“The first taste I had for books came to me from my pleasure in the fables of the Metamorphoses 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 age.” –Michel de Montaigne The Metamorphoses of Ovid (8 AD) is an epic poem by Ovid. Published the same year the poet was sent into exile for the rest of his life, the Metamorphoses are the crowning achievement of the first major poet of the Roman empire. Written in dactylic hexameter, the meter of Homer’s Iliad and Odyssey and of Virgil’s Aeneid, Ovid’s work is an epic poem of transformations, of shape-shifting matter and beings bound to the power of love. Taking as its scope the whole history of the universe from the arrangement of order from chaos to the death of Julius Caesar, the Metamorphoses pays heed to desire’s ability to enact long-lasting and at times irreversible change. The story begins at the very beginning, with the creation of the cosmos out of nothing, of order out of unimaginable chaos. Gods and goddesses have their moment in the sun, mankind is born only to be wiped out by an immense flood, then to rise again. Amidst countless little-known descriptions of war, romance, and change are the timeless tales of Perseus, Jason and Medea, Theseus and the Minotaur, and the labors of Hercules. Icarus soars too close to the sun. Orpheus tragically condemns Eurydice to the underworld. Troy is built and destroyed, the immortal Achilles is killed, and Aeneas sets sail to save his life and lay the foundations for Rome itself. Throughout these interwoven stories of individual and epochal change, Ovid explores the inescapability of love and death, essential themes both shared by all and constitutive of everything that was or ever will be. The Metamorphoses of Ovid is an intricate masterpiece of world literature that stands the test of time just as much as it defines it. With a beautifully designed cover and professionally typeset manuscript, this edition of The Metamorphoses of Ovid is a classic work of Roman literature reimagined for modern readers.
This work brings together a selection of the author's articles, written over a period of 20 years, observing the place of alcohol in American culture. The text also contains several ethnographic studies of bars in San Diego and a study of court-mandated programmes for drink drivers.
Widely praised for his translations of Boethius and Ariosto, esteemed translator David R. Slavitt here returns to Ovid, once again bringing to the contemporary ear the spirited, idiomatic, audacious charms of this master poet. The love here described is of the anguished, ruinous kind, like a sickness, and Ovid prescribes cures.
The most sophisticated and daring poetic ironist of the early Roman Empire, Publius Ovidius Naso, is perhaps best known for his oft-imitated Metamorphoses. But the Roman poet also wrote lively and lewd verse on the subjects of love, sex, marriage, and adultery—a playful parody of the earnest erotic poetry traditions established by his literary ancestors. The Amores, Ovid's first completed book of poetry, explores the conventional mode of erotic elegy with some subversive and silly twists: the poetic narrator sets up a lyrical altar to an unattainable woman only to knock it down by poking fun at her imperfections. Ars Amatoria takes the form of didactic verse in which a purportedly mature and experienced narrator instructs men and women alike on how to best play their hands at the long con of love. Ovid's Erotic Poems offers a modern English translation of the Amores and Ars Amatoria that retains the irreverent wit and verve of the original. Award-winning poet Len Krisak captures the music of Ovid's richly textured Latin meters through rhyming couplets that render the verse as playful and agile as it was meant to be. Sophisticated, satirical, and wildly self-referential, Ovid's Erotic Poems is not just a wickedly funny send-up of romantic and sexual mores but also a sharp critique of literary technique and poetic convention.
