4996: 4992: 4991:Metamorphoses 4986: 4979: 4975: 4969: 4962: 4958: 4954: 4948: 4941: 4935: 4929: 4925: 4921: 4917: 4913: 4909: 4904: 4897: 4891: 4885: 4881: 4877: 4873: 4869: 4865: 4861: 4855: 4853: 4851: 4843: 4839: 4836: 4832: 4826: 4819: 4813: 4806: 4802: 4798: 4792: 4785: 4781: 4776: 4774: 4772: 4765: 4761: 4757: 4753: 4749: 4744: 4737: 4731: 4724: 4720: 4714: 4705: 4696: 4690:(1994) 27–40. 4689: 4679: 4672: 4671:Ovid Amores 1 4666: 4659: 4653: 4644: 4637: 4633: 4629: 4625: 4618: 4611: 4605: 4598: 4594: 4588: 4581: 4577: 4575: 4571: 4567: 4559: 4550: 4541: 4534: 4528: 4519: 4517: 4509: 4504: 4497: 4492: 4485: 4480: 4473: 4469: 4464: 4457: 4454: 4450: 4444: 4437: 4433: 4427: 4420: 4416: 4413: 4408: 4399: 4390: 4383: 4377: 4369: 4365: 4361: 4355: 4351: 4344: 4335: 4326: 4318: 4314: 4310: 4306: 4302: 4298: 4291: 4283: 4276: 4267: 4258: 4251: 4245: 4237: 4231: 4227: 4226: 4218: 4210: 4204: 4200: 4199: 4191: 4184: 4180: 4176: 4172: 4168: 4164: 4158: 4151: 4145: 4138: 4132: 4125: 4121: 4115: 4108: 4103: 4096: 4091: 4084: 4078: 4071: 4065: 4058: 4052: 4046: 4040:, pp. 27–31). 4039: 4033: 4026: 4020: 4012: 4007: 4001: 3990: 3986: 3984:963-9906-45-X 3980: 3972: 3968: 3967: 3959: 3952: 3948: 3944: 3940: 3936: 3930: 3924:(1963) p. 158 3923: 3917: 3910: 3904: 3897: 3891: 3884: 3878: 3872:. II, 131–32. 3871: 3865: 3858: 3853: 3846: 3842: 3836: 3828: 3822: 3818: 3813: 3812: 3803: 3796: 3791: 3789: 3781: 3775: 3768: 3763: 3747: 3743: 3737: 3733: 3732: 3724: 3717: 3712: 3705: 3700: 3693: 3688: 3681: 3677: 3672: 3665: 3660: 3653: 3648: 3641: 3635: 3628: 3624: 3616: 3608: 3606:9780801862533 3602: 3598: 3597: 3589: 3583: 3579: 3575: 3571: 3567: 3561: 3554: 3548: 3546: 3529: 3522: 3515: 3514: 3508: 3501: 3497: 3490: 3488: 3483: 3469: 3463: 3456: 3455:Metamorphoses 3452: 3447: 3440: 3436: 3432: 3428: 3424: 3423:Julius Caesar 3420: 3414: 3407: 3406:elegiac metre 3403: 3399: 3395: 3392: 3386: 3382: 3371: 3370: 3369:Metamorphoses 3365: 3363: 3360: 3358: 3355: 3353: 3350: 3348: 3345: 3343: 3341: 3340:Metamorphoses 3337: 3335: 3334: 3333:Metamorphoses 3329: 3327: 3326: 3325:Metamorphoses 3321: 3320: 3315: 3304: 3301: 3290: 3287: 3276: 3266: 3262: 3256: 3251: 3248: 3241: 3236: 3233: 3226: 3221: 3220: 3212: 3211: 3206: 3202: 3198: 3197:Clare Pollard 3194: 3191: 3190: 3185: 3184:Metamorphoses 3181: 3180:Disco Inferno 3177: 3173: 3169: 3166: 3162: 3158: 3154: 3153:Peter Bramley 3150: 3149:Metamorphoses 3146: 3144: 3140: 3138: 3137: 3132: 3128: 3126: 3122: 3118: 3114: 3113:Metamorphoses 3110: 3108: 3104: 3100: 3099: 3094: 3092: 3091:Metamorphoses 3088: 3084: 3083: 3078: 3076: 3075:Metamorphoses 3072: 3068: 3064: 3063: 3058: 3055: 3054:Metamorphoses 3051: 3047: 3046: 3041: 3039: 3035: 3034: 3029: 3027: 3026:Wilmon Brewer 3023: 3019: 3016: 3012: 3010: 3009: 3008:Metamorphoses 3004: 3000: 2996: 2995: 2990: 2988: 2984: 2983: 2978: 2976: 2975: 2974:Metamorphoses 2970: 2966: 2962: 2961: 2956: 2953: 2949: 2947: 2943: 2942: 2937: 2935: 2934:Francis Bacon 2931: 2930: 2925: 2924: 2920: 