By Peter E. Knox
A significant other to Ovid is a finished review of 1 of the main influential poets of classical antiquity.• positive aspects greater than 30 newly commissioned chapters through famous students writing of their parts of specialization• Illuminates quite a few facets of Ovid's paintings, resembling construction, style, and style• offers interpretive essays on key poems and collections of poems• comprises specific discussions of Ovid's fundamental literary affects and his reception in English literature• offers a chronology of key literary and historic occasions in the course of Ovid's lifetime
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Additional info for A Companion to Ovid
Also Antony had some poets on his side (Cic. Phil. 11 and Serv. on Virg. Ecl. 36), and Varius already wrote against Antony in about 43 BC (fr. 1 and 2 Blänsdorf). Today we know that some public monuments, which we are used to considering as linked to the ‘Augustan’ idea of a solemn imperial Rome, date back to the initiative of Octavian the triumvir and his collaborators (Millar 2000: 9–12). And it has also been observed that in the course of his years in the triumvirate Octavian was already concerned to present some of his political actions as examples of republican legality (Eder 2005: 20–2).
142; Epist. 108–117; Ars 416–18). He is caricaturing a superﬁcial kind of production, slipshod and of bad taste, from which he scornfully wishes to distinguish himself. And yet, in his last elegy written in exile (Pont. 16), Ovid mentions about 30 contemporary poets, about most of whom we know practically nothing from other sources: and these are poets that he considers to be fully accomplished. If we bear in mind that there were bound to be some amateur poets, Horace’s caricature assumes a certain credibility: the practice of poetry writing was an extremely important reality in the daily customs of Augustan Rome, it stemmed from developing and changing social conditions, and it undoubtedly included more aspects, tendencies, and currents than can be documented by extant texts.
The need to bring poetry closer to the concrete experience of daily life was expressed with revolutionary energy by Catullus and his young poet friends (the ‘neoterics’), who operated in Rome, but almost all of whom came from well-to-do families of Cisalpine Gaul, that is to say, from those classes that were renewing the panorama of Roman society and culture. These poets had rejected the great canonical genres, the ideology on which they were based, and their high-sounding language, and had dedicated their intense artistic efforts to the minor genres (epigrams, brief elegies, lyrics, short mythological poems) which, up to that moment, had only been the occasional pastime of the literary otium of aristocratic salons.
A Companion to Ovid by Peter E. Knox