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.
1656:
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
740:
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
2310:
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
1655:
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
1606:
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
1599:
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
1547:
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
1075:
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
1118:
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
1867:
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
1574:
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
850:
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
744:
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
1478:
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
748:
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,
1219:
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,
1821:
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
1964:
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
1837:
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
2314:
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
1951:
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
1977:
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
2103:
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
1846:
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
5885:
389:
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
1220:
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.
4621:
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
1913:
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
574:
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
1503:
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
1868:
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
1045:
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
1785:
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
2078:
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
5599:
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:
2269:
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
1790:
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
5193:
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.
448:
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
481:
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: "
525:
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
983:
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.
1798:
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.
5922:
1864:
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.
5202:
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.
6148:
5691:
Montuschi, Claudia, Il tempo in Ovidio. Funzioni, meccanismi, strutture. Accademia la colombaria studi, 226. Firenze: Leo S. Olschki, 2005. p. 463.
5493:
Ovid, Heroides, Amores; Art of Love, Cosmetics, Remedies for Love, Ibis, Walnut-tree, Sea Fishing, Consolation; Metamorphoses; Fasti; Tristia, Ex Ponto
3044:
1886:
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
4414:
2262:
into stopped rhyming couplets during the 17th century, when Ovid was "refashioned in its own image, one kind of Augustanism making over another".
1822:
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.
6028:
1019:
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
304:
Ovid wrote more about his own life than most other Roman poets. Information about his biography is drawn primarily from his poetry, especially
5701:
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
7740:
6377:
5909:
5137:
6173:
4181:
to his succession, most researchers agree that this work is the clearest testimony of support of Augustan ideals by Ovid (E. Fantham,
1692:, although the poem's ascription to Ovid is insecure because it is never mentioned in Ovid's other works. A line from a work entitled
855:
2.18.19–26 as safe from objection. The collection comprises a new type of generic composition without parallel in earlier literature.
5373:
4953:
Os Clássicos Latinos nas Antologias Escolares dos Jesuítas nos Primeiros Ciclos de Estudos Pré-Elementares No Século XVI em Portugal
552:
in 15 books, which comprehensively catalogs the metamorphoses in Greek and Roman mythology, from the emergence of the cosmos to the
7656:
5246:
763:
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
5214:
8943:
7768:
7295:
5550:
5170:
4858:
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
780:
Most scholars, however, oppose these hypotheses. One of the main arguments of these scholars is that Ovid would not let his
9033:
8908:
8061:
6775:
6164:
1760:
Grief is expressed for his lost military honors, his wife, and his mother. The poet asks Livia to look for consolation in
560:. The stories follow each other in the telling of human beings transformed to new bodies: trees, rocks, animals, flowers,
9069:
7614:
5596:
Federica Bessone. P. Ovidii Nasonis Heroidum Epistula XII: Medea Iasoni. Florence: Felice Le Monnier, 1997. pp. 324.
4338:
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
7234:
7167:
6790:
5804:
5269:
3500:
P. Ovidius Naso A.D. XII Kalend. April Sulmone in Pelignis natus est, quo anno ... P. Hirtius et C. Pansa Coss.
1921:
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.
9109:
8324:
7928:
7380:
7095:
7062:
6680:
6511:
5611:
3400:" (i.e. "Bignose"). Ovid habitually refers to himself by his nickname in his poetry because the Latin name
3124:
2584:
1015:
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:. Archived from
5346:
5340:
5339:
5337:
5335:
5321:
5315:
5314:
5312:
5310:
5296:
5290:
5289:
5287:
5285:
5276:. Archived from
5265:
5259:
5258:
5256:
5254:
5234:
5228:
5227:
5217:
5209:
5203:
5200:
5194:
5191:
5185:
5184:
5156:
5150:
5149:
5147:
5145:
5117:
5111:
5110:
5098:
5088:
5082:
5068:
5062:
5044:
5038:
5028:
5022:
5004:
4998:
4987:
4981:
4970:
4964:
4949:
4943:
4936:
4930:
4905:
4899:
4896:Medioevo Romanzo
4892:
4886:
4856:
4845:
4827:
4821:
4814:
4808:
4793:
4787:
4777:
4766:
4745:
4739:
4732:
4726:
4715:
4709:
4706:
4700:
4697:
4691:
4685:
4680:
4674:
4667:
4661:
4654:
4648:
4645:
4639:
4619:
4613:
4606:
4600:
4591:Ettore Bignone,
4589:
4583:
4560:
4554:
4551:
4545:
4542:
4536:
4529:
4523:
4520:
4511:
4505:
4499:
4493:
4487:
4481:
4475:
4474:2, 149, 13 Keil.
4465:
4459:
4445:
4439:
4428:
4422:
4409:
4403:
4400:
4394:
4393:Conte, G. p. 352
4391:
4385:
4378:
4372:
4371:
4345:
4339:
4336:
4330:
4329:Conte, G. p. 343
4327:
4321:
4320:
4309:10.2307/40236002
4292:
4286:
4285:
4277:
4271:
4268:
4262:
4259:
4253:
4246:
4240:
4239:
4219:
4213:
4212:
4192:
4186:
4159:
4153:
4146:
4140:
4133:
4127:
4116:
4110:
4104:
4098:
4092:
4086:
4079:
4073:
4066:
4060:
4047:
4041:
4034:
4028:
4023:J. C. Thibault,
4021:
4015:
4013:
4002:
3996:
3995:
3993:
3976:
3960:
3954:
3931:
3925:
3918:
3912:
3905:
3899:
3892:
3886:
3879:
3873:
3866:
3860:
3854:
3848:
3837:
3831:
3830:
3814:
3804:
3798:
3792:
3783:
3776:
3770:
3764:
3758:
3757:
3755:
3753:
3725:
3719:
3713:
3707:
3701:
3695:
3689:
3683:
3673:
3667:
3661:
3655:
3649:
3643:
3642:2.2.8 and 9.5.17
3636:
3630:
3621:
3617:
3611:
3610:
3590:
3584:
3562:
3556:
3549:
3540:
3539:
3537:
3535:
3523:
3517:
3509:
3503:
3502:
3491:
3471:
3464:
3458:
3448:
3442:
3431:Roman civil wars
3415:
3409:
3387:
3316:
3314:Biography portal
3311:
3310:
3309:
3302:
3297:
3296:
3295:
3288:
3283:
3282:
3281:
3257:
3242:
3232:Anton von Werner
3227:
3176:musique concrète
3045:Polaroid Stories
2833:and German poet
2804:The Walking Dead
2762:Alexander Zorich
2590:Benjamin Britten
2492:
2489:
2482:
2479:
2404:Geoffrey Chaucer
2389:Roman de la Rose
2349:
2346:
2319:Ovid's influence
2236:Bishop of London
2203:
1912:
1879:paraklausithyron
1726:For a list, see
1339:and ending with
1026:
937:Hero and Leander
842:("Heroines") or
808:("The Heroines")
656:
626:Agrippa Postumus
534:
516:
493:
490:
462:Literary success
310:Seneca the Elder
265:
256:elegiac couplets
211:Latin literature
185:
180:
179:
176:
175:
172:
169:
166:
163:
150:
145:
53:
39:
38:
21:
9125:
9124:
9120:
9119:
9118:
9116:
9115:
9114:
9045:
9044:
9043:
9038:
8900:
8898:
8892:
8782:
8618:Aëtius of Amida
8599:
8585:Verrius Flaccus
8565:Valerius Antias
8525:Silius Italicus
8460:Pliny the Elder
8405:Marcus Aurelius
8280:Cornelius Nepos
8230:Aurelius Victor
8184:
8106:
8018:
7952:Secessio plebis
7923:
7798:
7750:
7624:
7578:
7508:
7390:
7342:
7258:
7179:
7140:
7122:
7116:
7086:
7081:
7080:
7075:
7050:
7032:
6997:
6981:
6951:
6946:
6923:
6896:
6837:
6816:
6804:
6774:
6769:
6763:Comic Potential
6747:96189 Pygmalion
6735:
6668:
6636:
6611:
6587:
6569:
6526:
6491:
6473:
6470:(1863 operetta)
6422:
6401:
6384:
6349:
6341:
6336:
6318:
6314:Double Heroides
6306:
6297:
6217:
6211:
6169:Wayback Machine
6153:by Jon Corelis.
