First Among Women:

Hinds, Stephen

doi:10.2307/j.ctv27h1q6g.13

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“…Syme (1978: 145) proposes a marriage date of no earlier than 4 BCE. Hinds (1999) elucidates Ovid's strategy of exemplifying his wife through comparisons with mythological and elegiac women and situates this practice within a literary context of imperial panegyric that sees his wife's exemplarity bested by Livia, the only possible femina princeps in Augustan Rome. Hinds (2006: 438–40) also treats the immortalisation of the wife in Trist .…”

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“… 44 Here again the lines between genres are far from distinct. Gaertner (2007b: 170) comments that ‘Ovid's claim that the main purpose of his exile poetry is to alleviate his plight and to allow him to forget his miserable situation … [has] close precedents in ancient epistolographic theory.’ Hinds (1999: 129–31) discusses Ovid's comparison of his love of his wife with Antimachus’ love of Lyde at Trist. 1.6.1–4, and notes that Hermesianax’ Leontion and the Consolatio ad Apollonium (ascribed to Plutarch) both depict Antimachus’ composition of Lyde as a self-consolatory project.…”

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‘Do Not Stand at My Grave and Weep’: Uxorial Consolation in Ovid's Tristia

Gleeson

2023

Antichthon

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In the poetic epistles addressed to his unnamed wife, Ovid makes a number of recognisably consolatory exhortations that poignantly reframe her perception of grief. By depicting exile as a form of living death and his departure from Rome in Tristia 1.3 as a funeral, Ovid is able to cast his wife in the role of a mourning widow whom he consoles from his exilic grave. The moment of their separation becomes a traumatic event that gives the wife the emotional endurance to handle any future adversity. Such appeals to earlier resilience, frequently found in consolation, are employed in Tristia 3.3 and 5.11. In these poems, Ovid also draws upon the consolatory argument that death is not a malum and reframes this same notion about exile to assert his status as a relegatus to his wife and a broader audience. This paper connects Ovid's use of these ideas with the broader tradition of Graeco-Roman consolation, expanding our understanding of the genre and the Tristia's place therein.

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‘Do Not Stand at My Grave and Weep’: Uxorial Consolation in Ovid's Tristia

Gleeson

2023

Antichthon

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Ars precatoria, ars precaria dans la dernière lettre d’Ovide à Fabia (Pontiques, III, 1)

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Conseiller, Diriger Par Lettre

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Skesani eros?

Marinčič

2022

Keria

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Novodobni bralci so vselej čutili nelagodje ob adulacijah v čast Avgusta in cesarske družine, ki smo jim priča v Ovidijevi izgnanski poeziji. Subverzivne prvine tudi v tej poeziji so, vendar najbrž ne do take mere, da bi rušile apologetski načrt. V tem članku se navezujem na implicitni namig dveh zgodnjih humanističnih komentatorjev Ovidijevega Ibisa, Domizia Calderinija in Koprčana Cristofora Zarotta, ki sta uvidela, da je Ovidij v Ibisu zavestno izbral zvrst invektive, da bi s tem posredno »dokazal« nedolžni značaj Umetnosti ljubezni. Osrednja teza mojega besedila je, da je Ovidij podobni strategiji sledil že v drugi knjigi Žalostink, kjer včasih namenoma argumentira na nekonsistentne načine in se preveč opira na dlakocepsko klasifikacijo literarnih zvrsti. Pesnik sicer ne hitro parafrazira Katula in zatrdi, da poezije ne smemo vzeti kot indic avtorjevega moralnega profila, vendar razloček vita/ars omeji na epiko in dramatiko. V nadaljevanju presenetljivo prizna, da je njegova – in sploh vsa – prvoosebna poezija osnovana v resničnem življenju, ob tem pa zatrjuje, da je edini pesnik v zgodovini, ki je bil kaznovan zaradi erotičnih tematik. Ta nova formula captatio benevolentiae se ujema s splošno težnjo izgnanskih elegij: odreka se ideji o poeziji kot fikciji in vzpostavlja retoriko poezije kot avtentičnega izraza trpljenja. Ibis je kot eksplicitno, ekstrovertirano sramotilna pesnitev skrajni izraz te poetike.

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First Among Women:

Cited by 3 publications

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‘Do Not Stand at My Grave and Weep’: Uxorial Consolation in Ovid's Tristia

‘Do Not Stand at My Grave and Weep’: Uxorial Consolation in Ovid's Tristia

Ars precatoria, ars precaria dans la dernière lettre d’Ovide à Fabia (Pontiques, III, 1)

Skesani eros?

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