Child's Play: Ovid and his Critics

Morgan, Llewelyn

doi:10.1017/s0075435800062729

Cited by 33 publications

(4 citation statements)

References 6 publications

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“…8, is another metapoetic event, clearly reminiscent of Phaethon's; see the wide-ranging discussion of Sharrock (1994) 87-195. Add now the excellent account of Ovidian 'child's play' by Morgan (2003) (76-9 on Phaethon and Icarus). Anderson (1997)…”

Section: 161-6)mentioning

confidence: 99%

Sibylline syllables: The intratextual Aeneid

Oliensis

2004

Proc. Camb. Philol. Soc.

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As recent scholarship on the poem has demonstrated, the Aeneid is punctuated by reiterated episodes of opening. These ruptures, often violently produced, release violence into the world of the poem, prolonging the epic action by postponing its appointed end. The pattern is set in the first book when Aeolus strikes at the mountain that houses the winds, unleashing the storm that drives Aeneas off course, from Italy to Carthage. What is ‘opened’ here is at once something within the poem (the cavernous prison of the winds) and the poem itself, which restarts, as it were, when it seemed on the verge, with Aeneas' approach to Italy, of shutting down. Much valuable work has been done to illuminate and complicate this convergence of the action in the poem with the action of the poem, with one focus being the agency of Juno, a figure especially closely linked here with openings and beginnings.

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Section: 161-6)mentioning

confidence: 99%

Sibylline syllables: The intratextual Aeneid

Oliensis

2004

Proc. Camb. Philol. Soc.

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“… 62 Metapoetic Icarus (and Daedalus): Lateiner (1984) 17–18, Anderson (1989) 6–11, Sharrock (1994) 87–195, Morgan (2003) 77–81, Pavlock (2009) 66–8, Feldherr (2010) 110–22.…”

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A Brutal Hack: Tyranny, Rape, and the Barbarism of Bad Poetry in Ovid's Pyreneus Episode

Cowan

2020

Antichthon

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Poet-figures in Ovid's Metamorphoses have been the object of much study, especially those silenced by the powerful, but little attention has been given to Pyreneus. Immediately before the famous contest of the Muses and Pierides, the former briefly narrate their attempted rape by the usurping Thracian tyrant Pyreneus and his precipitous death while trying to fly after them. The few critics who have touched on this episode have tended to focus exclusively on one aspect, be it the poetic, sexual, political, or religious. None has provided a holistic interpretation which does justice to the complex interplay of these four dimensions or to Ovid's witty and characteristic reification of figurative language.Pyreneus is simultaneously an invading usurper, an attempted rapist, an impious theomach, and, on the poetic plane, a talentless plagiarist or derivative imitator, who tries to appropriate others’ work but bathetically and disastrously fails. The interrelation of these four roles, each troping the others, throws light on all, and Pyreneus needs to be contextualized among the Met.'s other tyrants, rapists, and theomachs, as well as its poet-figures. The episode itself, derivative and overstuffed with Ovidian motifs, is mimetic of the sort of narrative bad (would-be) poets like Pyreneus produce.

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“…His appropriation of Virgil's life and career in the construction of his own might be seen as a reaction to the tradition and authority Virgil represented, one which, as Llewelyn Morgan has emphasized in relation to Ovid's writing of epic, appeared playful and light-hearted. 38 Engagement with tradition pervades Ovid's allusive and intertextual work where he registers awareness of the 'modernity' of his voice. In Ars amatoria III he writes: prisca iuvent alios: ego me nunc denique natum gratulor: haec aetas moribus apta meis, non quia nunc terrae lentum subducitur aurum lectaque diverso litore concha venit, nec quia decrescunt effosso marmore montes, nec quia caeruleae mole fugantur aquae, sed quia cultus adest, nec nostros mansit in annos rusticitas priscis illa superstes avis.…”

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Translating Lives: Ovid and the Seventeenth-Century Modernes

Taylor¹

2015

Translation & Literature

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During the Quarrel of the Ancients and Moderns, the fraught cultural 'war' of late seventeenth-century Paris, the poetry of the ancient Roman poet, Ovid, was translated and adapted for a wide range of self-consciously 'modern' genres. His Heroides, love-letters from abandoned women to their erstwhile lovers, provided the model for the emerging love-letter novel; opéra-ballets were based on stories from the Metamorphoses; and unprecedented interest was shown in the Amores, Ars amatoria, and Remedia amoris, which were adapted for new genres exploring 'galant' conceptions of love (another 'modern' phenomenon). While some of the ways in which Ovid's poetry inspired and influenced 'modern' French writing in this period have been explored already, 1 as, to a degree, have the wider implications of such influence for our understanding of the categories of 'ancient' and 'modern' within the Quarrel, 2 very little attention has been paid to the ways in which the figure of Ovid was translated and adapted in self-consciously 'modern' genres. And yet, more than any other ancient Roman poet, the life of Ovid, a version of which Ovid himself offers in the Tristia, was narrated in opéra-ballets and plays, and in I would particularly like to thank Peta Fowler and the readers for Translation and Literature for their comments and suggestions. 1 See the key study by Marie-Claire Chatelain, Ovide savant, Ovide galant: Ovide en France dans la seconde moitié du XVII siècle (Paris, 2008), and Delphine Denis, 'L'Eros galant: Les Arts d'Aimer', in Le Parnasse galant: institution d'une catégorie littéraire au XVII siècle (Paris

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Child's Play: Ovid and his Critics

Cited by 33 publications

References 6 publications

Sibylline syllables: The intratextual Aeneid

Sibylline syllables: The intratextual Aeneid

A Brutal Hack: Tyranny, Rape, and the Barbarism of Bad Poetry in Ovid's Pyreneus Episode

Translating Lives: Ovid and the Seventeenth-Century Modernes

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