6096:
6043:
6033:Wayback Machine
6008:Wayback Machine
5976:Wayback Machine
5936:
5903:
5872:Standard Ebooks
5859:
5858:
5857:
5834:
5833:
5813:
5812:
5808:
5801:
5717:
5684:Pugh, Syrithe,
5574:More, Brookes,
5553:
5525:
5523:Further reading
5475:Fasti. Book IV.
5471:Fantham, Elaine
5435:Myers, K. Sara
5390:
5385:
5384:
5378:Wayback Machine
5369:
5365:
5348:
5347:
5343:
5333:
5331:
5323:
5322:
5318:
5308:
5306:
5298:
5297:
5293:
5283:
5281:
5266:
5262:
5252:
5250:
5235:
5231:
5210:
5206:
5201:
5197:
5192:
5188:
5173:
5162:Tales from Ovid
5157:
5153:
5143:
5141:
5134:
5118:
5114:
5107:
5089:
5085:
5070:Matt Cartmill,
5069:
5065:
5045:
5041:
5029:
5025:
5005:
5001:
4988:
4984:
4971:
4967:
4950:
4946:
4937:
4933:
4906:
4902:
4893:
4889:
4857:
4848:
4842:Wayback Machine
4828:
4824:
4815:
4811:
4794:
4790:
4778:
4769:
4746:
4742:
4733:
4729:
4716:
4712:
4708:Booth, J. p. 65
4707:
4703:
4698:
4694:
4688:Classical World
4683:
4681:
4677:
4668:
4664:
4655:
4651:
4646:
4642:
4620:
4616:
4607:
4603:
4590:
4586:
4561:
4557:
4552:
4548:
4543:
4539:
4530:
4526:
4521:
4514:
4506:
4502:
4494:
4490:
4482:
4478:
4466:
4462:
4456:ad Verg. Georg.
4446:
4442:
4429:
4425:
4419:Wayback Machine
4410:
4406:
4401:
4397:
4392:
4388:
4379:
4375:
4360:
4346:
4342:
4337:
4333:
4328:
4324:
4293:
4289:
4278:
4274:
4269:
4265:
4260:
4256:
4247:
4243:
4236:
4220:
4216:
4209:
4193:
4189:
4160:
4156:
4147:
4143:
4134:
4130:
4117:
4113:
4105:
4101:
4093:
4089:
4080:
4076:
4067:
4063:
4054:
4048:
4044:
4035:
4031:
4022:
4018:
4003:
3999:
3991:
3985:
3974:
3961:
3957:
3932:
3928:
3919:
3915:
3906:
3902:
3893:
3889:
3880:
3876:
3867:
3863:
3855:
3851:
3838:
3834:
3827:
3805:
3801:
3793:
3786:
3777:
3773:
3765:
3761:
3751:
3749:
3742:
3726:
3722:
3714:
3710:
3702:
3698:
3690:
3686:
3674:
3670:
3662:
3658:
3650:
3646:
3637:
3633:
3620:(in Portuguese)
3619:
3618:
3614:
3607:
3591:
3587:
3563:
3559:
3550:
3543:
3533:
3531:
3524:
3520:
3510:
3506:
3492:
3485:
3480:
3475:
3474:
3465:
3461:
3449:
3445:
3419:history of Rome
3416:
3412:
3388:
3384:
3379:
3374:
3352:Prosody (Latin)
3312:
3307:
3305:
3298:
3293:
3291:
3284:
3279:
3277:
3274:
3267:
3258:
3249:
3247:Luca Signorelli
3243:
3234:
3228:
3219:
3201:Ovid's Heroines
3189:Tales from Ovid
3133:'s song cycle,
3131:Patricia Barber
3082:Tales from Ovid
3067:Michael Hofmann
2987:Richard Strauss
2912:
2875:regulati poetae
2751:Stephen Dillane
2743:The Art of Love
2736:Anne-Marie Duff
2724:The Art of Love
2569:Osip Mandelstam
2546:Stephen Dedalus
2544:and introduces
2490:
2480:
2470:Nicolas Poussin
2460:Luis de Góngora
2440:(17th century)
2412:(15th century)
2398:(14th century)
2394:Dante Alighieri
2347:
2326:
2321:
2212:Colonial Brazil
2207:ratio studiorum
2197:
2065:
2062:
2060:
2058:
2032:
2027:
1844:
1831:
1815:The Walnut Tree
1807:
1792:Pliny the Elder
1779:
1739:
1731:
1724:
1666:
1641:
1635:
1590:
1584:
1563:
1557:
1501:
1495:
1367:and the wicked
1361:Calydonian boar
1267:, the story of
1209:
1188:
1173:
1167:
1111:
1108:
1103:
1097:
1073:
1067:
998:
992:
836:
834:Double Heroides
830:
810:
802:
790:
751:Pliny the Elder
745:Dutch authors.
733:, 4.13.19–20).
