ovid medicamina faciei femineae

Johnson explains her translation choices for key terms, which is always welcome from a translator and especially helpful for any reader without extensive Latin training. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. 343-56) “If one were to discuss it in isolation, it would present a decidedly distorted interpretation of the poet’s attitude toward such matters” (p. 126) indicate an underlying assumption of a consistent, historical Ovid. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. Johnson does a service to the field by making ancient texts, material evidence, and scholarship accessible to all readers, who will have clear direction for further study thanks to the work’s wide scope and up-to-date bibliography. An example: She refers to poetic persona in the introduction in the context of Med. London-New York: Bloomsbury Academic, 2016, xiii+171 pp., ISBN 978-1-4725-0657-3. Why not just write as a narrative or exposé? The English translations that accompany each text are clear, accurate, and literal, with line numbers and line breaks that mirror the Latin original for easy reference. Pour analyser leurs œuvres à la lueur de ce genre littéraire, il est non seulement utile, mais aussi pertinent d’utiliser la théorie développée par Katharina Volk dans son ouvrage The Poetics of Latin Didactic.Lucretius, Vergil, Ovid, Manilius (Oxford : Oxford University Press, 2002) dans lequel elle énonce quatre critères pour définir ce genre : When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. The idea that the praeceptor himself has seen this technique offers an element of certainty, and, in the perfect tense, suggests a one-off incident. This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. This absence is likely due to a misreading of the Tibullan text, for Johnson takes the reference to carefully arranged hair at Tib. 351–6 is a commonly cited instance of this. [28] As Rimell points out, Ovid markets cultus to improve on nature. editio: incognita fons: incognitus. [13] Green, 1979, Balsdon, 1962 & Wilkinson, 1960 all view the second fifty lines as textbook-like and scientific. Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. The only deviation from this governing principle of clarity is the inclusion of two bibliographies: one of “ancient texts” (editions, etc.) The first, “Now and then … making-over a woman,” introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. Conj. This final warning, that age will ruin beauty, recalls the elegiac topos of fading beauty and encapsulates the aim of this second narrative: to prevent the ravages of age. Culta placent. Ovid Medicamina Faciei. P. Ovidius Naso. 15.199–213: Pythagoras explicitly compares the four seasons to human life. The anti-age anti-narrative runs through the Medicamina’s recipes. Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. [9] Volk, 2002, 40; the term is taken from Fowler, 2000. The commentary on the relatively neglected Medicamina Faciei Femineae may be the most welcome portion, as previously Rosati’s 1985 Italian edition was the only modern commentary available. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. Marguerite Johnson (who has books on Sappho, Boudicca, a source collection with Terry Ryan on gender and sexuality, and Alcibiades and the Socratic Lover/Educator [MXL ,EVSPH 8EVVERX S ìIVW YW XLMW RI[ ZSPYQI Ovid … 23-8) —an argument that strikes me as deserving further comment than it receives. And, while numerous commentaries exist for the other texts, Johnson’s interest in the history, archaeology, and chemistry of ancient beauty practices leads her to delve into topics not … nec quae praeteriit, iterum revocabitur unda, While you can, and still are in your spring-time, have your sport; for the years pass like flowing water; the wave that has gone by cannot be called back, the hour that has gone by cannot return. Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid. 2.1.64; cf. Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. The praeceptor amoris, while uncovering these women’s secrets, implies that they are necessary nonetheless, and implements an anti-age rhetoric throughout. Vite ! [8] Ovid, Ars Am. [20] Cic. PARODY AND SUBVERSION IN OVID'S MEDICAMINA FACIEI FEMWEAE BY PATRICIA A. WATSON The Medicamina Facia Femineae ('Female cosmetics')1) is usuaUy regarded as Ovid's earnest attempt at didactic elegy.2) The poem faUs into two sections: a general introduction (1-50), in which the use of cosmetics is justified as part of the cultas of modern day Rome Send us a message and follow the Durham University Classics Society on Twitter (@DUClassSoc) and Facebook (@DUClassics Society) to keep up with this blog and our other adventures! In the last extant lines of the poem, for example, the praeceptor provides an account via autopsy of a woman blushing her cheeks: vidi quae gelida madefacta papavera lympha, I have seen one who pounded poppies moistened with cool water, and rubbed them on her tender cheeks — (Ovid, Med. [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. Do you have a suggestion for a future topic? This can draw our attention to important connections, but may also allow us to overlook others and encourage us to read “Ovid on cosmetics” as a coherent entity. Med. The praeceptor thereby proposes to solve the issue of age through cultus: cultus humum sterilem Cerealia pendere iussit, By cultivation was the sterile ground bidden render bounty of wheat, and the devouring briars slain. Wyke argues that nature, by analogy, demonstrates the legitimacy of the cultus of the female body, citing lines 3–4 as an example of this. edidit ex Rudolphi Merkelii recognitione. Ars amatoria (De Kunst vo da Liab) Remedia amoris (Heimiddl geng de Liab) Halieutica (nua Fragment dahoidn, Leahgdicht iwa'n Fiischfong; Echtheit bezweifed) Phaenomena (Gdicht iwa de Himmeseascheinunga; nua Fragment) Metamorphosen (Vawandlungsgschichtn … Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the Ars Amatoria, the Art of Love, a parody of didactic poetry and a three-book manual about seduction and intrigue, which has been dated to AD 2 (Books 1–2 would go back to 1 BC). Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. It is made clear that these beautification rituals are necessary to counter the ravages of age — a hypocrisy which is mirrored in our modern beauty standards.[12]. Bryn Mawr PA 19010. The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. Od. — (Ovid, Med. But the awareness of personae displayed in the introduction is hard to find in the commentaries, where remarks such as “Ovid does not believe in such practices [as witchcraft]” (p. 55) and (of Rem. [30] While this is indeed the case, I propose to extend the link between cultus and nature into the temporal narrative of age. The five Ovidian passages are: the surviving hundred lines of the Medicamina Faciei Femineae; Amores 1.14; Ars Amatoria 3.101-250; Remedia Amoris 343-356; and Ars Amatoria 1.505-524. Love Books of Ovid at sacred-texts.ocm. The hypocrisy here does not amount to shaming women, but to exposing them. The Medicamina reads more comfortably as an exposé of women’s beauty rituals than as a rigidly didactic poem. Persona theory could be useful here, but Johnson adheres to a biographical reading of Ovidian poetry, ending her discussion by stating that this recourse to rhetoric “should come as no surprise” because, as Seneca the Elder tells us, the historical Ovid practiced hortatory speech (yet another example of Seneca’s influence on the reception of Ovid’s poetry). Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. Ovid reassures that character is also important (ingenio facies conciliante placet, 44). Ovid builds youth into the recipes themselves, which perpetuates his narrative of a quest against age. The final section, “The texts,” provides an introduction to Ovid’s sources and models for the Medicamina, Amores, Ars Amatoria, and Remedia Amoris; as Johnson acknowledges, Ovid’s command of his literary precedents was vast, and so her discussion must be limited to especially salient examples, with attention to key figures within the genres of didactic and elegy. Overhauled Continental Engines, Spyderco Para 3 Cpm 4v, Pokemon Go Generator 2020, No7 Lift And Luminate Triple Action Night Cream, Oxford Virtual School, Jafari In English, Black And Decker,