A few versions of Ars Amatoria online and in print

Ars Amatoria is sure to be a distinct pivot away from Dante's Paradiso, where the Sarasota classics group has been lingering, or perhaps loitering, for the past two and a half years.

Ovid's poem is available in various formats online and in print -- see below. If anyone knows of another that should be added to the list, please leave the info in a comment.


Ars Amatoria Online

A.S. Kline

Sacred Texts

J. Lewis May (Wikisource)

Riley - prose translation with some notes (Gutenberg)

Perseus - Dual Language
Hyperlinked Latin, English, and notes


Print

James Mitchie Dual language, no notes

Applebaum - Dover edition, English only, no notes

Circe

Crewman of Odysseus turning into a beast

A new tale of Circe, told from the point of view of the daughter of Helios, is just out. It's by Madeline Miller, author of The Song of Achilles.

The scope of the tale as told by Miller reckons with the reality of status as an immortal. Odysseus's visit to her isle, while memorable, is but a blip:

"In Ms. Miller’s version, Circe’s encounter with Odysseus is only a slice of her story, which unfolds over thousands of years and begins in the palace of her father, the sun god Helios. Her family members, who treat her with cruelty or indifference, become infamous in their own right: Her sister Pasiphae marries King Minos and gives birth to the Minotaur, a bullheaded, man-eating monster; while her brother Aeetes grows up to rule Colchis, the land of the Golden Fleece, and fathers Medea, who later murders her children." NYT

Myths as the ancients told them were galaxies filled with tales, stretching through generations, with cities and kings rising and falling. Miller seems alive  to that scale of things. Her blog, enriched by her Greek and Latin, is titled "Myths."

And, as noted in reading the Metamorphoses, Ovid's wit is urbane and literary. In his telling, the myths are changed, at points with parodic effect. Understandably, Miller doesn't draw upon his version of the enchantress.

deliberately omitting a scene from Ovid’s Metamorphoses where Circe punishes a king who spurns her advances by turning him into a woodpecker. 

Madeline Miller

Ovid's exile to the remotest margins of the Roman empire revoked

From The Guardian

Rome city council overturns banishment of ‘one of the greatest poets’ more than 2,000 years after Augustus forced him to leave

More than 2,000 years after Augustus banished him to deepest Romania, the poet Ovid has been rehabilitated. 

Rome city council on Thursday unanimously approved a motion tabled by the populist M5S party to “repair the serious wrong” suffered by Ovid, thought of as one of the three canonical poets of Latin literature along with Virgil and Horace. 

Ovid Banished from Rome - Turner

Best known for his 15-book epic narrative poem Metamorphoses and the elegy Ars Amatoria, or the Art of Love, Publius Ovidius Naso was exiled in 8 AD to Tomis, the ancient but remote Black Sea settlement now known as the Romanian port city of Constanța. 

He remained there until his death a decade later. Although ordered directly by the emperor, scholars have long speculated over the motive for Ovid’s exile; the poet himself attributed it to “carmen et error”, a poem and a mistake. 

Experts believe the cause was probably a combination of three factors: that Ovid’s erotic poetry was considered offensive, his attitude to Augustus was too disrespectful, and that he may have been involved in an unspecified plot or scandal. 

La Republicca reported that M5S, which holds a majority of the seats on the council, demanded that “necessary measures” be adopted to revoke the order in what the capital’s deputy mayor, Luca Bergamo, described as an important symbol.

“It is about the fundamental right of artists to express themselves freely in societies in which, around the world, the freedom of artistic expression is increasingly constrained,” Bergamo told councillors.
Ovid was indisputably “one of the greatest poets in the history of humanity,” the deputy mayor said, and moreover the real reasons for his mysterious banishment by the emperor “were never placed on the historical record”. 

Sulmona, the Abruzzo town where the poet was born (then Sulmo), formally acquitted him of any wrongdoing. Dante, the great Renaissance poet, was similarly pardoned in 2008 by Florence – from where he was exiled on pain of death in 1302. 

Ovid’s many poems and letters in exile, collected in Tristia and The Black Sea Letters, have been described by critics as a “clinical presentation” of the condition of exile, “demonstrating its debilitating effect upon a man’s morale, his talents and perhaps his psychology”.

Coally prattling birds

The appearance of the gaggle of pole -- jackdaws, or grey crows (cornacchie grige) - in Paradiso 21 is a strangely unsolemn moment in an otherwise almost forbiddingly sober canto. Jackaws are usually not associated with contemplation - and the variously active groups of birds described in the simile seem busy, but not intent upon higher things:

And as accordant with their natural custom
  The rooks together at the break of day
  Bestir themselves to warm their feathers cold;

Then some of them fly off without return,
  Others come back to where they started from,
  And others, wheeling round, still keep at home; 

Such fashion it appeared to me was there
  Within the sparkling that together came,  (21:34-41)

Robert Hollander notes that these birds have "black wings, silver eyes, and large red beaks encircled by yellow," and adds that according to Benvenuto, they love solitude and choose the desert for their habitation.