615:carmen et error
591:
585:
572:Roman festivals
523:didactic poetry
521:), a parody of
491:
464:
376:Arellius Fuscus
360:valley east of
322:
302:
183:
160:
156:
143:
87:
67:
65:
56:
44:
35:
28:
23:
22:
15:
12:
11:
5:
9123:
9113:
9112:
9107:
9102:
9097:
9092:
9087:
9082:
9077:
9072:
9067:
9062:
9057:
9040:
9039:
9037:
9036:
9031:
9026:
9021:
9016:
9011:
9006:
9001:
8996:
8991:
8986:
8981:
8976:
8971:
8966:
8961:
8956:
8951:
8946:
8941:
8936:
8931:
8926:
8921:
8916:
8911:
8905:
8903:
8894:
8893:
8891:
8890:
8885:
8880:
8875:
8870:
8865:
8860:
8855:
8850:
8845:
8840:
8835:
8830:
8825:
8820:
8815:
8810:
8805:
8800:
8794:
8792:
8788:
8787:
8784:
8783:
8781:
8780:
8775:
8770:
8765:
8760:
8755:
8750:
8745:
8740:
8735:
8730:
8725:
8720:
8715:
8710:
8705:
8700:
8695:
8690:
8685:
8680:
8675:
8670:
8665:
8660:
8655:
8650:
8645:
8640:
8635:
8630:
8625:
8620:
8615:
8609:
8607:
8601:
8600:
8598:
8597:
8592:
8587:
8582:
8577:
8572:
8567:
8562:
8557:
8552:
8547:
8542:
8537:
8532:
8527:
8522:
8517:
8512:
8507:
8502:
8497:
8492:
8487:
8482:
8477:
8472:
8470:Pomponius Mela
8467:
8462:
8457:
8452:
8447:
8442:
8437:
8432:
8427:
8422:
8417:
8412:
8407:
8402:
8397:
8392:
8387:
8382:
8377:
8372:
8367:
8362:
8357:
8352:
8347:
8342:
8337:
8332:
8327:
8322:
8317:
8312:
8307:
8302:
8297:
8292:
8287:
8282:
8277:
8272:
8267:
8262:
8257:
8252:
8247:
8242:
8237:
8232:
8227:
8222:
8217:
8212:
8207:
8205:Aelius Donatus
8201:
8199:
8190:
8186:
8185:
8183:
8182:
8177:
8176:
8175:
8173:Ecclesiastical
8170:
8165:
8160:
8155:
8150:
8145:
8140:
8135:
8127:
8122:
8116:
8114:
8108:
8107:
8105:
8104:
8099:
8094:
8089:
8084:
8079:
8074:
8069:
8064:
8059:
8054:
8049:
8044:
8039:
8034:
8028:
8026:
8020:
8019:
8017:
8016:
8011:
8006:
8001:
7996:
7991:
7986:
7981:
7976:
7975:
7974:
7964:
7959:
7954:
7949:
7944:
7939:
7933:
7931:
7925:
7924:
7922:
7921:
7916:
7914:Toys and games
7911:
7906:
7901:
7896:
7891:
7886:
7885:
7884:
7874:
7869:
7864:
7859:
7854:
7849:
7844:
7839:
7834:
7829:
7824:
7819:
7814:
7808:
7806:
7800:
7799:
7797:
7796:
7791:
7786:
7781:
7776:
7771:
7766:
7760:
7758:
7752:
7751:
7749:
7748:
7743:
7738:
7733:
7728:
7727:
7726:
7721:
7716:
7711:
7706:
7696:
7691:
7690:
7689:
7679:
7674:
7669:
7664:
7659:
7654:
7649:
7644:
7638:
7636:
7630:
7629:
7626:
7625:
7623:
7622:
7617:
7612:
7607:
7602:
7597:
7592:
7586:
7584:
7580:
7579:
7577:
7576:
7571:
7566:
7561:
7556:
7551:
7546:
7541:
7536:
7531:
7525:
7523:
7516:
7510:
7509:
7507:
7506:
7501:
7496:
7491:
7486:
7481:
7476:
7471:
7466:
7461:
7456:
7454:Vigintisexviri
7451:
7446:
7441:
7436:
7431:
7426:
7421:
7416:
7414:Cursus honorum
7411:
7406:
7400:
7398:
7392:
7391:
7389:
7388:
7383:
7378:
7373:
7368:
7363:
7358:
7352:
7350:
7344:
7343:
7341:
7340:
7335:
7330:
7329:
7328:
7323:
7318:
7313:
7303:
7298:
7293:
7288:
7283:
7278:
7272:
7270:
7264:
7263:
7260:
7259:
7257:
7256:
7255:
7254:
7244:
7243:
7242:
7237:
7227:
7226:
7225:
7220:
7213:Western Empire
7210:
7205:
7200:
7195:
7189:
7187:
7181:
7180:
7178:
7177:
7172:
7171:
7170:
7160:
7154:
7148:
7142:
7141:
7139:
7138:
7133:
7127:
7124:
7123:
7115:
7114:
7107:
7100:
7092:
7083:
7082:
7077:
7076:
7074:
7073:
7066:
7058:
7056:
7052:
7051:
7049:
7048:
7040:
7038:
7034:
7033:
7031:
7030:
7026:Piramo e Tisbe
7022:
7014:
7005:
7003:
6999:
6998:
6980:
6979:
6972:
6965:
6957:
6948:
6947:
6945:
6944:
6937:
6931:
6929:
6925:
6924:
6922:
6921:
6913:
6909:Apollo e Dafne
6904:
6902:
6898:
6897:
6895:
6894:
6886:
6878:
6870:
6862:
6854:
6845:
6843:
6839:
6838:
6836:
6835:
6830:
6824:
6822:
6818:
6817:
6803:
6802:
6795:
6788:
6780:
6771:
6770:
6768:
6767:
6759:
6754:
6752:Agalmatophilia
6749:
6743:
6741:
6737:
6736:
6734:
6733:
6725:
6717:
6709:
6701:
6693:
6685:
6676:
6674:
6670:
6669:
6667:
6666:
6659:
6652:
6644:
6642:
6638:
6637:
6635:
6634:
6627:
6619:
6617:
6613:
6612:
6610:
6609:
6601:
6595:
6593:
6589:
6588:
6586:
6585:
6577:
6575:
6571:
6570:
6568:
6567:
6559:
6551:
6543:
6534:
6532:
6528:
6527:
6525:
6524:
6516:
6508:
6499:
6497:
6493:
6492:
6490:
6489:
6481:
6479:
6475:
6474:
6472:
6471:
6463:
6455:
6447:
6439:
6430:
6428:
6424:
6423:
6421:
6420:
6415:
6409:
6407:
6403:
6402:
6383:
6382:
6375:
6368:
6360:
6354:
6351:
6350:
6338:
6337:
6335:
6334:
6323:
6320:
6319:
6311:
6308:
6307:
6300:
6298:
6296:
6295:
6288:
6281:
6274:
6267:
6260:
6253:
6249:Remedia Amoris
6244:
6237:
6230:
6222:
6219:
6218:
6210:
6209:
6202:
6195:
6187:
6181:
6180:
6171:
6155:
6146:
6139:Remedia Amoris
6095:
6092:
6091:
6090:
6085:
6078:Remedia Amoris
6042:
6039:
6038:
6037:
5998:
5995:Remedia Amoris
5966:
5963:Remedia Amoris
5935:
5932:
5931:
5930:
5925:
5920:
5912:
5907:
5892:
5883:
5874:
5865:
5856:
5855:
5850:
5845:
5839:
5835:
5832:
5831:
5826:
5821:
5815:
5814:
5803:
5802:
5800:
5799:External links
5797:
5796:
5795:
5785:
5778:Nandini Pandey
5775:
5764:
5757:
5750:
5739:
5732:
5721:
5715:
5702:
5699:
5692:
5689:
5682:
5675:
5668:
5657:
5650:
5643:
5637:
5626:
5615:
5604:
5597:
5594:
5585:
5579:
5572:
5565:Brewer, Wilmon
5562:
5551:
5524:
5521:
5520:
5519:
5512:
5503:
5496:
5485:
5478:
5468:
5461:
5454:
5447:
5440:
5433:
5426:
5419:
5412:
5405:
5398:
5389:
5386:
5383:
5382:
5363:
5341:
5316:
5291:
5260:
5229:
5204:
5195:
5186:
5171:
5151:
5133:978-1472521439
5132:
5112:
5106:978-0520931374
5105:
5083:
5063:
5060:978-0874138672
5039:
5023:
5020:978-0520242609
4999:
4982:
4978:Rio de Janeiro
4965:
4944:
4931:
4928:978-0804704861
4918:1958, p. 130.