Ideally suited to intermediate to advanced college-level students, The Student’s Ovid offers twenty-one selections from the Metamorphoses, with notes to aid translation and interpretation. The introduction includes an essay on Ovid’s life and works, an outline of the structure of the Metamorphoses, and tips on Latin poetic forms and usage. Accompanying each Latin passage is an introduction that provides background on the myths and their literary history, both in Ovid and in other classical authors. The detailed notes on each selection are designed to help students read and understand the Latin for themselves. Other special features of this book include: · a glossary of mythological characters · lists of stories grouped by theme to help teachers design courses to suit their students’ interests · discussions of the basic concepts of classical meter, Latin pronunciation, and accentuation · reference charts on the declension of Greek nouns to aid the reading of proper names · a select bibliography of translations and secondary studies
Metamorphoses is an epic-style, narrative poem written in hexameters. Original, inventive and charming, the poem tells the stories of myths featuring transformations, from the creation of the universe to the death and deification of Julius Caesar. Book X contains some of Ovid's most memorable stories: Orpheus and Eurydice, Pygmalion, Atalanta and Hippomenes (with the race for the golden apples), Venus and Adonis, and Myrrha. This edition contains the Latin text as well as in-depth commentary notes that provide language support, explain difficult words and phrases, highlight literary features and supply background knowledge. The introduction presents an overview of Ovid and the historical and literary context, as well as a plot synopsis and a discussion of the literary genre. Suggested reading is also included.
In the year A.D. 8, Emperor Augustus sentenced the elegant, brilliant, and sophisticated Roman poet Ovid to exile—permanently, as it turned out—at Tomis, modern Constantza, on the Romanian coast of the Black Sea. The real reason for the emperor's action has never come to light, and all of Ovid's subsequent efforts to secure either a reprieve or, at the very least, a transfer to a less dangerous place of exile failed. Two millennia later, the agonized, witty, vivid, nostalgic, and often slyly malicious poems he wrote at Tomis remain as fresh as the day they were written, a testament for exiles everywhere, in all ages. The two books of the Poems of Exile, the Lamentations (Tristia) and the Black Sea Letters (Epistulae ex Ponto), chronicle Ovid's impressions of Tomis—its appalling winters, bleak terrain, and sporadic raids by barbarous nomads—as well as his aching memories and ongoing appeals to his friends and his patient wife to intercede on his behalf. While pretending to have lost his old literary skills and even to be forgetting his Latin, in the Poems of Exile Ovid in fact displays all his virtuoso poetic talent, now concentrated on one objective: ending the exile. But his rhetorical message falls on obdurately deaf ears, and his appeals slowly lose hope. A superb literary artist to the end, Ovid offers an authentic, unforgettable panorama of the death-in-life he endured at Tomis.
Book IV of the Fasti, Ovid's celebration of the Roman calendar and its associated legends, is the book of April and honours the festivals of Venus, Cybele, Ceres, and their cult, as well as the traditional date of the foundation of Rome and many religious and civic anniversaries. Elaine Fantham accompanies her commentary with a revised text and an extended introduction. Besides including surveys of language, style, versification, and textual transmission, the introduction looks at the shifting generic traditions of Greek and Roman elegy, and situates Ovid's composite poem in its Augustan literary and historical context. Other sections explain the recurring religious, astronomical and dynastic material of the Fasti. It has been a particular concern to relate features of Book IV to the other books of the Fasti and to Ovid's other elegiac works, and the Metamorphoses.
A version that has been long awaited, and likely to become the new standard." —Michael Dirda, Washington Post Ovid's epic poem—whose theme of change has resonated throughout the ages—is one of the most important texts of Western imagination, an inspiration from Dante's times to the present day, when writers such as Salman Rushdie and Italo Calvino have found a living source in Ovid's work. Charles Martin combines a close fidelity to Ovid's text with verse that catches the speed and liveliness of the original. Martin's Metamorphoses will be the translation of choice for contemporary readers in English. This volume also includes endnotes and a glossary of people, places, and personifications.
When Ovid, already renowned for his love poetry, the Metamorphoses and other works, was exiled by Augustus to Tomis on the Black Sea in AD 8, he continued to write. After five books of Tristia, he composed a collection of verse letters, the Epistulae ex Ponto, in which he appeals to his friends and supporters in Rome, lamenting his lot and begging for their help in mitigating it. In these epistolary elegies his inventiveness flourishes no less than before and his imaginative self-fashioning is as ingenious and engaging as ever, although in a minor key. This commentary on Book I assists intermediate and advanced students in understanding Ovid's language and style, while guiding them in the appreciation of his poetic art. The introduction examines the literary background of the Epistulae ex Ponto, their relation to Ovid's earlier works, and their special interest and appeal to readers of Augustan poetry.
