By Peter E. Knox
A significant other to Ovid is a complete evaluation of 1 of the main influential poets of classical antiquity.• good points greater than 30 newly commissioned chapters via famous students writing of their components of specialization• Illuminates a number of points of Ovid's paintings, comparable to creation, style, and style• provides interpretive essays on key poems and collections of poems• comprises certain discussions of Ovid's basic literary affects and his reception in English literature• presents a chronology of key literary and historic occasions in the course of Ovid's lifetime
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Extra info for A Companion to Ovid
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.
Ovid adapted this in Met. ’ What makes the impact in his version is one word inde (‘from there’) and its emphatic placing at the beginning of the second line. The adjudication of the arms is not a court case, but an impersonation of a historical ﬁgure (here of Ajax), so it is not a conventional suasoria advising on a deliberative issue so much as self-advocacy, a man making his own case, and we will return to this favorite theme later in connection with the mature Ovid of the Metamorphoses. But ﬁrst let me review Seneca’s other comments.
But while the theater only partly fulﬁlled its function of cultural mediation for a popular public, and while Horace considered the popular public of theaters too ignorant, and incapable of appreciating high-quality literary communication (Epist. 182–207), the public of readers with a certain cultural preparation had grown considerably. The prestige and the spread of culture among the upper classes, and the extension of many activities that were previously the privilege of the upper classes to the emerging local and provincial classes, who aspired, as a result of the renewal of society since the age of Caesar, to have a part in the rights, and also in the style of life, of the classes that traditionally held power, had created a varied, widespread public, genuinely interested in literature, with wider, differentiated tastes and interests.