4900:
4887:
4884:978-0520242609
4864:978-3515103756
4846:
4822:
4809:
4788:
4767:
4764:978-0521076159
4740:
4727:
4710:
4701:
4699:Barsby, p. 17.
4692:
4675:
4662:
4649:
4640:
4614:
4601:
4584:
4574:Remedia Amoris
4555:
4546:
4537:
4524:
4512:
4500:
4488:
4476:
4460:
4440:
4423:
4404:
4395:
4386:
4373:
4358:
4340:
4331:
4322:
4303:(28): 125–41.
4287:
4272:
4263:
4254:
4241:
4235:978-9004139855
4234:
4214:
4208:978-1624661167
4207:
4187:
4154:
4141:
4128:
4111:
4099:
4087:
4074:
4061:
4042:
4029:
4016:
3997:
3983:
3955:
3926:
3913:
3900:
3887:
3874:
3861:
3849:
3832:
3825:
3799:
3784:
3771:
3759:
3741:978-0198706779
3740:
3720:
3708:
3696:
3684:
3668:
3656:
3644:
3631:
3612:
3605:
3585:
3582:978-0195143386
3557:
3541:
3518:
3504:
3496:Metamorphoseon
3482:
3481:
3479:
3476:
3473:
3472:
3459:
3443:
3410:
3381:
3380:
3378:
3375:
3373:
3372:
3364:
3359:
3357:Sabinus (Ovid)
3354:
3349:
3344:
3336:
3328:
3319:
3318:
3317:
3303:
3289:
3273:
3270:
3269:
3268:
3263:(c. 1640), by
3259:
3252:
3250:
3244:
3237:
3235:
3229:
3222:
3218:
3215:
3214:
3213:
3193:
3168:
3145:
3139:
3127:
3121:Mary Zimmerman
3109:
3093:
3077:
3057:
3040:
3033:The Last World
3028:
3018:
3011:
3005:myth from the
2989:
2985:, an opera by
2977:
2971:myth from the
2955:
2948:
2936:
2911:
2908:
2907:
2906:
2878:
2847:
2846:
2839:Metamorphoseon
2827:
2816:
2799:
2796:
2781:
2774:
2771:
2758:
2739:
2720:
2708:The Last World
2703:
2686:
2673:Hermaphroditus
2655:
2654:
2653:
2646:Poems of Exile
2631:(1960s–2010s)
2629:
2614:
2597:
2580:
2565:
2528:
2494:
2438:
2436:Thomas Edwards
2420:Luís de Camões
2416:
2410:
2396:
2384:
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. Turner
674:
670:
666:
664:
660:
655:
650:
646:
641:
639:
635:
631:
627:
623:
618:
616:
612:
608:
604:
600:
596:
590:
589:Exile of Ovid
580:
578:
573:
569:
568:
563:
559:
558:Julius Caesar
555:
551:
547:
546:
545:Metamorphoses
540:
538:
533:
528:
524:
520:
515:
514:
508:
503:
501:
497:
486:
485:
479:
477:
473:
469:
468:elegiac meter
459:
458:in Romania).
457:
453:
452:
446:
444:
440:
436:
432:
428:
424:
419:
417:
416:
411:
407:
406:
401:
397:
393:
388:
383:
381:
380:Porcius Latro
377:
373:
372:
367:
363:
359:
355:
351:
347:
343:
335:
331:
326:
317:
315:
311:
307:
297:
295:
291:
290:Metamorphoses
287:
283:
279:
275:
271:
270:
264:
263:
257:
253:
249:
248:
247:Metamorphoses
242:
240:
236:
232:
228:
224:
220:
216:
212:
208:
204:
200:
196:
192:
188:
187:
178:
154:
149:
141:
133:
132:
131:Metamorphoses
128:
126:Notable works
124:
120:
116:
113:
109:
105:
101:
98:
94:
93:Scythia Minor
90:
85:
81:
78:
74:
70:
63:
59:
52:
47:
40:
37:
33:
19:
9060:43 BC births
8974:Institutions
8838:Leptis Magna
8791:Major cities
8698:Philostratus
8485:Quadrigarius
8439:
8305:Rufus Festus
8168:Contemporary
7889:Romanization
7812:Architecture
7419:Collegiality
7268:Constitution
7119:Ancient Rome
7068:
7061:
7029:(1768 Hasse)
7024:
7021:(1745 Lampe)
7016:
7008:
6992:
6988:
6939:
6915:
6907:
6888:
6880:
6872:
6864:
6856:
6848:
6811:
6807:
6761:
6727:
6719:
6713:My Fair Lady
6711:
6703:
6695:
6687:
6679:
6661:
6656:Mr Simigdáli
6654:
6647:
6629:
6603:
6580:
6563:My Fair Lady
6561:
6553:
6545:
6537:
6518:
6510:
6502:
6484:
6465:
6457:
6449:
6441:
6433:
6396:
6392:
6386:
6312:
6290:
6283:
6276:
6269:
6262:
6255:
6241:Ars Amatoria
6239:
6232:
6225:
6214:
6175:
6159:
6150:
6142:
6138:
6134:
6130:
6126:
6122:
6118:
6114:
6111:Ars Amatoria
6110:
6106:
6081:
6077:
6073:
6069:
6065:
6061:
6057:
6054:Ars Amatoria
6053:
6049:
6019:
6016:A. S. Barnes
5994:
5990:
5986:
5983:Ars Amatoria
5982:
5978:
5962:
5958:
5954:
5950:
5947:Ars Amatoria
5946:
5942:
5916:
5843:Online books
5836:
5819:Online books
5809:
5791:
5781:
5767:
5760:
5753:
5742:
5735:
5724:
5706:
5695:
5685:
5678:
5671:
5660:
5653:
5646:
5639:
5629:
5618:
5607:
5588:
5581:
5575:
5568:
5558:
5531:
5515:
5508:
5499:
5492:
5488:
5481:
5474:
5464:
5457:
5450:
5443:
5436:
5429:
5422:
5415:
5408:
5401:
5394:
5366:
5358:the original
5353:
5344:
5332:. Retrieved
5328:
5319:
5307:. Retrieved
5303:
5294:
5282:. Retrieved
5278:the original
5273:
5263:
5251:. Retrieved
5243:Sacred Texts
5242:
5232:
5219:
5207:
5198:
5189:
5161:
5154:
5142:. Retrieved
5122:
5115:
5094:
5086:
5071:
5066:
5047:
5042:
5034:
5026:
5007:
5002:
4994:
4990:
4985:
4973:
4968:
4963:, pp. 16–17.
