By Barbara Pavlock
Barbara Pavlock unmasks significant figures in Ovid’s Metamorphoses as surrogates for his narrative personality, highlighting the conflicted revisionist nature of the Metamorphoses. even if Ovid ostensibly validates conventional customs and associations, instability is in truth a defining function of either the middle epic values and his personal poetics. clone of the Poet explores concerns significant to Ovid’s poetics—the prestige of the picture, the new release of plots, repetition, competition among subtle and inflated epic kind, the reliability of the narrative voice, and the interrelation of rhetoric and poetry. The paintings explores the built writer and enhances fresh feedback concentrating on the reader within the text.2009 amazing educational name, selection journal
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Extra info for The Image of the Poet in Ovid's Metamorphoses (Wisconsin Studies in Classics)
In both its length and its tone, this surprising apostrophe by Ovid’s narrator is without precedent in Greek or Latin epic. 22 In the critical discussion generated by this rupture in the narrative, scholars have debated whether the poet is too caught up in his own narrative. 25 My own view is somewhere between that of Fränkel and Knoespel, on the one hand, and Vinge and Rosati, on the other. I examine the surprising gesture of the narrator here as a particular literary strategy utilizing didactic elegy that enables Ovid to project an impassioned, yet authoritative, voice attuned to the problematic nature of images.
Integrated in the natural landscape, the nymphs here represent a communal gesture of sympathy and, as such, connect elegy with lament in the true pastoral spirit. Narcissus, by contrast, remains constrained within the bounds of erotic elegy. Encompassed by the beauty of the image which he cannot bear to lose, he echoes the conventions of that genre to the very end. 58 Gallus in Eclogue 10, like Narcissus here, is clearly pining away because of unrequited love (“indigno cum Gallus amore peribat” ).
The didactic tone in an amorous context recalls the master image maker who offers numerous examples of erotic folly so that his student may not stray from the path to victory in the game of love. In an excursus on females actively pursuing their objects of desire, the praeceptor mentions a number of aggressive women from myth, including Byblis, Myrrha, Pasiphae, Scylla, and Medea. Expanding on the story of Pasiphae, he interrupts his account of her strange passion with a lengthy apostrophe similar to the narrator’s here in Metamorphoses 3: quo tibi, Pasiphae, pretiosas sumere vestes?