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A Companion to Ovid by Peter E. Knox

By Peter E. Knox

A better half to Ovid is a finished evaluate of 1 of the main influential poets of classical antiquity.• beneficial properties greater than 30 newly commissioned chapters through famous students writing of their parts of specialization• Illuminates numerous elements of Ovid's paintings, corresponding to construction, style, and style• offers interpretive essays on key poems and collections of poems• contains particular discussions of Ovid's basic literary affects and his reception in English literature• offers a chronology of key literary and ancient occasions in the course of Ovid's lifetime

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The theatrical performances, whose texts were modeled on the canonical authors of the tradition of Greek drama, were watched by large numbers of spectators, who included men and women, senators and slaves. This audience was largely illiterate, and followed the texts thanks to the effectiveness of the theatrical performances. The circulation of epic texts, not destined for oral presentation, must have been far more limited: through scholastic education, however, they became a part of the basic cultural patrimony of the increasing members of the elite who had access to schooling.

He claims Ovid was averse to all argumentation, and so preferred suasoriae to controversiae, which he seldom declaimed, and then only ethical ones. What does this mean? 11) distinguished between ethical controversiae (concerned with characterization) and ‘pathetic’, that Rhetoric and Ovid’s Poetry 29 is, emotion-rousing (he compares tragic material): his three other categories are based on the status of the evidence. Ovid’s use of vocabulary was restrained in prose, according to Seneca, but in his poems he did not so much overlook his own faults as cherish them.

Seneca’s other discussions are supplementary rather than definitive. In Contr. 7 he reports a criticism of the tasteless Alfius Flavius’ ‘he was his own nurture and loss’, borrowed from Ovid’s final epigrammatic verdict on Erysichthon (Met. 877–8 ‘he began to dismember his own limbs with tearing bites and fed his body, poor fool, by stripping it’). The critic, Cestius, noted that the thought came from ‘the fellow who filled our generation not only with lover’s manuals but lover’s sentiments’. Later in Contr.

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