4952:
4947:
4939:
4934:
4911:
4903:
4895:
4890:
4867:
4830:
4825:
4817:
4812:
4800:
4796:
4791:
4783:
4751:
4743:
4735:
4730:
4718:
4717:Jean Bayet,
4713:
4704:
4695:
4687:
4678:
4670:
4665:
4657:
4652:
4643:
4635:
4631:
4627:
4623:
4617:
4609:
4604:
4597:Buenos Aires
4592:
4587:
4579:
4573:
4570:Ars Amatoria
4569:
4565:
4558:
4549:
4540:
4532:
4527:
4507:
4503:
4495:
4491:
4483:
4479:
4471:
4468:Inst. gramm.
4467:
4463:
4455:
4448:
4443:
4435:
4431:
4426:
4407:
4398:
4389:
4381:
4376:
4349:
4343:
4334:
4325:
4300:
4296:
4290:
4281:
4275:
4266:
4257:
4249:
4244:
4224:
4217:
4197:
4190:
4182:
4174:
4170:
4166:
4162:
4157:
4149:
4144:
4136:
4131:
4123:
4119:
4114:
4106:
4102:
4094:
4090:
4082:
4077:
4069:
4064:
4056:
4050:
4045:
4037:
4032:
4024:
4019:
4005:
4000:
3970:
3965:
3958:
3938:
3934:
3929:
3921:
3916:
3908:
3903:
3895:
3890:
3882:
3877:
3869:
3864:
3856:
3852:
3844:
3840:
3835:
3810:
3802:
3794:
3779:
3774:
3766:
3762:
3750:. Retrieved
3730:
3723:
3715:
3711:
3703:
3699:
3691:
3687:
3679:
3675:
3671:
3663:
3659:
3651:
3647:
3639:
3634:
3622:
3615:
3595:
3588:
3565:
3560:
3552:
3532:. Retrieved
3521:
3511:
3507:
3499:
3495:
3462:
3454:
3450:
3446:
3413:
3401:
3393:
3385:
3368:
3339:
3332:
3324:
3260:
3208:
3204:
3200:
3187:
3183:
3165:Flea Theater
3156:
3148:
3134:
3112:
3096:
3090:
3080:
3074:
3071:James Lasdun
3060:
3053:
3050:Naomi Iizuka
3043:
3031:
3021:
3014:
3007:
2999:Jean Cocteau
2997:, a film by
2992:
2980:
2973:
2965:Jean Cocteau
2963:, a play by
2958:
2951:
2939:
2927:
2918:
2902:
2880:
2874:
2856:
2848:
2842:
2838:
2812:
2808:
2802:
2792:
2784:
2765:
2742:
2728:Robin Brooks
2723:
2716:
2706:
2693:
2690:David Malouf
2680:
2666:
2662:
2645:
2641:Modern Times
2639:
2600:
2593:
2583:
2572:
2559:
2555:
2551:Stephen Hero
2549:
2541:
2535:
2527:(1825–1832).
2522:
2512:
2508:
2463:
2453:
2432:John Marston
2387:
2378:
2370:
2333:
2313:
2309:
2270:
2264:
2259:
2229:
2215:
2205:
2204:(1949), the
2190:
2180:
2168:
2154:
2147:
2143:
2138:
2131:
2129:
2123:
2117:
2098:
2085:
2079:
2077:
2066:
2056:
2048:
2045:
2039:
1992:
1974:
1968:
1959:
1938:
1934:
1930:
1922:
1920:
1909:Ars Amatoria
1902:
1894:
1892:
1887:
1883:
1877:
1874:
1866:
1845:
1834:
1832:
1826:
1808:
1802:
1795:
1787:
1782:
1780:
1774:
1765:
1759:
1742:
1740:
1734:
1715:
1707:Epithalamium
1705:
1701:
1696:is cited by
1693:
1689:
1673:
1669:
1667:
1652:
1648:
1644:
1642:
1630:
1615:
1613:
1609:
1605:
1602:
1598:
1593:
1591:
1579:
1571:
1566:
1564:
1555:("The Ibis")
1552:
1538:
1517:
1513:
1509:
1502:
1499:Fasti (poem)
1490:
1481:
1471:
1469:
1258:
1253:
1246:Heteroeumena
1245:
1235:
1225:
1212:
1210:
1199:
1183:
1177:Ars Amatoria
1176:
1174:
1162:
1155:
1125:
1120:
1116:Ars Amatoria
1115:
1113:
1106:
1101:Ars Amatoria
1093:Ars Amatoria
1092:
1074:
1062:
1044:
1034:in favor of
1032:Gigantomachy
1029:
1023:Ars Amatoria
1014:
1001:
999:
987:
982:
977:
967:
961:
955:
951:
949:
923:
912:Hypermnestra
857:
852:
847:
843:
839:
837:
805:
793:
791:
781:
779:
772:
758:
747:
743:
739:
735:
730:
726:
722:
716:
712:
708:
706:
695:
689:
683:
681:
672:
654:Ars Amatoria
642:
619:
614:
592:
576:
565:
543:
541:
536:
532:Ars Amatoria
526:
518:
513:Ars Amatoria
506:
504:
499:
495:
482:
480:
475:
471:
465:
449:
447:
430:
420:
413:
403:
384:
370:
368:family, the
348:(modern-day
339:
305:
303:
289:
267:
262:Ars Amatoria
245:
243:
152:
139:
138:
129:
97:Roman Empire
36:
8969:Geographers
8653:Dioscorides
8633:Cassius Dio
8255:Cassiodorus
8158:Renaissance
7764:Agriculture
7736:Auxiliaries
7677:Engineering
7514:Magistrates
7366:Citizenship
7361:Mos maiorum
7296:Late Empire
6935:Daphnomancy
6920:(sculpture)
6729:Ruby Sparks
6649:Pintosmalto
6418:Propoetides
6104:A. 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. Inst.