This is Ovid's wittily imagined version of the letters exchanged by three famous pairs of lovers. Heroides XVI-XXI constitute an artfully constructed triptych: Hero and Leander's tragedy of high romance and fleeting happiness framed by two ironic comedies, that of Paris and Helen distinctly black, that of Acontius and Cydippe ending the book on a note of tantalising ambiguity. This is the first edition of these poems with commentary in any language since 1898. It provides a substantially improved text, together with all the guidance needed by students for the understanding of Ovid's Latin and the appreciation of his poetic art. The Introduction offers the first adequate discussion ever published of the poet's treatment of his literary sources and models, and deals succinctly but decisively with the question of authorship.
In her extended introduction, Nagle offers illuminating information and commentary... This verse translation, internally glossed for clarification, is as accurate as modern English will allow.... Highly recommended." --Choice "An excellent rendition in English of Ovid's poetic calendar of the Roman religious year, with an original introduction and useful notes as well as a glossary... The translation is elegant and geared to the modern reader." --The Journal of Indo-European Studies This elegant translation brings Ovid's poetic calendar of the Roman religious year to a new generation of students and scholars. A valuable source of information about the Roman calendar, it complements Ovid's masterwork, the Metamorphoses.
Metamorphoses is an epic poem but is very different from what we expect in an epic. Original, inventive and charming, the poem tells the stories of myths featuring transformations, from the creation of the universe to the death and deification of Julius Caesar. Book III concentrates on the House of Thebes, and this selection details the story of Pentheus and his tragic end after refusing to acknowledge the god Bacchus. This edition contains the Latin text as well as in-depth commentary notes which provide language support, explanation of difficult words and phrases, and analysis of literary features as well as information on the background to the story. The introduction presents an overview of Ovid in his historical and literary context, as well as a plot synopsis and a discussion of the literary genre and metre. All words in the text are given in a full vocabulary at the end and there are also suggestions for further reading. This is the prescribed edition of the verse set text for OCR's AS GCE Classics Latin qualification, for examination from 2015 to 2017 inclusive.
Ovid’s famous mock epic—a treasury of myth and magic that is one of the greatest literary works of classical antiquity—is rendered into fluidly poetic English by world-renowned translator Allen Mandelbaum. Roman poet Ovid’s dazzling cycle of tales begins with the creation of the world and ends with the deification of Caesar Augustus. In between is a glorious panoply of the most famous myths and legends of the ancient Greek and Roman world—from Echo’s passion for Narcissus to Pygmalion’s living statue, from Perseus’s defeat of Medusa to the fall of Troy. Retold with Ovid’s irreverent flair, these tales are united by the theme of metamorphosis, as men and women are rendered alien to themselves, turned variously to flowers, trees, animals, and stones. The closest thing to a central character is love itself—a confounding, transforming, irrational force that makes fools of gods and mortals alike. The poem’s playful verses, both sensually earthy and wittily sophisticated, have reverberated through the centuries, inspiring countless artists and writers from Shakespeare to the present. Frequently translated, imitated, and adapted, The Metamorphoses has lost none of its power to provoke and entertain.
Ovid's Metamorphoses gains its ideal twenty-first-century herald in Stanley Lombardo's bracing translation of a wellspring of Western art and literature that is too often treated, even by poets, as a mere vehicle for the scores of myths it recasts and transmits rather than as a unified work of art with epic-scale ambitions of its own. Such misconceptions are unlikely to survive a reading of Lombardo's rendering, which vividly mirrors the brutality, sadness, comedy, irony, tenderness, and eeriness of Ovid's vast world as well as the poem’s effortless pacing. Under Lombardo's spell, neither Argus nor anyone else need fear nodding off. The translation is accompanied by an exhilarating Introduction by W. R. Johnson that unweaves and reweaves many of the poem’s most important themes while showing how the poet achieves some of his most brilliant effects. An analytical table of contents, a catalog of transformations, and a glossary are also included.