Thanks to Dren, we now know our black birds have a holiday tie-in, via Ovid, no less. He shared this piece from the Washington Post that offers a bit of philological archaeology. It turns out that while we all sing "four calling birds," during the Twelve Days of Christmas, the original line involved "coally birds," an adjective derived from, and sounding like, "coal."

The OED finds the word in Golding's translation of Ovid's Metamorphoses - the tale of Coronis and the raven who told Apollo of her infidelity.

As thou thou prating Raven white by nature being bred,
Hadst on thy fethers justly late a coly colour spred.

Indeed, we might have Ovid to thank for Golding's bringing the word into print, and giving it the opportunity to be mistaken for "calling birds," thus helping perpetuate the derangement of language which happens to be a prominent theme in the second book of the Metamorphoses. (See, for example, here.)

The moment of reading

From the Washington Post:

“Not far from the walls of Enna, there is a deep pool,” begins Ovid’s version of the rape of Persephone. “While [Persephone] was playing in this glade, and gathering violets or radiant lilies, while with girlish fondness she filled the folds of her gown, and her basket, trying to outdo her companions in her picking, [Pluto], almost in a moment, saw her, prized her, took her: so swift as this, is love.” [Metamorphoses 5]

The Greek myth has been recounted for thousands of years in hundreds of languages, scores of countries and countless works of art. It’s considered a cultural touchstone for Western civilization: a parable about power, lust and grief. 

Now, however, it could be getting a treatment it’s never had before: a trigger warning. 

In an op-ed in the student newspaper, four Columbia University undergrads have called on the school to implement trigger warnings — alerts about potentially distressing material — even for classics like Greek mythology or Roman poetry.  More...

Regardless of cultural shifts and chance mutations of public sensibility, it remains necessary to read the text with attention, thought, and contextual awareness. Without this moment, the joys and discomforts of any work of literature might be matters of pleasure or pain, but do they offer human or historical truth or ethical imperatives? Without a reading, can there be "a treatment"?

Greek warriors as Roman lovers

When a love poet invokes the great epic heroes, the substance and rhetoric of eros is always in play. In a very Ovidian manner, Propertius begins his bit of amorous braggadocio with Zeus's fathering of Heracles:

“Jupiter slept with Alcmene two nights, and for two nights the heavens missed their king. He did not on that account languidly resume his thunderbolt: no lovemaking defrauded him of his virility. When Achilles left the embrace of Briseis, did the Phrygians then flee his missiles less? Did the Mycenaean ships fear the war less because Hector had just come from Andromache’s bed? Hector could have burnt those ships, Achilles could have leveled those walls: in this I am Achilles, in this am I Hector.”

Iuppiter Alcmenae geminas requieverat Arctos,

et caelum noctu bis sine rege fuit;

nec tamen idcirco languens ad fulmina venit:

nullus amor vires eripit ipse suas.

quid? cum e complexu Briseidos iret Achilles,

num fugere minus Thessala tela Phryges?

quid? ferus Andromachae lecto cum surgeret Hector

bella Mycenaeae non timuere rates?

ille vel hic classis poterant vel perdere muros:

hic ego Pelides, hic ferus Hector ego.

via Sententiae Antiquae 

Deianeira to Heracles

Update: a follow-up post on the letter is here.

Next time, we'll have a look at Deianira's letter to Heracles from Ovid's Heroides. A few sources:

Grant Showerman's translation (used in the Loeb edition).


The Perseus site: English and hyperlinked Latin, as well as notes.


The Latin Library has the Latin text on one page.


Tony Kline's translation.

Ovid and Postmodernism

A conference on Ovid and Postmodernism at Oxford.

It is by now a critical commonplace to demonstrate the affinity between Ovidian and postmodern concerns: a playful insistence on the rhetorical nature of ‘reality’; on the instability of meaning; on the permeability of borders and on the arbitrariness of time. Our project takes as its starting point the appeal of Ovid’s preoccupations with desire, transition, transgression, power, violence, subversion and alienation to the cultures of the late twentieth / early twenty-first century world. It seeks to discover what recent engagements with both the poet’s biography and his rich and varied corpus have contributed to our still-evolving conceptualizations of postmodernism.

• How has Ovid changed the politics of classical scholarship in the last forty years?
• What can a reception history of the postmodern Ovid tell us about the history of postmodernism itself?
• Is Ovid just ‘play’ or does he speak seriously to politically aware (feminist, ‘minority’ and/or postcolonial) concerns about postmodern relativism and its denial of agency?

via rogueclassicist

Opening Loeb online

Loeb Library to go digital.

We still prefer the little volumes, but one hopes this will be a free, open-access project.

Metamorphosis of the Metamorphoses

The winds - a Metamorphoses comic.