4380:Conte, G.
3943:Propertius
3797:4.10.53–54
3718:4.10.57–58
3666:4.10.33–34
3627:Portuguese
3578:0195143388
3478:References
3427:republican
3347:Ovid Prize
3103:Phil Terry
3101:edited by
3087:Ted Hughes
3065:edited by
2831:Marc Sabat
2801:(2015) In
2767:Roman Star
2732:Bill Nighy
2348: 800
2285:Baudelaire
2099:Likewise,
1949:Proserpina
1905:, and the
1870:metapoetic
1862:Propertius
1819:golden age
1796:Halieutica
1783:Halieutica
1775:Halieutica
1743:Consolatio
1716:Medicamina
1690:Phaenomena
1682:Lactantius
1678:Quintilian
1664:Lost works
1535:Germanicus
1526:Propertius
1457:Pythagoras
1433:Polyphemus
1425:Iphigeneia
1385:Hyacinthus
1333:Proserpina
1250:Parthenius
1010:Propertius
832:See also:
649:monogamous
634:conspiracy
609:or of any
554:apotheosis
451:gens Fabia
439:Propertius
396:Asia Minor
366:equestrian
342:Paelignian
314:Quintilian
286:literature
227:exiled him
219:Quintilian
191:Roman poet
103:Occupation
9014:Quaestors
8944:Empresses
8934:Dynasties
8924:Dictators
8899:and other
8888:Volubilis
8883:Vindobona
8843:Londinium
8768:Theodoret
8738:Procopius
8718:Polyaenus
8693:Pausanias
8595:Vitruvius
8540:Symmachus
8535:Suetonius
8445:Petronius
8430:Obsequens
8395:Macrobius
8390:Lucretius
8315:Frontinus
8290:Eutropius
8275:Columella
8225:Augustine
8215:Appuleius
8163:Neo-Latin
8138:Classical
8129:Versions
8037:Aqueducts
7979:Patronage
7899:Sexuality
7872:Mythology
7847:Education
7837:Cosmetics
7662:Campaigns
7657:Structure
7610:Decemviri
7469:Imperator
7168:overthrow
6912:(cantata)
6721:Mannequin
6697:Pygmalion
6520:Pygmalion
6504:Pygmalion
6443:Pygmalion
6435:Pigmalion
6388:Pygmalion
6213:Poems by
5955:Epistulae
5181:908278686
4959:, 2002),
4786:, p. 264.
4723:Barcelona
4656:Apuleius
4368:703573507
4248:Knox, P.
4120:Chronicon
3859:1, 7, 14.
3769:s.v. Ovid
3678:2.93ff.;
3498:. Paris.
3172:post-rock
3117:same name
2905:, IV, 88)
2764:'s novel
2692:'s novel
2633:Bob Dylan
2613:in 1960).
2517:, set in
2408:Juan Ruiz
2277:Delacroix
2220:to learn
2165:Delacroix
2114:Montaigne
2030:Criticism
2011:Euripides
1649:Epistulae
1445:Vertumnus
1389:Pygmalion
1341:Philomela
1325:Andromeda
963:ethopoeia
957:suasoriae
892:Deianeira
880:Hypsipyle
769:Herodotus
723:Epistulae
599:Black Sea
597:, on the
550:epic poem
456:Constanța
352:, in the
239:Black Sea
237:, on the
209:poets of
207:canonical
189:), was a
9019:Tribunes
9009:Praetors
8959:Generals
8939:Emperors
8848:Lugdunum
8833:Eboracum
8823:Carthage
8808:Aquileia
8723:Polybius
8713:Plutarch
8683:Libanius
8673:Josephus
8668:Herodian
8560:Tibullus
8475:Priscian
8450:Phaedrus
8410:Manilius
8355:Jordanes
8340:Hydatius
8270:Claudian
8250:Catullus
8240:Boëthius
8235:Ausonius
8153:Medieval
8125:Alphabet
8097:Theatres
8072:Numerals
8057:Concrete
8047:Circuses
8014:Bagaudae
8004:Adoption
7999:Marriage
7972:Assembly
7877:Religion
7852:Folklore
7832:Clothing
7827:Calendar
7784:Currency
7774:Commerce
7672:Strategy
7634:Military
7620:Triumvir
7600:Dictator
7595:Interrex
7574:Governor
7559:Quaestor
7522:Ordinary
7504:Province
7494:Tetrarch
7484:Augustus
7449:Vicarius
7439:Officium
7376:Imperium
7326:Plebeian
7286:Republic
7208:Dominate
7175:Republic
7136:Timeline
7047:" (poem)
6858:La Dafne
6608:(Gérôme)
6332:Category
6257:Heroides
6176:Heroides
6165:Archived
6123:Heroides
6066:Heroides
6029:Archived
6004:Archived
5972:Archived
5951:Heroides
5899:LibriVox
5727:Augustus
5491:(eds.),
5388:Editions
5374:Archived
5247:Archived
5224:Archived
5144:14 March
5138:Archived
5035:Bulletin
4838:Archived
4820:. VI, 6.
4415:Archived
4317:40236002
4179:Augustus
3989:Archived
3947:Tibullus
3746:Archived
3694:4.383–34
3638:Seneca,
3516:: "Ovid"
3435:Augustus
3391:cognomen
3272:See also
3245:Ovid by
3230:Ovid by
3210:Heroides
3205:Bloodaxe
2818:(2017) "
2778:Augustus
2677:Salmacis
2519:Moldavia
2400:Petrarch
2303:and the
2301:wildness
2244:Puritans
2234:and the
2187:Portugal
2173:, 1859.
