A Companion to Ovid (Blackwell Companions to the Ancient by Peter E. Knox

By Peter E. Knox

A spouse to Ovid is a finished evaluate of 1 of the main influential poets of classical antiquity.Features greater than 30 newly commissioned chapters via famous students writing of their components of specializationIlluminates numerous elements of Ovid's paintings, comparable to construction, style, and stylePresents interpretive essays on key poems and collections of poemsIncludes specific discussions of Ovid's fundamental literary affects and his reception in English literatureProvides a chronology of key literary and historic occasions in the course of Ovid's lifetime

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The political system of the old city-state was totally insufficient to provide adequate representation for the forces that had now come into play. The inhabitants of Italy had only won the concession of the rights of citizenship after 90 BC, at the end of a fierce war. This tardy recognition had made it clear that it was impossible for the whole civic body to take part in assemblies and elections (which were held in Rome), which was the basic presupposition of the republican institutions (Brunt 1988: 23–6; Mouritsen 2001).

Ovid is the only one among the great Augustan poets who grew up in a Rome that had been securely pacified by Augustus. In an autobiographic elegy written from exile, he says that he was born in the year in which two consuls fell victims of the same destiny (Tr. 6): this is 43 BC, when Antony fought against the army of the Senate, which at that time was supported by Octavian and was commanded by the two unfortunate consuls, who died in the battle. The result, in that same year, was the triumvirate, which was immediately to trigger renewed civil strife.

Already in Book 1 of the Satires, published four years before the battle of Actium (Serm. 40–9; cf. Labate 1990: 952), Horace revealed that the poets who were friends of Maecenas felt that they were involved in the common task of giving Roman literature a new canon of works, to substitute, in the various genres, the current one, which appeared outdated and ‘archaic’ after the neoteric revolution. At that time, the new canon was still being formed, but the project was already clear: and it included both the minor genres, which had not been included in the old canon, but had received a new dignity from the neoteric movement, and the major genres: comedy, tragedy, and, at this early date, epic poetry, too.

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