2919:Metamorphoses 2916: 2904: 2900: 2896: 2892: 2888: 2884: 2883: 2879: 2876: 2872: 2868: 2864: 2861:, along with 2860: 2859: 2855: 2854: 2853: 2851: 2844: 2840: 2836: 2832: 2828: 2825: 2821: 2817: 2814: 2810: 2806: 2805: 2800: 2797: 2794: 2793:Metamorphoses 2790: 2786: 2782: 2779: 2775: 2772: 2769: 2768: 2763: 2759: 2756: 2755:Juliet Aubrey 2752: 2748: 2747:Andrew Rissik 2744: 2740: 2737: 2733: 2729: 2725: 2721: 2718: 2717:Metamorphoses 2714: 2710: 2709: 2704: 2701: 2697: 2696: 2691: 2687: 2684: 2683: 2682:Metamorphoses 2678: 2674: 2670: 2669: 2668:Nursery Cryme 2664: 2660: 2656: 2651: 2647: 2643: 2642: 2637: 2636: 2634: 2630: 2627: 2623: 2622:Geoffrey Hill 2619: 2615: 2612: 2611:Prix Goncourt 2608: 2607:Vintila Horia 2604: 2603: 2598: 2595: 2594:Metamorphoses 2591: 2587: 2586: 2581: 2578: 2574: 2570: 2566: 2563: 2562: 2557: 2553: 2552: 2547: 2543: 2542:Metamorphoses 2539: 2538: 2533: 2529: 2526: 2525: 2524:Eugene Onegin 2520: 2516: 2515: 2510: 2507: 2503: 2499: 2495: 2486: 2475: 2471: 2467: 2466: 2461: 2457: 2456: 2451: 2447: 2443: 2439: 2437: 2433: 2429: 2425: 2421: 2417: 2415: 2411: 2409: 2405: 2401: 2397: 2395: 2391: 2390: 2385: 2382: 2381: 2380:Metamorphoses 2376: 2372: 2368: 2364: 2360: 2357: 2353: 2342: 2341: 2337: 2336: 2330: 2316: 2312: 2308: 2306: 2302: 2298: 2294: 2290: 2286: 2282: 2278: 2275:, painted by 2274: 2273: 2268: 2263: 2261: 2260:Metamorphoses 2257: 2253: 2250:, thus as an 2249: 2245: 2241: 2237: 2233: 2228: 2226: 2223: 2219: 2218: 2213: 2209: 2208: 2201: 2196: 2195:Serafim Leite 2192: 2191:Metamorphoses 2188: 2184: 2176: 2172: 2171: 2166: 2162: 2158: 2156: 2152: 2150: 2145: 2144:Metamorphoses 2141: 2136: 2133: 2132:Metamorphoses 2127: 2125: 2121: 2120: 2115: 2111: 2107: 2102: 2097: 2095: 2091: 2087: 2086:Metamorphoses 2083: 2082: 2076: 2074: 2070: 2064: 2054: 2052: 2051: 2041: 2036: 2022: 2020: 2016: 2012: 2008: 2004: 2000: 1996: 1991: 1989: 1985: 1981: 1976: 1972: 1966: 1963: 1957: 1956:, who wrote: 1955: 1950: 1946: 1942: 1941: 1940:Metamorphoses 1936: 1932: 1928: 1924: 1919: 1917: 1911: 1910: 1904: 1900: 1896: 1891: 1889: 1885: 1881: 1880: 1873: 1871: 1865: 1863: 1859: 1855: 1850: 1839: 1836: 1829:("The Dream") 1828: 1823: 1820: 1816: 1812: 1811:Aesop's fable 1804: 1799: 1797: 1793: 1789: 1784: 1776: 1771: 1769: 1768: 1763: 1758: 1756: 1752: 1748: 1744: 1736: 1729: 1719: 1717: 1713: 1709: 1708: 1703: 1699: 1695: 1691: 1687: 1683: 1679: 1675: 1671: 1661: 1659: 1654: 1650: 1646: 1640: 1632: 1627: 1625: 1621: 1617: 1612: 1608: 1604: 1601: 1597: 1595: 1589: 1581: 1576: 1573: 1568: 1562: 1554: 1549: 1546: 1542: 1541: 1536: 1532: 1527: 1523: 1519: 1515: 1514:Metamorphoses 1511: 1507: 1500: 1492: 1487: 1485: 1480: 1477: 1473: 1472:Metamorphoses 1468: 1466: 1462: 1458: 1454: 1450: 1446: 1442: 1438: 1434: 1430: 1426: 1422: 1418: 1414: 1410: 1406: 1402: 1398: 1394: 1390: 1387:, as well as 1386: 1382: 1378: 1374: 1370: 1366: 1362: 1358: 1354: 1350: 1347:, as well as 1346: 1342: 1338: 1334: 1330: 1326: 1322: 1318: 1314: 1310: 1306: 1302: 