2094:humanism
2071:and the
2019:language
2007:Hermione
1984:neoteric
1975:Heroides
1903:Heroides
1858:Tibullus
1854:Catullus
1762:Tiberius
1747:Augustus
1698:Priscian
1620:Augustus
1545:plebeian
1531:Augustus
1465:Augustus
1453:Hersilia
1417:Achilles
1373:Heracles
1357:Daedalus
1349:Cephalus
1313:Salmacis
1301:Pentheus
1281:Callisto
1277:Phaethon
1242:Nicander
1152:Cephalus
1132:Pasiphaë
1082:Nicander
1056:Tibullus
1006:Tibullus
978:Heroides
974:Catullus
952:Heroides
941:Acontius
908:Laodamia
888:Hermione
860:Penelope
848:Heroides
840:Heroides
828:Heroides
806:Heroides
760:Heroides
731:Ex Ponto
663:Augustus
659:adultery
638:Augustus
636:against
603:Augustus
577:Heroides
492: 8
472:Heroides
427:Maecenas
387:rhetoric
358:Apennine
344:town of
276:and the
258:such as
223:elegists
217:scholar
215:Imperial
195:Augustus
8989:Legions
8949:Fiction
8919:Consuls
8914:Climate
8868:Ravenna
8863:Pompeii
8853:Lutetia
8818:Bononia
8813:Berytus
8803:Antioch
8778:Zosimus
8773:Zonaras
8748:Sozomen
8733:Priscus
8708:Photius
8550:Terence
8545:Tacitus
8530:Statius
8515:Servius
8500:Sallust
8455:Plautus
8435:Orosius
8415:Martial
8370:Juvenal
8345:Hyginus
8330:Gellius
8189:Writers
8120:History
8102:Thermae
8092:Temples
8042:Bridges
8009:Slavery
7957:Equites
7929:Society
7909:Theatre
7882:Deities
7842:Cuisine
7822:Bathing
7804:Culture
7779:Finance
7756:Economy
7647:Borders
7642:History
7544:Tribune
7539:Praetor
7429:Legatus
7424:Emperor
7311:Curiate
7281:Kingdom
7276:History
7252:History
7235:decline
7193:History
7163:Kingdom
7146:History
7131:Outline
7055:Related
6987:" from
6928:Related
6740:Related
6582:Galatea
6531:Musical
6413:Galatea
6271:Tristia
6178:of Ovid
6143:Tristia
6082:Tristia
6035:format)
5888:at the
5837:By Ovid
5489:et alii
5354:YouTube
4989:Ovid's
4844:(2001).
4658:Apology
4486:1.2.131
4470:5, 13,
4430:Quint.
4171:Latomus
4163:Latomus
4038:Mystery
4006:Tristia
3883:Tristia
3857:Tristia
3706:4.10.21
3682:5.23ff.
3555:10.1.93
3551:Quint.
3468:Scythia
3437:) over
3402:Ovidius
3217:Gallery
3195:(2013)
3163:at the
3129:(2006)
3115:of the
3095:(2000)
3079:(1997)
3059:(1994)
3042:(1997)
3030:(1991)
3020:(1978)
3013:(1978)
3003:Orpheus
2991:(1949)
2979:(1938)
2969:Orpheus
2957:(1926)
2950:(1916)
2938:(1767)
2926:(1609)
2903:Inferno
2882:Inferno
2871:Statius
2783:(2012)
2741:(2004)
2722:(2000)
2659:Genesis
2657:(1971)
2648:, from
2599:(1960)
2582:(1951)
2573:Tristia
2561:Ulysses
2558:and in
2530:(1916)
2514:Gypsies
2509:To Ovid
2506:epistle
2500:exile,
2289:Gautier
2281:Scythia
2252:immoral
2225:grammar
2090:Chaucer
1995:Phaedra
1849:persona
1827:Somnium
1749:' wife
1653:Tristia
1624:Bacchus
1616:Tristia
1594:Tristia
1588:Tristia
1580:Tristia
1449:Romulus
1413:Alcyone
1381:Orpheus
1353:Procris
1337:Arachne
1321:Perseus
1305:Pyramus
1297:Actaeon
1148:Procris
1136:Ariadne
945:Cydippe
896:Ariadne
872:Phaedra
868:Briseis
864:Phyllis
755:Statius
727:Tristia
709:Tristia
685:Tristia
431:Tristia
350:Sulmona
336:, Italy
334:Sulmona
306:Tristia
296:today.
121:, drama
18:Ovidian
9105:Ovidii
8999:Nomina
8984:Legacy
8964:Gentes
8901:topics
8897:Lists
8878:Smyrna
8758:Strabo
8688:Lucian
8678:Julian
8628:Arrian
8623:Appian
8613:Aelian
8590:Vergil
8365:Justin
8350:Jerome
8335:Horace
8320:Fronto
8310:Florus
8285:Ennius
8265:Cicero
8245:Caesar
8143:Vulgar
7967:Tribes
7894:Romans
7704:Legion
7687:castra
7564:Aedile
7534:Censor
7529:Consul
7489:Caesar
7459:Lictor
7381:Status
7321:Tribal
7301:Senate
7291:Empire
7185:Empire
7121:topics
7002:Operas
6893:(1938)
6890:Daphne
6885:(1708)
6882:Daphne
6877:(1640)
6869:(1627)
6861:(1608)
6853:(1597)
6842:Operas
6833:Daphne
6828:Apollo
6766:(1998)
6757:Gynoid
6732:(2012)
6724:(1987)
6716:(1964)
6708:(1948)
6700:(1938)
6692:(1921)
6684:(1898)
6566:(1956)
6558:(1943)
6550:(1883)
6542:(1872)
6523:(1912)
6515:(1871)
6507:(1762)
6478:Ballet
6462:(1816)
6454:(1809)
6446:(1779)
6438:(1748)
6234:Amores
6160:Amores
6151:Amores
6107:Amores
6050:Amores
6024:&
5979:Amores
5943:Amores
5807:about
5713:
5549:
5237:Ovid.
5179:
5169:
5130:
5103:
5078:
5054:
5014:
4922:
4878:
4862:
4805:Madrid
4758:
4632:Amores
4572:, and
4566:Amores
4531:Pliny
4498:1.7.30
4458:1, 138
4453:Probus
4447:Lact.
4366:
4356:
4315:
4232:
4205:
4167:Fastes
4107:Silvae
3981:
3973:]
3951:Horace
3911:3.3.72
3907:Ovid,
3898:2.9.72
3894:Ovid,
3881:Ovid,
3823:
3795:Trist.
3738:
3716:Trist.
3704:Trist.
3676:Trist.
3664:Trist.
3654:1.2.77
3652:Trist.
3603:
3576:
3528:"Ovid"
3107:fables
2994:Orphée
2982:Daphne
2960:Orphée
2921:, 1618
2899:Virgil
2891:Horace
2867:Virgil
2498:Odessa
2352:Moduin
2350:–810)
2338:, 1493
2242:. The
2183:Jesuit
2119:Essais
2025:Legacy
2015:Vergil
1923:Fasti,
1895:Amores
1835:Amores
1686:Aratus
1670:Amores
1516:, the
1510:Trist.
1461:Caesar
1447:, and
1441:Pomona
1437:Aeneas
1431:, and
1423:, and
1419:, the
1405:Thetis
1401:Peleus
1397:Adonis
1395:, and
1393:Myrrha
1377:Byblis
1319:, and
1309:Thisbe
1299:, and
1293:Cadmus
1289:Thebes
1285:Europa
1269:Daphne
1263:, the
1248:, and
1222:Hesiod
1140:Icarus
1134:, and
1086:Aratus
1002:Amores
988:Amores
969:Aeneid
939:, and
916:Sappho
910:, and
900:Canace
876:Oenone
765:Virgil
607:Senate
527:carmen
496:Amores
484:Amores
443:Horace
400:Sicily
398:, and
392:Athens
288:. The
235:Moesia
213:. The
203:Horace
199:Virgil
144:Latin:
8663:Galen
8605:Greek
8575:Varro
8385:Lucan
8197:Latin
8112:Latin
8087:Ships
8077:Roads
8062:Domes
7994:Women
7942:Plebs
7867:Music
7409:Forum
7404:Curia
7037:Other
6901:Other
6866:Dafne
6850:Dafne
6427:Opera
6391:from
6264:Fasti
6119:Fasti
6062:Fasti
4961:Porto
4686:" in
4508:Ex P.