Ovid's Heroides, a collection of twenty-one epistles in elegiac verse, consists of two groups, the first comprising fourteen poems addressed by heroines of mythology to their absent lovers or husbands. In this edition, Professor Knox offers a commentary on seven of these epistles, addressing problems of language and style, and focusing on the relationship of the Heroides to the classic works of Greek and Roman literature on which Ovid bases his representation of these women. In addition, he has included a commentary on the Epistula Sapphus, a separate poem of doubtful authorship which was composed in the manner of Ovid and is believed by many to be by him. The Introduction provides an account of the genre, a survey of language, style and metre, and an outline of the problems concerning the authenticity of parts of the collection.
Through Mandelbaum's poetic artistry, this gloriously entertaining achievement of literature-classical myths filtered through the worldly and far from reverent sensibility of the Roman poet Ovid-is revealed anew. " An] extraordinary translation...brilliant" (Booklist). With an Introduction by the Translator.
This book offers a translation of Ovid's Metamorphosis, accompanied by detailed explanatory annotations and commentary, as well as five interpretations by Bernard Knox, J.R.R. Mackail, Norman O. Brown, Italo Calvino, and Diane Middlebrook.
The Essential Metamorphoses, Stanley Lombardo's abridgment of his translation of Ovid's Metamorphoses, preserves the epic frame of the poem as a whole while offering the best-known tales in a rendering remarkable for its clarity, wit, and vigor. While making no pretense of offering an experience comparable to that of reading the whole of Ovid’s self-styled history from the world's first origins down to my own time, this practical and judicious selection of myths at the heart of Roman mythology and literature yet manages to relate many of the most fascinating episodes in that world-historical march toward the Age of Augustus--and is accompanied by an Introduction that deftly sets them in their cosmological, theological, and Augustan contexts.
This work brings together a selection of the author's articles, written over a period of 20 years, observing the place of alcohol in American culture. The text also contains several ethnographic studies of bars in San Diego and a study of court-mandated programmes for drink drivers.
Book IV of the Fasti, Ovid's celebration of the Roman calendar and its associated legends, is the book of April and honours the festivals of Venus, Cybele, Ceres, and their cult, as well as the traditional date of the foundation of Rome and many religious and civic anniversaries. Elaine Fantham accompanies her commentary with a revised text and an extended introduction. Besides including surveys of language, style, versification, and textual transmission, the introduction looks at the shifting generic traditions of Greek and Roman elegy, and situates Ovid's composite poem in its Augustan literary and historical context. Other sections explain the recurring religious, astronomical and dynastic material of the Fasti. It has been a particular concern to relate features of Book IV to the other books of the Fasti and to Ovid's other elegiac works, and the Metamorphoses.
The most sophisticated and daring poetic ironist of the early Roman Empire, Publius Ovidius Naso, is perhaps best known for his oft-imitated Metamorphoses. But the Roman poet also wrote lively and lewd verse on the subjects of love, sex, marriage, and adultery—a playful parody of the earnest erotic poetry traditions established by his literary ancestors. The Amores, Ovid's first completed book of poetry, explores the conventional mode of erotic elegy with some subversive and silly twists: the poetic narrator sets up a lyrical altar to an unattainable woman only to knock it down by poking fun at her imperfections. Ars Amatoria takes the form of didactic verse in which a purportedly mature and experienced narrator instructs men and women alike on how to best play their hands at the long con of love. Ovid's Erotic Poems offers a modern English translation of the Amores and Ars Amatoria that retains the irreverent wit and verve of the original. Award-winning poet Len Krisak captures the music of Ovid's richly textured Latin meters through rhyming couplets that render the verse as playful and agile as it was meant to be. Sophisticated, satirical, and wildly self-referential, Ovid's Erotic Poems is not just a wickedly funny send-up of romantic and sexual mores but also a sharp critique of literary technique and poetic convention.
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