1298: 1294: 1290: 1286: 1282: 1278: 1274: 1270: 1266: 1262: 1257: 1255: 1254:Metamorphoses 1251: 1247: 1243: 1239: 1238: 1233: 1229: 1228: 1223: 1218: 1214: 1213:Metamorphoses 1208: 1207:Metamorphoses 1201: 1197: 1196:George Sandys 1192: 1185: 1184:Metamorphoses 1180: 1178: 1172: 1164: 1159: 1157: 1153: 1149: 1145: 1141: 1137: 1133: 1129: 1124: 1122: 1117: 1110: 1102: 1094: 1089: 1087: 1083: 1079: 1072: 1064: 1059: 1057: 1053: 1049: 1043: 1041: 1037: 1033: 1028: 1025: 1024: 1018: 1013: 1011: 1007: 1003: 997: 996:Amores (Ovid) 990:("The Loves") 989: 984: 981: 979: 975: 971: 970: 965: 964: 959: 958: 953: 948: 946: 942: 938: 934: 930: 925: 921: 917: 913: 909: 905: 901: 897: 893: 889: 885: 881: 877: 873: 869: 865: 861: 856: 854: 849: 845: 841: 835: 829: 822: 818: 814: 807: 797: 795: 785: 783: 778: 776: 775: 774:Metamorphoses 770: 766: 762: 761: 756: 752: 746: 742: 738: 734: 732: 728: 724: 720: 719: 714: 710: 705: 703: 699: 698: 693: 692: 687: 686: 678: 677:J.M.W. 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S. Kline 6026:layered PDF 5725:Ovid & 5621:. Amherst: 5482:Ovid: Fasti 5334:19 February 5309:19 February 5284:14 November 5253:14 November 4780:Brooks Otis 4748:Brooks Otis 4669:Barsby, J. 4510:4.13.19> 4472:Gramm. Lat. 4436:Dial. Orat. 3752:27 December 3534:22 February 3466:Ovid cites 3439:Mark Antony 3342:(2014 film) 3155:, entitled 3136:Mythologies 2877:(ii, vi, 7) 2835:Uljana Wolf 2824:Fabio Costa 2789:Jake Arnott 2650:Peter Green 2532:James Joyce 2491: 1689 2481: 1620 2455:Don Quixote 2442:John Milton 2363:troubadours 2356:Charlemagne 2297:Romanticism 2293:Edgar Degas 2256:John Dryden 2254:influence. 2198: [ 2185:schools of 2155:Don Quixote 2149:Don Quixote 2073:Renaissance 2069:Middle Ages 1988:Catullus 66 1980:Hellenistic 1971:burlesquing 1954:Brooks Otis 1916:enumeration 1794:mentions a 1728:Pseudo-Ovid 1694:Epigrammata 1582:("Sorrows") 1561:Ibis (Ovid) 1522:Callimachus 1484:pious fraud 1476:G. B. Conte 1369:Erysichthon 1261:ages of man 1232:Callimachus 1078:Hellenistic 821:Herculaneum 675:(1838), by 611:Roman judge 519:Art of Love 371:gens Ovidia 282:Western art 278:Middle Ages 9095:Epic poets 9065:10s deaths 9049:Categories 8858:Mediolanum 8798:Alexandria 8763:Themistius 8728:Porphyrius 8555:Tertullian 8490:Quintilian 8480:Propertius 8375:Lactantius 8325:Fulgentius 8260:Censorinus 8082:Sanitation 8067:Metallurgy 8024:Technology 7989:Demography 7937:Patricians 7904:Spectacles 7862:Literature 7857:Hairstyles 7694:Technology 7444:Praefectus 7396:Government 7386:Litigation 7371:Auctoritas 7316:Centuriate 7203:Principate 7198:Pax Romana 7158:Foundation 6821:Characters 6641:Literature 6616:Television 6574:Video game 6451:Pimmalione 6406:Characters 5745:. Oxford: 5663:. Ithaca: 5274:MoviePilot 5222:. London. 5080:0674937368 5056:0874138671 5016:0520242602 4924:0804704864 4880:0520242602 4760:0521076153 4449:Div. 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Ovid 3678:2.93ff.; 3498:. 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