4496:Ex P.
4484:Ex P.
4432:Inst.
4313:JSTOR
4175:Fasti
3992:(PDF)
3975:(PDF)
3969:[
3885:2.207
3870:Trist
3692:Fast.
3680:Ex P.
3640:Cont.
3553:Inst.
3451:Fasti
3377:Notes
3024:, by
2895:Lucan
2887:Homer
2863:Lucan
2850:Dante
2700:Tomis
2661:song
2620:" by
2248:pagan
2222:Latin
2202:]
1999:Medea
1945:Ceres
1935:Fasti
1842:Style
1751:Livia
1712:Getic
1702:Fasti
1674:Medea
1540:vates
1518:Fasti
1491:Fasti
1345:Medea
1329:Muses
1265:flood
1237:Aetia
1048:Ceres
1036:elegy
1017:Cupid
933:Helen
929:Paris
920:Phaon
904:Medea
817:Medea
800:Works
794:Fasti
788:Death
782:Fasti
767:, by
697:Fasti
595:Tomis
567:Fasti
517:(the
500:Medea
435:Macer
429:. In
346:Sulmo
269:Fasti
231:Tomis
115:Elegy
111:Genre
89:Tomis
73:Italy
69:Sulmo
9055:Ovid
8979:Laws
8954:Film
8873:Roma
8440:Ovid
8380:Livy
8148:Late
7962:Gens
7919:Wine
7731:Navy
7699:Army
7338:SPQR
7240:fall
7218:fall
6989:Ovid
6808:Ovid
6673:Film
6496:Play
6393:Ovid
6285:Ibis
6215:Ovid
6127:Ibis
6070:Ibis
6022:DjVu
5810:Ovid
5711:ISBN
5559:free
5547:ISBN
5336:2023
5311:2023
5286:2015
5255:2015
5177:OCLC
5167:ISBN
5146:2017
5128:ISBN
5101:ISBN
5076:ISBN
5052:ISBN
5012:ISBN
4920:ISBN
4876:ISBN
4860:ISBN
4829:Ov.
4816:Ov.
4756:ISBN
4533:Nat.
4364:OCLC
4354:ISBN
4230:ISBN
4203:ISBN
3979:ISBN
3949:and
3868:See
3821:ISBN
3817:1085
3754:2015
3736:ISBN
3623:Met.
3601:ISBN
3574:ISBN
3536:2024
3398:nose
3394:Naso
3389:The
3069:and
2897:and
2869:and
2753:and
2734:and
2675:and
2291:and
2265:The
2135:age.
2108:and
2013:and
2005:and
2003:Dido
1997:and
1990:)".
1982:and
1962:gods
1960:The
1937:and
1860:and
1813:of "
1781:The
1741:The
1643:The
1622:and
1592:The
1572:Ibis
1567:Ibis
1565:The
1553:Ibis
1451:and
1443:and
1411:and
1409:Ceyx
1403:and
1351:and
1323:and
1315:and
1307:and
1283:and
1211:The
1150:and
1114:The
1084:and
1052:Juno
1040:Isis
1008:and
1000:The
950:The
943:and
931:and
884:Dido
838:The
753:and
713:Ibis
688:and
643:The
624:and
378:and
362:Rome
312:and
300:Life
284:and
201:and
153:Ovid
119:epic
106:Poet
83:Died
61:Born
43:Ovid
8133:Old
7817:Art
7590:Rex
7434:Dux
7348:Law
6991:'s
6810:'s
6592:Art
6395:'s
6102:by
5957:),
5897:at
5879:at
5870:at
5537:doi
4831:Rem
4818:Rem
4624:JRS
4438:12.
4305:doi
3151:by
3119:by
3085:by
3048:by
3036:by
2745:by
2726:by
2711:by
2588:by
2534:'s
2462:'s
2452:'s
2373:by
1888:Am.
1884:Am.
1882:of
1803:Nux
1788:ars
1244:'s
1224:'s
924:Am.
918:to
853:Am.
556:of
476:Am.
229:to
186:-id
9051::
6141:,
6137:,
6133:,
6129:,
6125:,
6121:,
6117:,
6113:,
6109:,
6080:,
6076:,
6072:,
6068:,
6064:,
6060:,
6056:,
6052:,
5993:,
5989:,
5985:,
5981:,
5961:,
5949:,
5945:,
5790:,
5780:,
5567:,
5557:A
5545:.
5473:.
5352:.
5327:.
5302:.
5272:.
5245:.
5241:.
5218:.
5175:.
5136:.
5058:,
5018:,
4976:.
4926:,
4910:,
4882:,
4849:^
4803:.
4782:,
4770:^
4762:,
4750:,
4578:.
4568:,
4515:^
4362:.
4311:.
4301:28
4299:.
3987:.
3945:,
3819:.
3787:^
3744:.
3580:,
3544:^
3486:^
3199:,
2893:,
2889:,
2865:,
2571:,
2488:c.
2478:c.
2476:,
2448:,
2444:,
2434:,
2430:,
2426:,
2422:,
2406:,
2402:,
2392:,
2345:c.
2307:.
2287:,
2227:.
2200:pt
2167:,
2075:.
2021:.
2001:,
1856:,
1718:.
1688:'
1439:,
1391:,
1311:,
1295:,
1273:Io
1256:.
1252:'
1240:,
1234:'
1230:,
1130:,
1088:.
935:,
906:,
902:,
898:,
894:,
890:,
886:,
882:,
878:,
874:,
870:,
866:,
862:,
777:.
704:.
489:c.
441:,
437:,
394:,
382:.
316:.
184:OV
117:,
95:,
91:,
75:,
71:,
7111:e
7104:t
7097:v
7043:"
6983:"
6976:e
6969:t
6962:v
6799:e
6792:t
6785:v
6626:"
6622:"
6379:e
6372:t
6365:v
6206:e
6199:t
6192:v
6084:.
5997:.
5719:.
5555:.
5539::
5338:.
5313:.
5288:.
5257:.
5183:.
5148:.
5109:.
4870:(
4721:(
4684:'
4595:(
4576:"
4370:.
4319:.
4307::
4238:.
4211:.
3829:.
3756:.
3609:.
3568:(
3538:.
3408:.
3203:(
3174:/
2901:(
2702:.
2685:.
2628:.
2596:.
2579:.
2564:.
2493:.
2383:.
2343:(
2177:.
2151:.
1947:–
1730:.
177:/
174:d
171:ɪ
168:v
165:ɒ
162:ˈ
159:/
155:(
142:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.